Abbott, Stacey, ‘Spectral Vampires: Nosferatu in the Light of New Technology’, in Hantke, Stefan (ed.), Horror Film: Creating and Marketing Fear (Jackson: University of Mississippi Press, 2004), pp. 3–20.Google Scholar

Abraham, Nicolas, ‘Notes on the Phantom: A Complement to Freud’s Metapsychology’, trans. by Nicholas Rand, Critical Inquiry 13:2 (1987): 387–92.CrossRefGoogle Scholar

Achebe, Chinua, ‘An Image of Africa: Racism in Joseph Conrad’s Heart of Darkness’, in Lauer, Helen and Anyidoho, Kofi (eds), Reclaiming the Human Sciences and Humanities through African Perspectives, Volume II (Accra: Sub-Saharan publishers, 2012), pp. 929–40.Google Scholar

Adams, Tim, ‘The Stephen King Interview, Uncut and Unpublished’, The Guardian, 14 September 2000 <https://www.theguardian.com/books/2000/sep/14/stephenking.fiction> (last accessed 22 June 2019).+(last+accessed+22+June+2019).>Google Scholar

Agamben, Giorgio, Homo Sacer: Sovereign Power and Bare Life, trans. by Daniel Heller-Roazen (Stanford, CA: Stanford University Press, 1998).Google Scholar

Alaimo, Stacey, Bodily Natures: Science, Environment, and the Material Self (Bloomington, IN: Indiana University Press, 2010).Google Scholar

Aldana Reyes, Xavier, Gothic Cinema (London: Routledge, 2020).Google Scholar

Aldington, Richard, Images of War (London: Beaumont Press, 1919).Google Scholar

Alexander, Michelle, The New Jim Crow: Mass Incarceration in the Age of Colorblindness (New York: New Press, 2012).Google Scholar

al-Inss wa-l-jinn [Humans and Jinns]. Dir. Muhammed Radi. United Group. 1985.Google Scholar

American Horror Story. Created by Ryan Murphy and Brad Falchuk. FX Network, 20th Century Fox Television. 2011–. First aired in USA on 5 October 2011.Google Scholar

Anderson, Eric, Hagood, Taylor and Turner, Daniel Cross, ‘Introduction’, in Anderson, Eric, Hagood, Taylor, and Turner, Daniel Cross (eds), Undead Souths: The Gothic and Beyond in Southern Literature and Culture (Baton Rouge: Louisiana State University Press, 2015), pp. 1–9.Google Scholar

Ancuta, Katarzyna, ‘Asian Gothic’, in Punter, David (ed.), A New Companion to the Gothic (Chichester: Wiley-Blackwell, 2012), pp. 428–41.Google Scholar

Ancuta, Katarzyna, ‘Japanese Gothic’, in Hughes, William, Punter, David and Smith, Andrew (eds), The Encyclopedia of The Gothic, 2 vols (Chichester: Wiley-Blackwell, 2016), vol. 1, p. 371.Google Scholar

Andeweg, Agnes and Zlosnik, Sue, ‘Introduction’, in Andeweg, Agnes and Zlosnik, Sue (eds) Gothic Kinship (Manchester: Manchester University Press, 2013), pp. 1–11.Google Scholar

Anger, Kenneth, quoted in James Riley, The Bad Trip: Dark Omens, New Worlds and the End of the Sixties (London: Icon, 2019).Google Scholar

Anon, ., ‘ARI Report 163’, in Gallup Looks at the Movies: Audience Research Reports 1940–1950 (Delaware: Scholarly Resources, 1979).Google Scholar

Anon, ., ‘Winged Skulls and hot air balloons: The grave of Étienne-Gaspard Robert, pioneer of phantasmagoria’, Flickering Lamps (3 July 2016) <https://flickeringlamps.com/2016/07/03/winged-skulls-and-hot-air-balloons-the-grave-of-etienne-gaspard-robert-pioneer-of-phantasmagoria/> (last accessed 30 August 2018).+(last+accessed+30+August+2018).>Google Scholar

Anon, ., Trick or Treaty? Memes Flood in as UK Goes for Halloween Brexit With ‘Zombie’ PM (2019) <https://sputniknews.com/viral/201904131074100523-halloween-brexit-theresa-may-zombie-government-memes/> (last accessed 15 April 2019).+(last+accessed+15+April+2019).>Google Scholar

Arata, Stephen D., ‘The Occidental Tourist: Dracula and the Anxiety of Reverse Colonization’, Victorian Studies 33:4 (1990): 621–45.Google Scholar

Armitt, Lucie, Twentieth-Century Gothic (Cardiff: University of Wales Press, 2011).Google Scholar

Arnold, Matthew, Selected Poems, edited by Peltason, Timothy (London: Penguin, 1994).Google Scholar

Arslan, Savaş, Cinema in Turkey: A New Critical History (New York: Oxford University Press, 2011).Google Scholar

Ashcroft, Bill, Griffiths, Gareth and Tiffin, Helen, The Empire Writes Back: Theory and Practice in Post-Colonial Literatures (London and New York: Routledge, 1989).CrossRefGoogle Scholar

Asylum: The Lost Footage. Dir. Dan T. Hall. Cyfuno Ventures, Vizmo Films, Gravitas Ventures. 2013.Google Scholar

Atasoy, Yıldız, Turkey, Islamists and Democracy: Transition and Globalization in a Muslim State (New York: I. B. Tauris, 2005).Google Scholar

Atwood, Margaret, Alias Grace (London: Virago Press, 2005).Google Scholar

Auerbach, Nina, Our Vampires, Ourselves (Chicago: University of Chicago Press, 1995).CrossRefGoogle Scholar

Austen, Jane, Northanger Abbey, edited by Davie, John (Oxford: Oxford University Press, 1971).Google Scholar

Bacevich, Andrew J., American Empire: The Realities and Consequences of U.S. Diplomacy (Cambridge, MA: Harvard University Press, 2002).Google Scholar

Bache-Wiig, Harald, ‘Apokalypse nå! Tryggve Andersens Mot kvæld’, in Haugen, Torgeir (ed.), Litterære skygger. Norsk fantastisk litteratur (Oslo: Cappelen Akademisk Forlag, 1998), pp. 123–41.Google Scholar

Bailey, Dale, American Nightmares: The Haunted House Formula in American Popular Fiction (Bowling Green, OH: Bowling Green State University Popular Press, 1999).Google Scholar

Bainbridge, Simon, ‘Lord Ruthven’s Power: Polidori’s “The Vampyre”, Doubles and the Byronic Imagination’, The Byron Journal 34:1 (2006): 21–34.CrossRefGoogle Scholar

Bakhtin, Mikhail M., ‘Forms of Time and of the Chronotope in the Novel: Notes Toward a Historical Poetics’, in The Dialogic Imagination: Four Essays by M. M. Bakhtin, edited by Holquist, Michael, trans. by Caryl Emerson and Michael Holquist (Austin, TX: University of Texas Press, 1981), pp. 84–258.Google Scholar

Baldick, Chris, ‘Introduction’, in Baldick, Chris (ed.), The Oxford Book of Gothic Tales (Oxford: Oxford University Press, 1992), pp. xi–xxiii.Google Scholar

Baldick, Chris and Mighall, Robert, ‘Gothic Criticism’, in Punter, David (ed.), A New Companion to the Gothic (Oxford: Wiley-Blackwell 2012), pp. 267–87.Google Scholar

Baldwin, Stanley, This Torch of Freedom (London: Hodder and Stoughton, 1935).Google Scholar

Balmain, Colette, Introduction to the Japanese Horror Film (Edinburgh: Edinburgh University Press, 2008).Google Scholar

Banks, Iain, The Wasp Factory (London: Macmillan, 1984).Google Scholar

Barnes, Djuna, Nightwood (London: Faber & Faber, 2001).Google Scholar

Battle: Los Angeles. Dir. Jonathan Liebesman. Columbia Pictures. 2011.Google Scholar

Bayer-Berenbaum, Linda, The Gothic Imagination: Expansion in Gothic Literature and Art (London and Toronto: Associated University Press, 1982).Google Scholar

Beard, Michael, Hedayat’s Blind Owl as a Western Novel (New Jersey: Princeton University Press, 1990).Google Scholar

Beck, Richard, We Believe the Children: A Moral Panic in the 1980s (New York: Public Affairs, 2015).Google Scholar

Bennett, Jane, Vibrant Matter: A Political Ecology of Things (Durham, NC: Duke University Press, 2001), p. viii.Google Scholar

Berger, John, Ways of Seeing (London: BBC Books, 1972).Google Scholar

Bernard, Peter, ‘Hearn, Lafcadio [Koizumi, Yakumo] [1850–1904]’, in Murguía, Salvador (ed.), The Encyclopedia of Japanese Horror Films (Lanham, Boulder, New York and London: Rowman and Littlefield, 2016), pp. 115–19.Google Scholar

Bhattacharyya, Harihar, ‘Multiculturalism in Contemporary India’, International Journal on Multicultural Societies 5:2 (2003): 148–61.Google Scholar

Bicakci, Tugce, ‘The Origins of Turkish Gothic: The adaptations of Stoker’s Dracula in Turkish Literature and Film’, Studies in Gothic Fiction 4: 1/2 (2015): 57–69.Google Scholar

Biçakçi Syed, Tuğçe, ‘Turkish B-Movie Gothic: Making the Undead Turkish’, in Edwards, Justin D and Höglund, Johan (eds), B-Movie Gothic: International Perspectives (Edinburgh: University of Edinburgh Press, 2018), pp. 139–53.Google Scholar

Birkenstein, Jeff, Froula, Anna and Randell, Karen (eds), Reframing 9/11: Film, Popular Culture and the ‘War on Terror’ (New York: Continuum, 2010).Google Scholar

Birkhead, Edith, The Tale of Terror: A Study of the Gothic Romance, Project Gutenberg, <https://www.gutenberg.org/ebooks/14154> (last accessed 30 December 2020).+(last+accessed+30+December+2020).>Google Scholar

Black, Art, ‘Coming of Age: The South Korean Horror Film’, in Schneider, Steven Jay (ed.), Fear Without Frontiers: Horror Cinema Across the Globe (Godalming: FAB Press, 2003), pp. 185–203.Google Scholar

Blackmon, Douglas, Slavery by Another Name: The Re-enslavement of Black Americans from the Civil War to World War II (New York: Anchor Books, 2009).Google Scholar

Blake, Linnie, ‘Vampires, Mad Scientists and the Unquiet Dead: Gothic Ubiquity in Post 9/11 Television’, in Edwards, Justin D. and Monnet, Agnieszka Soltysik (eds), The Gothic in Contemporary Literature and Popular Culture (New York: Routledge, 2012), pp. 37–56.Google Scholar

Blake, Linnie, ‘Trapped in the Hysterical Sublime: Twin Peaks, Postmodernism, and the Neoliberal Now’, in Andrew Weinstock, Jeffrey and Spooner, Catherine (eds), Return to Twin Peaks: New Approaches to Materiality, Theory, and Genre on Television (New York: Palgrave Macmillan, 2015), pp. 229–45.Google Scholar

Blake, Linnie, ‘Catastrophic Events and Queer Northern Villages: Zombie Pharmacology in In the Flesh’, in Blake, Linnie and Monnet, Agnieszka Soltysik (eds), Neoliberal Gothic: International Gothic in the Neoliberal Age (Manchester: Manchester University Press, 2016), pp. 104–21.Google Scholar

Blake, Linnie, ‘Max Brooks’s World War Z (2006) – Neoliberal Gothic’, in Bacon, Simon (ed.), The Gothic: A Reader (Oxford: Peter Lang, 2018), pp. 195–201.Google Scholar

Blake, Linnie, ‘The Monster in the Living Room: Gothic Television of the Neoliberal Age’, in Punter, David (ed.), The Edinburgh Companion to Gothic and the Arts (Edinburgh: Edinburgh University Press, 2019), pp. 406–17.Google Scholar

Blake, Linnie, ‘Neoliberal Gothic’, in Wester, Maisha and Reyes, Xavier Aldana (eds), Twenty-First-Century Gothic: An Edinburgh Companion (Edinburgh: Edinburgh University Press, 2019), pp. 60–71.Google Scholar

Blake, Linnie, The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity (Manchester: Manchester University Press, 2008).Google Scholar

Blake, Linnie and Monnet, Agniezska Soltysik, ‘Introduction: Neoliberal Gothic’, in Blake, Linnie and Monnet, Agniezska Soltysik (eds), Neoliberal Gothic: International Gothic in the Neoliberal Age (Manchester: Manchester University Press, 2017), pp. 1–18.Google Scholar

Blake, Linnie and Monnet, Agnieszka Soltysik (eds), Neoliberal Gothic: International Gothic in the Neoliberal Age (Manchester: Manchester University Press, 2017).CrossRefGoogle Scholar

Blank, Trevor J. and McNeill, Lynne S. (eds), Slender Man Is Coming: Creepypasta and Contemporary Legends on the Internet (Logan: Utah State University Press, 2018).CrossRefGoogle Scholar

Bloch, Robert, Psycho (London: Corgi, 1959).Google Scholar

Bolens, Guillemette, La Logique du Corps Articulaire: Les articulations du corps humain dans la littérature occidentale (Rennes: Presses Universitaires de Rennes, 2000).Google Scholar

Boot, Max, ‘The Case for American Empire: The most realistic response to Terrorism is for America to embrace its imperial role’, The Washington Examiner, 15 October 2001 <https://www.washingtonexaminer.com/weekly-standard/the-case-for-american-empire> (last accessed 22 July 2020).+(last+accessed+22+July+2020).>Google Scholar

Borges, Jorge Luis, ‘Borges and I’, trans. by James E. Irby, in Jorge Luis Borges, Labyrinths, edited by Yates, Donald A. and Irby, James E (Harmondsworth: Penguin, 1970), pp. 282–3.Google Scholar

Borschke, Margie, This Is Not a Remix: Piracy, Authenticity and Popular Music (New York: Bloomsbury, 2017).Google Scholar

Botting, Fred, ‘Candygothic’, in Botting, Fred (ed.), The Gothic (Cambridge: D. S. Brewer, 2001), pp. 133–52.Google Scholar

Botting, Fred, ‘Aftergothic: Consumption, Machines, and Black Holes’, in Hogle, Jerrold E. (ed.), The Cambridge Companion to Gothic Fiction (Cambridge: Cambridge University Press, 2002), pp. 277–300.Google Scholar

Botting, Fred, ‘Future Horror (the Redundancy of Gothic)’, Gothic Studies 1:2 (1999): 139–55.Google Scholar

Botting, Fred, Gothic (London and New York: Routledge, 1996).Google Scholar

Botting, Fred, Gothic Romanced: Consumption, Gender and Technology in Contemporary Fictions (London: Routledge, 2008).Google Scholar

Botting, Fred, Gothic, 2nd edition (London and New York: Routledge, 2014).Google Scholar

Botting, Fred, ‘In Gothic Darkly: Heterotopia, History, Culture’, in Punter, David (ed.), A New Companion to the Gothic (Oxford: Blackwell, 2012), pp. 13–24.Google Scholar

Botting, Fred and Spooner, Catherine (eds), Monstrous Media/Spectral Subjects: Imaging Gothic from the Nineteenth Century to the Present (Manchester: Manchester University Press, 2015).Google Scholar

Bowden, Mark, Pitt Rivers: The Life and Archaeological Work of Lieutenant-General Augustus Henry Lane Fox Pitt Rivers (Cambridge: Cambridge University Press, 1991).Google Scholar

Brantlinger, Patrick, Imperial Gothic: Atavism and the Occult in the British Adventure Novel, 1880–1914 (Bloomington: Indiana University Press, 1985).Google Scholar

Brantlinger, Patrick, Rule of Darkness: British Literature and Imperialism, 1830–1914 (Ithaca, NY and London: Cornell University Press, 1988).Google Scholar

Breton, André, ‘English Romans Noirs and Surrealism’, in Sage, Victor (ed.), The Gothick Novel (Basingtoke: Macmillan, 1990), pp. 112–15.Google Scholar

Breton, André, ‘From the First Manifesto of Surrealism’, in Rainey, Lawrence (ed.), Modernism: An Anthology (Oxford: Blackwell, 2005), pp. 718–41.Google Scholar

Briefel, Aviva and Miller, Sam J. (eds), Horror after 9/11 (Austin, TX: University of Texas Press, 2011).Google Scholar

Brink, André, Devil’s Valley (London: Vintage, 2000).Google Scholar

Broderick, James F., James Joyce: A Literary Companion (Jefferson: McFarland & Co., 2018).Google Scholar

Brooks, Max, World War Z: An Oral History of the Zombie War (London: Duckworth, 2007).Google Scholar

Brown, Charles Brockden, Edgar Huntly; or, Memoirs of a Sleep-Walker: With Related Texts (Indianapolis: Hackett Publishing, 2006).Google Scholar

Brown, Simon, ‘Censorship Under Siege: The BBFC in the Silent Era’, in Lambertini, Edward (ed.), Behind the Scenes at the BBFC: Film Classification from the Silent Era to the Silver Screen (London: BFI Publishing, 2012), pp. 3–14.Google Scholar

Brown, Wendy, ‘American Nightmare: Neoliberalism, Neo-conservatism, and De- Democratization’, Political Theory 34:6 (2006): 690–714.Google Scholar

Browning, John Edgar, ‘Classical Hollywood Horror’, in Benshoff, Harry (ed.), A Companion to the Horror Film (Chichester: Wiley-Blackwell, 2014), pp. 225–36.Google Scholar

Bruhm, Steven, ‘Contemporary Gothic: Why We Need It’, in Hogle, Jerrold E. (ed.), The Cambridge Companion to Gothic Fiction (Cambridge: Cambridge University Press, 2002), pp. 259–76.Google Scholar

Bryson, Norman, ‘Todd Haynes’s Poison and Queer Cinema’, InVisible Culture: An Electronic Journal for Visual Culture 1: The Worlding of Cultural Studies (Winter 1998), para. 9 <www.rochester.edu/in_visible_culture/issue1/bryson/> (last accessed 15 December 2020).CrossRef+(last+accessed+15+December+2020).>Google Scholar

Burnham, John, (ed.), After Freud Left: A Century of Psychoanalysis in America (Chicago: University of Chicago Press, 2012).Google Scholar

Burns, Hannah Piper and Meaney, Evan, ‘Glitches Be Crazy’, in Briz, Nick, Meaney, Evan, Menkman, Rosa, Robertson, William, Satrom, Jon and Westbrook, Jessica (eds), GLI.TC/H READER[ROR] 20111 (Unsorted Books, 2011), p. 74 <http://gli.tc/h/READERROR/GLITCH_READERROR_20111-v3BWs.pdf> (last accessed 1 September 2018).Google Scholar

Burroughs, William, Naked Lunch (London: Penguin, 2015).Google Scholar

Bush, George W., ‘Remarks to the Community in South Bend, Indiana’ September 5, 2002. The American Presidency Project <www.presidency.ucsb.edu/ws/index.php?pid=63576> (last accessed 22 July 2020).+(last+accessed+22+July+2020).>Google Scholar

Bush, George W., ‘Remarks to the Troops at Ford Hood, Texas’, 3 January 2003, The American Presidency Project <www.presidency.ucsb.edu/documents/remarks-military-personnel-fort-hood-texas> (last accessed 22 July 2020).+(last+accessed+22+July+2020).>Google Scholar

Bush, George W., ‘Remarks in Halifax, Canada’, The American Presidency Project, 1 December 2004 <www.presidency.ucsb.edu/ws/?pid=72844> (last accessed 20 July 2020).+(last+accessed+20+July+2020).>Google Scholar

Butler, Ivan, Horror in the Cinema (London: Zwemmer, 1967).Google Scholar

Butler, Judith, Precarious Lives (London: Verso, 2004).Google Scholar

Byron, Glennis (ed.), Globalgothic (Manchester: Manchester University Press, 2013).Google Scholar

Byron, , ‘Introduction’, in Byron, Glennis (ed.), Globalgothic (Manchester: Manchester University Press 2013), pp. 1–10.Google Scholar

Cagle, Robert, ‘Diary of a Lost Girl: Victoriana, Intertextuality, and A Tale of Two Sisters’, in Peirse, Alison and Martin, Daniel (eds), Korean Horror Cinema (Edinburgh: Edinburgh University Press, 2013), pp. 158–72.Google Scholar

Cameron, Allan, ‘Facing the Glitch: Abstraction, Abjection and the Digital Image’, in Beugnet, Martine, Cameron, Allan and Fetveit, Arild (eds), Indefinite Visions: Cinema and the Attractions of Uncertainty (Edinburgh: Edinburgh University Press, 2017), pp. 334–52.Google Scholar

Cannell, Fenella, ‘English Ancestors: The Moral Possibilities of Popular Genealogy’, Journal of the Royal Anthropological Institute 17 (2011): 462–80.CrossRefGoogle Scholar

Carey, Peter, Jack Maggs (London: Faber & Faber, 1997).Google Scholar

Çarkoğlu, Ali and Kalaycıoğlu, Ersin, The Rising Tide of Conservatism in Turkey (New York: Palgrave Macmillan, 2009).Google Scholar

Carnivàle. Created by Daniel Knauf. 3 Arts Entertainment, Home Box Office (HBO). Distributed by HBO. 2003–2005. First aired in USA on 14 September 2003.Google Scholar

Carrell, Jennifer Lee, The Speckled Monster: A Historical Tale of Battling Smallpox (New York: Plume, 2004).Google Scholar

Carter, Angela, ‘Afterword to Fireworks’, in Carter, Angela, Burning Your Boats: Collected Short Stories (London: Chatto and Windus, 1995), pp. 460–1.Google Scholar

Carter, Angela, The Sadeian Woman (London: Virago, 1979).Google Scholar

Carter, Angela, The Magic Toyshop (London: Virago, 1981).Google Scholar

Carter, Angela, The Bloody Chamber and Other Stories (Harmondsworth: Penguin, 1981).Google Scholar

Cascone, Kim, ‘Residualism’, in Kelly, Caleb (ed.), Sound (Cambridge, MA: MIT Press, 2011), pp. 98–101.Google Scholar

Cash, W. J., The Mind of the South (New York: Vintage, 1961).Google Scholar

Castillo Street, Susan and Crow, Charles L, ‘Introduction: Down at the Crossroads’, in Street, Susan Castillo and Crow, Charles L. (eds), The Palgrave Handbook to the Southern Gothic (Basingstoke: Palgrave Macmillan, 2016), pp. 1–6.Google Scholar

Castle, Terry, The Apparitional Lesbian: Female Homosexuality and Modern Culture (New York: Columbia University Press, 1993).Google Scholar

Castle, William, Step Right Up! I’m Going to Scare the Pants Off America (New York: Putnam’s Sons, 1976).Google Scholar

Chafe, William, The Unfinished Journey: America Since World War Two (New York: Oxford University Press, 1999).Google Scholar

Chariandy, David, Soucouyant: A Novel of Forgetting (Vancouver: Arsenal Pulp Press, 2007).Google Scholar

Charles, John, The Hong Kong Filmography, 1977–1997 (Jefferson, NJ: McFarland, 2000).Google Scholar

Chen, Lianshan, Chinese Myths and Legends (Cambridge: Cambridge University Press, 2011).Google Scholar

Cheng, Yu, ‘Under a Spell’, in Cheuk-to, Li (ed.), Phantoms of the Hong Kong Cinema (Hong Kong: Urban Council, 1989), pp. 20–3.Google Scholar

Childs, Peter, Modernism (London: Routledge, 2000).Google Scholar

Choi, Jinhee, The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs (Middletown, CT: Wesleyan University Press, 2010).Google Scholar

Chomsky, Noam, Hegemony or Survival: America’s Quest for Global Dominance (New York: Metropolitan Books, 2003).Google Scholar

Christie, Ian, ‘The Visible and the Invisible: From “Tricks” to “Effects”’, Early Popular Visual Culture 13:2 (2015): 106–12.Google Scholar

Chun, Wendy Hui Kyong, Updating to Remain the Same: Habitual New Media (Cambridge, MA: MIT Press, 2016).Google Scholar

Clarke, Susanna, Jonathan Strange and Mr Norrell (London: Bloomsbury, 2004).Google Scholar

Clery, E. J., ‘The Genesis of “Gothic” Fiction’, in Hogle, Jerrold E. (ed.), The Cambridge Companion to Gothic Fiction (Cambridge, Cambridge University Press, 2002), pp. 21–40.Google Scholar

Corstorphine, Kevin, ‘“A Search for the Father-Image”: Masculine Anxiety in Robert Bloch’s 1950s Fiction’, in Jones, Darryl, McCarthy, Elizabeth and Murphy, Bernice M. (eds), It Came from the 1950s: Popular Culture, Popular Anxieties (Basingstoke: Palgrave Macmillan, 2011), pp. 158–75.Google Scholar

Cosslett, Tess, ‘“History from Below”: Time-Slip Narratives and National Identity’, The Lion and the Unicorn 26:2 (2002), 243–53.Google Scholar

Cottam, F. G., The House of Lost Souls (London: Hodder & Stoughton, 2007).Google Scholar

Creed, Barbara, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (London: Routledge, 1993).Google Scholar

Cronin, Justin, The City of Mirrors (London: Orion, 2016).Google Scholar

Cronin, Justin, The Passage (New York: Ballantine Books, 2010).Google Scholar

Crow, Charles L., American Gothic (Cardiff: University of Wales Press, 2009).Google Scholar

Crow, Charles L., ‘Southern American Gothic’, in Andrew Weinstock, Jeffrey (ed.), The Cambridge Companion to American Gothic (Cambridge: Cambridge University Press, 2017), pp. 141–55.Google Scholar

Crowley, Aleister, Moonchild (New York: Avon, 1971).Google Scholar

Cubitt, Sean, ‘Temporalities of the Glitch: Déjà Vu’, in Beugnet, Martine, Cameron, Allan and Fetveit, Arild (eds), Indefinite Visions: Cinema and the Attractions of Uncertainty (Edinburgh: Edinburgh University Press, 2017), pp. 299–315.Google Scholar

Curtis Klause, Annette, The Silver Kiss (New York: Delacorte, 2001).Google Scholar

Dall’Asta, Monica, ‘DEBATES: Thinking About Cinema: First Waves’, in Temple, Michael and Witt, Michael (eds), The French Cinema Book (London: BFI Publishing, 2004), pp. 82–90.Google Scholar

Daly, Mary, Gyn/ecology: The Metaethics of Radical Feminism (Boston, MA: Beacon Press, 1978, 1990).Google Scholar

The Dark Tapes. Dir. Michael McQuown and Vincent J. Guastini. Thunder Road Incorporated. 2016. Epic Pictures Releasing, 2017. DVD.Google Scholar

Darvay, Daniel, Haunting Modernity and the Gothic Presence in British Modernist Literature (New York: Palgrave Macmillan, 2016).Google Scholar

Davis, Colin, Haunted Subjects: Deconstruction, Psychoanalysis and the Return of the Dead (Basingstoke: Palgrave Macmillan, 2007).Google Scholar

Davison, Graeme, The Use and Abuse of Australian History (Crows Nest, NSW: Allen and Unwin, 2000).Google Scholar

Dawson Varughese, E., Reading New India: Post-Millennial Indian Fiction in English (London: Bloomsbury, 2013).Google Scholar

Dax, Max, ‘Interview with Thomas Ruff’, in Thomas Ruff, Castello di Rivoli Museo d’Arte Contemporanea (Milan: Skira, 2009), pp. 70–5.Google Scholar

Dayan, Daniel and Katz, Elihu, Media Events: The Live Broadcasting of History (Cambridge, MA: Harvard University Press, 1992).Google Scholar

Dean, Jodi, Democracy and Other Neoliberal Fantasies: Communicative Capitalism and Left Politics (Durham, NC and London: Duke University Press, 2009).Google Scholar

Derian, James Der, Virtuous War: Mapping the Military–Industrial–Media–Entertainment Network (Boulder, CO: Westview Press, 2001).Google Scholar

Devlin, Polly, ‘London Revisited’, British Vogue, 15 September 1968, pp. 152–3.Google Scholar

Didion, Joan, The White Album (London: Flamingo, 1993).Google Scholar

Dimen, Muriel, ‘Politically Correct? Politically Incorrect?’, in Vance, Carole S. (ed.), Pleasure and Danger: Exploring Female Sexuality (London: Pandora, 1989), pp. 138–48.Google Scholar

Doane, Mary Ann, The Desire to Desire: The Woman’s Film of the 1940s (Bloomington, IN: Indiana University Press, 1987).CrossRefGoogle Scholar

Douglass, Paul, ‘Byron’s Life and His Biographers’, in Bone, Drummond (ed.), The Cambridge Companion to Byron (Cambridge: Cambridge University Press, 2004), pp. 7–26.Google Scholar

Dourish, Paul, ‘Rematerializing the Platform: Emulation and the Digital-Material’, in Pink, Sarah, Ardèvol, Elisenda and Lanzeni, Dèbora (eds), Digital Materialities: Design and Anthropology (London: Bloomsbury Publishing, 2016), pp. 29–44.Google Scholar

Downey, Dara, ‘Locating the Spectre in Dan Curtis’s Burnt Offerings’, in Leeder, Murray (ed.), Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Age (London: Bloomsbury Academic, 2015), pp. 143–58.Google Scholar

Dracula AD 1972. Dir. Alan Gibson. Hammer Films, Columbia Warner Distributors. 1972.Google Scholar

Du Bois, W. E. B., The Souls of Black Folk (New York: Penguin Random House, 2018).Google Scholar

Dumas, Chris, ‘Horror and Psychoanalysis: An Introductory Primer’, in Benshoff, Harry M. (ed.), A Companion to the Horror Film (Oxford: Wiley-Blackwell, 2017), pp. 21–37.Google Scholar

du Maurier, Daphne, Rebecca (London: Arrow Books, 1992).Google Scholar

Dunant, Sarah and Porter, Roy, The Age of Anxiety (London: Virago, 1996).Google Scholar

Dworkin, Andrea, Pornography: Men Possessing Women (London: The Women’s Press, 1981).Google Scholar

Edge, Thomas, ‘“Who Do You Think You Are?”: Examining the African-American Experience in Slavery and Freedom through Family History Television’, The Journal of American Culture 40:4 (2017): 341–54.Google Scholar

Edmundson, Mark, Nightmare on Main Street: Angels, Sadomasochism, and the Culture of Gothic (Cambridge, MA: Harvard University Press, 1997).Google Scholar

Edwards, Justin D., Gothic Canada: Reading the Spectre of a National Literature (Edmonton: University of Alberta Press, 2010).Google Scholar

Edwards, Justin D., ‘Zombie Terrorism in an Age of Global Gothic’, Gothic Studies 17:2 (November 2015): 12–25.Google Scholar

Ehrhart, W. D., Passing Time: Memoir of a Vietnam Veteran Against the War (Amherst, MA: University of Massachusetts Press, 1995).Google Scholar

Einhaus, Ann-Marie, The Short Story and the First World War (Cambridge: Cambridge University Press, 2013).CrossRefGoogle Scholar

Eisner, Lotte H., The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt, trans. Roger Grieves (Berkeley and Los Angeles: University of California Press, 1977).Google Scholar

Eliot, T. S., The Sacred Wood: Essays on Poetry and Criticism (London: Methuen & Co Ltd, 1928).Google Scholar

Elliott, Kamilla, ‘Gothic—Film—Parody’, Adaptation 1:1 (2008): 24–43.Google Scholar

Elliott, Kamilla, Portraiture and British Gothic Fiction: The Rise of Picture Identification, 1764–1835 (Baltimore, NJ: Johns Hopkins University Press, 2013).Google Scholar

Elliott, Will, The Pilo Family Circus (London: Quercus, 2007).Google Scholar

Ellis, Bill, ‘The Highgate Cemetery Vampire Hunt: The Anglo-American Connection in Satanic Cult Lore’, Folklore 104: 1/2 (1993): 13–39.Google Scholar

Ellis, Kate Ferguson, ‘Can You Forgive Her? The Gothic Heroine and Her Critics’, in Punter, David (ed.), A New Companion to the Gothic (Oxford: Wiley-Blackwell, 2012), pp. 457–68.Google Scholar

Ellis, Kate Ferguson, The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology (Urbana, IL: University of Illinois Press, 1989).Google Scholar

Ellis, Markman, The History of Gothic Fiction (Edinburgh: Edinburgh University Press, 2000).Google Scholar

El-Zein, Amira, Islam, Arabs, and Intelligent World of the Jinn (New York: Syracuse University Press, 2009).Google Scholar

Eppink, Jason, ‘A Brief History of the GIF (so Far)’, Journal of Visual Culture 13:3 (1 December 2014): 298–306.Google Scholar

Erb, Cynthia, Tracking King Kong: A Hollywood Icon in World Culture (Detroit, MI: Wayne State University Press, 1998).Google Scholar

Estok, Simon C., The Ecophobia Hypothesis (New York: Routledge, 2018).Google Scholar

Estok, Simon C., ‘Theorizing in a Space of Ambivalent Openness: Ecocriticism and Ecophobia’, Interdisciplinary Studies in Literature and the Environment 16 (Spring 2009): 203–25.Google Scholar

Faris, Wendy B., ‘Scheherazade’s Children: Magical Realism and Postmodern Fiction’, in Zamora, Lois Parkinson and Faris, Wendy B. (eds), Magical Realism: Theory, History, Community (Durham, NC and London: Duke University Press, 1995), pp. 163–90.Google Scholar

Faulkner, William, Requiem for a Nun (London: Vintage, 1996).Google Scholar

Fergusson, Niall, Colossus: The Price of America’s Empire (New York: Penguin, 2004).Google Scholar

Feuer, Jane, ‘Genre Study and Television’, in Allen, Robert C. (ed.), Channels of Discourse, Reassembled: Television and Contemporary Criticism, 2nd edition (Chapel Hill and London: University of North Carolina Press, 1992), pp. 138–60.Google Scholar

Fiedler, Leslie A., Love and Death in the American Novel (New York: Criterion Books, 1960).Google Scholar

Fiedler, Leslie A., Love and Death in the American Novel, revised edition (Champaign, IL: Dalkey Archive Press, 1996).Google Scholar

Fink, Marty, ‘AIDS Vampires: Reimagining Illness in Octavia Butler’s “Fledgling”’, Science Fiction Studies 37: 3 (November 2010): 416–32.Google Scholar

Fitzgerald, Lauren, ‘Female Gothic and the Institutionalization of Gothic Studies’, in Wallace, Diana and Smith, Andrew (eds), The Female Gothic: New Directions (Basingstoke: Palgrave Macmillan, 2009), pp. 13–25.Google Scholar

Flusser, Vilém, The Shape of Things: A Philosophy of Design, trans. by Anthony Matthews (London: Reaktion Books, 2012).Google Scholar

Forster, E. M., Aspects of the Novel, edited by Stallybrass, O (Harmondsworth: Penguin, 2005).Google Scholar

Forster, E. M., A Passage to India, edited by Mishra, Pankaj (Harmondsworth: Penguin 2005).Google Scholar

Fortier, Anne-Marie, Multicultural Horizons: Diversity and the Limits of the Civil Nation (London: Routledge, 2008).Google Scholar

Foster, Paul, ‘Kingdom of Shadows: Fin-de-siècle Gothic and Early Cinema’, in Botting, Fred and Spooner, Catherine (eds), Monstrous Media / Spectral Subjects: Imaging Gothic from the Nineteenth Century to the Present (Manchester: Manchester University Press, 2015), pp. 29–41.Google Scholar

Foucault, Michel, ‘Of Other Spaces’, trans. by Jay Miskowiec, Diacritics 16 (1986): 22–7.Google Scholar

Fowler, Alastair, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Oxford: Oxford University Press, 1982).Google Scholar

Franklin, H. Bruce, The Vietnam War and Other American Fantasies (Amherst, MA: University of Massachusetts Press, 2000).Google Scholar

Frayling, Christopher, ‘Foreword’, in Bell, James (ed.), Gothic: The Dark Heart of Film (London: BFI, 2013), pp. 5–7.Google Scholar

Frayling, Christopher, Frankenstein: The First Two Hundred Years (London: Reel Art Press, 2017).Google Scholar

Freud, Sigmund, ‘The “Uncanny”’, in Sigmund Freud, Art and Literature, Penguin Freud Library, Vol. 14, edited by Dickson, Albert, trans. by James Strachey (Harmondsworth: Penguin, 1990), pp. 335–76.Google Scholar

Freud, Sigmund, The Penguin Freud library, edited by Richards, Angela and Dickson, Albert, trans. by James Strachey, 14 vols (London: Penguin Books Ltd, 1984).Google Scholar

Fried, Michael, Why Photography Matters as Never Before (New Haven, CT: Yale University Press, 2008).Google Scholar

Friedan, Betty, The Feminine Mystique, intro. by Lionel Shriver (Harmondsworth: Penguin, 2010).Google Scholar

Fukuyama, Francis, The End of History and the Last Man (London: Penguin, 1992).Google Scholar

Fyhr, Mattias, Svensk skräcklitteratur 1: Bårtäcken över jordens likrum (Lund: Ellerström, 2017).Google Scholar

Gaard, Greta, ‘Living Interconnections with Animals and Nature’, in Gaard, Greta (ed.), Ecofeminism: Women, Animals, Nature (Philadelphia, PA: Temple University Press, 1993), pp. 1–12.Google Scholar

Gamer, Michael, Romanticism and the Gothic: Genre, Reception, and Canon Formation (Cambridge: Cambridge University Press, 2000).Google Scholar

Garner, Bianca, ‘Sink Your Teeth Into This: Revisiting The Hunger (1983)’, Filmotomy: Dissecting Film from the Grit to the Stars, 1 June 2018 <https://filmotomy.com/hunger-review-1983/> (last accessed 10 September 2020).+(last+accessed+10+September+2020).>Google Scholar

Gaskell, Jane, The Shiny Narrow Grin (London: Hodder and Stoughton, 1964).Google Scholar

Gaudier-Brzeska, Henri, ‘Vortex Gaudier-Brzeska’, in Carter, Mia and Friedman, Alan (eds), Modernism and Literature: An Introduction and Reader (Abingdon: Routledge, 2013), pp. 270–1.Google Scholar

Gelder, Ken, Reading the Vampire (London: Routledge, 1994).Google Scholar

Genovese, Eugene, The Southern Tradition: The Achievements and Limitations of an American Conservatism (Cambridge, MA: Harvard University Press, 1994).Google Scholar

Germaine Buckley, Chloé, Twenty-First- Century Children’s Gothic: From the Wanderer to the Nomadic Subject (Edinburgh: Edinburgh University Press, 2018).Google Scholar

Ghosh, Amitav, The Great Derangement: Climate Change and the Unthinkable (Chicago: University of Chicago Press, 2016).CrossRefGoogle Scholar

Gibbard Cook, Sarah, ‘Feminists Differ in Second and Third Waves’, Women in Higher Education Banner, 9 May 2014. Wiley Online Library <https://doi.org/10.1002/whe.10222> (last accessed 4 September 2018).+(last+accessed+4+September+2018).>Google Scholar

Gibbons, Luke, Joyce’s Ghosts: Ireland, Modernism and Memory (Chicago: Chicago University Press, 2016).Google Scholar

Gibson, Andrew, Towards a Postmodern Theory of Narrative (Edinburgh: Edinburgh University Press, 1996).Google Scholar

Gilbert, Sandra M. and Gubar, Susan, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1984).Google Scholar

Gittings, Christopher, ‘“Zero Patience”: Genre, Difference, and Ideology: Singing and Dancing Queer Nation’, Cinema Journal 41.1 (Autumn 2001): 28–39.Google Scholar

Glasgow, Ellen, ‘Heroes and Monsters’, in Raper, Julian Rowan (ed.), Ellen Glasgow’s Reasonable Doubts: A Collection of Her Writings (Baton Rouge: Louisiana State University Press, 1988), pp. 162–7.Google Scholar

Glover, David, ‘The “Spectrality” Effect in Early Modernism’, in Smith, Andrew and Wallace, Jeff (eds), Gothic Modernisms (Basingstoke: Palgrave Macmillan, 2001), pp. 29–42.Google Scholar

Go, Julian, Patterns of Empire: The British and American Empires, 1688 to the Present (Cambridge: Cambridge University Press, 2011).Google Scholar

Goddu, Teresa A., Gothic America: Narrative, History, and Nation (New York: Columbia University Press, 1997).Google Scholar

Göle, Nilüfer, The Forbidden Modern: Civilisation and Veiling (Ann Arbor, MI: University of Michigan Press, 1996).Google Scholar

Gomery, Douglas, ‘The Economics of the Horror Film’, in Weaver, James B. III and Tamborini, Ron (eds), Horror Films: Current Research on Audience Preferences and Reactions (New York: Routledge, 1996), pp. 49–62.Google Scholar

Gordon, Avery F., Ghostly Matters: Haunting and the Sociological Imagination, 2nd edition (Minneapolis: University of Minnesota Press, 2008).Google Scholar

Gorky, Maxim, ‘Last Night I was in the Kingdom of Shadows’, reprinted in Harding, Colin and Popple, Simon (eds), In the Kingdom of Shadows: A Companion to Early Cinema (London: Cygnus Arts, 1996), pp. 5–6.Google Scholar

Goyen, William, The House of Breath (Evanston, IL: Northwestern University Press, 1999).Google Scholar

Gray, Richard, ‘Inside the Dark House: William Faulkner, Absalom, Absalom! And the Southern Gothic’, in Street, Susan Castillo and Crow, Charles L. (eds), The Palgrave Handbook to the Southern Gothic (Basingstoke: Palgrave Macmillan, 2016), pp. 21–40.CrossRefGoogle Scholar

Grieveson, Lee and Krämer, Peter, ‘Feature Films and Cinema Programmes’, in Grieveson, Lee and Krämer, Peter (eds), The Silent Cinema Reader (London and New York: Routledge, 2004), pp. 187–95.Google Scholar

Grumberg, Karen, Hebrew Gothic: History and the Poetics of Persecution (Indiana: Indiana University Press, 2019).Google Scholar

Grunenberg, Christoph, ‘Unsolved Mysteries: Gothic Tales from Frankenstein to the Hair-Eating Doll’, in Grunenberg, Christoph (ed.), Gothic: Transmutations of Horror in Late Twentieth Century Art (Cambridge, MA: MIT Press, 1997), pp. 213–158.Google Scholar

Guiley, Rosemary Ellen, The Encyclopaedia of Demons and Demonology (New York: Facts On File, Inc., 2009).Google Scholar

Gunkel, David J., Of Remixology: Ethics and Aesthetics after Remix (Cambridge, MA: MIT Press, 2016).Google Scholar

Gunning, Tom, ‘The Cinema of Attractions: Early Cinema, its Spectator and the Avant-Garde’, Wide Angle 8: 3/4 (1986): 63–70.Google Scholar

Gunning, Tom, ‘Weaving a Narrative: Style and Economic Background in Griffith’s Early Films’, in Elsaesser, Thomas (ed.), Early Cinema: Space, Frame, Narrative (London: BFI, 1990), pp. 336–47.Google Scholar

Gunning, Tom, ‘Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography’s Uncanny’, in Leeder, Murray (ed.), Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (New York, London, New Delhi, and Sydney: Bloomsbury, 2015), pp. 17–38.Google Scholar

Haefele-Thomas, Ardel, Introduction to Transgender Studies (New York: Harrington Park Press, 2019).Google Scholar

Hale, Nathan G. Jr, The Rise and Crisis of Psychoanalysis in the United States: Freud and the Americans 1917–1985 (New York: Oxford University Press, 1995).Google Scholar

Han, Byung-Chul, The Transparency Society, trans. by Erik Butler (Stanford: Stanford University Press, 2015).Google Scholar

Hanks, Michele, Haunted Heritage: The Cultural Politics of Ghost Tourism, Populism, and the Past (London: Routledge, 2015).Google Scholar

Harrison, M. John, ‘The Course of the Heart’, in John Harrison, M., Anima (London: Gollancz, 2005), pp. 122–3.Google Scholar

Harrison, Sheri-Marie, ‘New Black Gothic’, LA Review of Books, 23 June 2018 <https://lareviewofbooks.org/article/new-black-gothic/#!> (last accessed 30 July 2018).+(last+accessed+30+July+2018).>Google Scholar

Hart, Michael and Negri, Antonio, Empire (Cambridge, MA: Harvard University Press, 2000).Google Scholar

Harvey, David, The New Imperialism (Oxford: Oxford University Press, 2003).Google Scholar

Hasford, Gustav, The Short-Timers (Toronto and New York: Bantam Books, 1979).Google Scholar

Hasford, Gustav, ‘Still Gagging on the Bitterness of Vietnam’, Los Angeles Times (30 April 1980).Google Scholar

Haugen, Torgeir (ed.), Litterære skygger. Norsk fantastisk litteratur (Oslo: Cappelen Akademisk Forlag).Google Scholar

The Haunting of Hill House. Created by Mike Flanagan. FlanaganFilm, Amblin Television, Paramount Television, Netflix. Distributed by Netflix. 2018. First aired on 12 October 2018.Google Scholar

Hayles, N. Katherine, Unthought: The Power of the Cognitive Nonconscious (Chicago: University of Chicago Press, 2017).Google Scholar

H. D., ‘From A Tribute to Freud’, in Carter, Mia and Friedman, Alan (eds), Modernism and Literature: An Introduction and Reader (Abingdon: Routledge, 2013), pp. 555–8.Google Scholar

Healey, Emma, Lesbian Sex Wars (London: Virago, 1996).Google Scholar

Hearn, Marcus, The Art of Hammer: Posters from the Archives of Hammer Films (London: Titan Books 2010).Google Scholar

Heffernan, Kevin, Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968 (Durham, NC: Duke University Press, 2004).Google Scholar

Heilmann, Ann, and Llewellyn, Mark, The Victorians in the Twenty-First Century, 1999–2009 (Basingstoke: Palgrave Macmillan, 2010).Google Scholar

Heise, Ursula K., Sense of Place and Sense of Planet: The Environmental Imagination of the Global (Oxford: Oxford University Press, 2008).Google Scholar

Heller-Nicholas, Alexandra, ‘The Only Word in the World is Mine: Remembering Michelle Remembers’, in Janisse, Keir-La and Corpue, Paul (eds), Satanic Panic: Pop-Cultural Paranoia in the 1980s (Goldalming: FAB Press, 2016), pp. 19–32.Google Scholar

Heller, Joseph, Catch 22 (New York: Dell, 1955).Google Scholar

Heller, Vivian, Joyce, Decadence, and Emancipation (Urbana, IL and Chicago: University of Illinois Press, 1995).Google Scholar

Hendrix, Grady, Paperbacks from Hell: The Twisted History of 70s and 80s Horror Fiction (Philadelphia, PA: Quirk Books, 2017).Google Scholar

Hervey, Benjamin, ‘Contemporary Horror Cinema’, in Spooner, Catherine and McEvoy, Emma (eds), The Routledge Companion to Gothic (London: Routledge, 2007), pp. 233–41.Google Scholar

Hewison, Robert, The Heritage Industry: Britain in a Climate of Decline (London: Methuen, 1987).Google Scholar

Higson, Andrew, English Heritage, English Cinema: Costume Drama Since 1980 (Oxford: Oxford University Press, 2003).Google Scholar

Hoad, Neville, ‘Miss HIV and Us: Beauty Queens Against the HIV/AIDS Pandemic’, CR: The New Centennial Review 10:1 (Spring 2010): 9–28.Google Scholar

Hodgson, William Hope, The House on the Borderland and Other Novels (London: Gollancz, 2002).Google Scholar

Hogle, Jerrold E., ‘The Ghost of the Counterfeit in the Genesis of the Gothic’, in Smith, Allan Lloyd and Sage, Victor (eds), Gothick Origins and Innovations (Amsterdam: Rodopi, 1994), pp. 23–33.Google Scholar

Hogle, Jerrold E., ‘Introduction: The Gothic in Western Culture’, in Hogle, Jerrold E (ed.) The Cambridge Companion to Gothic Fiction (Cambridge: Cambridge University Press, 2002) pp. 1–20.Google Scholar

Hogle, Jerrold E., ‘History, Trauma and the Gothic in Contemporary Western Fictions’, in Byron, Glennis and Townshend, Dale (eds), The Gothic World (Abingdon and New York: Routledge, 2014), pp. 72–81.Google Scholar

Höglund, Johan, Imperial Gothic: Popular Culture, Empire, Violence (New York: Routledge, 2014).Google Scholar

Höglund, Johan, ‘Gothic Haunting Empire’, in Troy, Maria Holmgren and Wennö, Elisabeth (eds), Memory, Haunting, Discourse (Karlstad: Karlstad University Press, 2005), pp. 243–54.Google Scholar

Höglund, Johan, ‘Parables for the Paranoid: Affect and the War Gothic’ Continuum: Journal of Media and Cultural Studies 27:3 (2013): 397–407.Google Scholar

Höglund, Johan, ‘Revenge of the Trolls: Norwegian (Post) Colonial Gothic’, Edda 2 (2017), 115–29.Google Scholar

Holden, Philip, ‘The “Postcolonial Gothic”: Absent Histories, Present Contexts’, Textual Practice 23:3 (2009): 353–72.Google Scholar

Holdsworth, Amy, Television, Memory and Nostalgia (London: Palgrave Macmillan, 2011).Google Scholar

Holt, Victoria, Mistress of Mellyn (London: Harper, 2006).Google Scholar

Horner, Avril, ‘“A Detour of Filthiness”: French Fiction and Djuna Barnes’s Nightwood’, in Horner, Avril (ed.), European Gothic: A Spirited Exchange, 1760–1960 (Manchester: Manchester University Press, 2002), pp. 230–51.Google Scholar

Horner, Avril and Zlosnik, Sue, ‘Strolling in the Dark: Gothic Flânerie in Djuna Barnes’s Nightwood’, in Smith, Andrew and Wallace, Jeff (eds), Gothic Modernisms (Basingstoke: Palgrave, 2001), pp. 78–94.Google Scholar

Hoskins, W. G., The Making of the English Landscape, new edition (Harmondsworth, Penguin, 1985).Google Scholar

Howlid Wærp, H., ‘Utover enhver grense – Gotiske trek I Ragnhild Jølsens romancer’, in Haugen, Torgeir (ed.), Litterære skygger. Norsk fantastisk litteratur (Oslo: Cappelen Akademisk Forlag, 1998), pp. 101–21.Google Scholar

Hoy, Meredith, From Point to Pixel: A Genealogy of Digital Aesthetics (Hanover, NH: Dartmouth College Press, 2017).Google Scholar

Hubner, Laura, Fairytale and Gothic Horror: Uncanny Transformations in Film (London: Palgrave Macmillan, 2018).Google Scholar

Hutchings, Peter, The Horror Film (London: Longman, 2004).Google Scholar

Hutchings, Peter, ‘Monster Legacies: Memory, Technology and Horror History’, in Geraghty, Lincoln and Jancovich, Mark (eds), The Shifting Definitions of Genre: Essays on Labeling Films, Television Shows and Media (Jefferson, IN: McFarland, 2007), pp. 216–28.Google Scholar

Hutchings, Peter, ‘Tearing your Soul Apart: Horror’s New Monsters’, in Sage, Victor and Smith, Allan Lloyd (eds), Modern Gothic: A Reader (Manchester: Manchester University Press, 1996), pp. 89–103.Google Scholar

Hyman, Gavin, A Short History of Atheism (London: I. B. Tauris, 2010).Google Scholar

Hynes, Samuel, The Soldier’s Tale: Bearing Witness to a Modern War (New York: Penguin Books, 1997).Google Scholar

I’ll Take My Stand: The South and the Agrarian Tradition, by Twelve Southerners (New York: Harper & Row, 1962).Google Scholar

Incense for the Damned. Dir. Robert Hartford-Davis. Lucinda Films/Titan International Productions, Titan Films Distribution Ltd. 1970.Google Scholar

Inglis, David and Holmes, Mary, ‘Highland and Other Haunts – Ghosts in Scottish Tourism’, Annals of Tourism Research 30:1 (2003): 50–63.Google Scholar

Iversen, Gunnar, ‘Between Art and Genre: New Nordic Horror Cinema’, in Hjort, Mette and Lindqvist, Ursula (eds), A Companion to Nordic Cinema (Oxford: Wiley-Blackwell, 2016) pp. 332−49.Google Scholar

Jackson, Shirley, The Bird’s Nest (London: Michael Joseph, 1955).Google Scholar

Jackson, Shirley, We Have Always Lived in the Castle (New York: Viking, 1962).Google Scholar

Jackson, Shirley, The Haunting of Hill House, in Oates, Joyce Carol (ed.), Shirley Jackson: Novels and Stories (New York: Library of America, 2010), pp. 241–417.Google Scholar

Jacobs, Jason, The Intimate Screen: Early British Television Drama (Oxford: Oxford University Press, 2000).Google Scholar

James, M. R., The Complete Ghost Stories of M. R. James (London: Penguin, 1984).Google Scholar

Jameson, Fredric, ‘Periodizing the 60s’, Social Text 9:10 (1984): 178–209.Google Scholar

Jameson, Fredric, Postmodernism, or, The Cultural Logic of Late Capitalism (London: Verso, 1991).Google Scholar

Jancovich, Mark, ‘“Bluebeard’s Wives”: Horror, Quality and the Paranoid Woman’s Film in the 1940s’, Irish Journal of Gothic and Horror Studies 12 (2013) <https://irishgothichorror.files.wordpress.com/2018/03/bluebeards-wives.pdf> (last accessed 3 April 2019).+(last+accessed+3+April+2019).>Google Scholar

Jancovich, Mark, ‘Beyond Hammer: The First Run Market and the Prestige Horror Film in the early 1960s’, Palgrave Communications 3 (2017) <www.nature.com/articles/palcomms201728> (last accessed 3 April 2019).+(last+accessed+3+April+2019).>Google Scholar

Jancovich, Mark, ‘Shadows and Bogeymen: Horror, Stylization and the Critical Reception of Orson Welles During the 1940s’, Participations: A Journal of Audience and Reception Studies 6: 1 (May 2009): 25–51.Google Scholar

Jancovich, Mark, ‘“The English Master of Movie Melodrama”: Hitchcock, Horror and the Women’s Film’, Film International 9:3 (2011): 51–67.Google Scholar

Jancovich, Mark, ‘Ingrid Bergman’, in McCarthy, Elizabeth and Murphy, Bernice M. (eds), Lost Souls of Horror and the Gothic (Jefferson, NC: McFarland, 2016), pp. 34–7.Google Scholar

Jancovich, Mark, ‘“Where it Belongs”: Television Horror, Domesticity, and Alfred Hitchcock Presents’, in Jackson, Kimberly and Belau, Linda (eds), Horror in the Age of Consumption (New York: Routledge, 2017), pp. 29–44.Google Scholar

Jancovich, Mark, Horror: The Film Reader (London: Routledge, 2002).Google Scholar

Jenkins, Henry, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006).Google Scholar

Johansen, Emily, ‘The Neoliberal Gothic: Gone Girl, Broken Harbor, and the Terror of Everyday Life’, Contemporary Literature 57:1 (Spring 2016): 30–55.Google Scholar

Johnson, Chambers, The Sorrows of Empire: Militarism, Secrecy, and the End of the Republic (New York: Metropolitan Books, 2004).Google Scholar

Johnsson, Henrik, Strindberg och skräcken. Skräckmotiv och identitetstematik i August Strindbergs författarskap (Umeå: Bokförlaget H: ström, 2008).Google Scholar

Jolley, Elizabeth, The Well (London: Penguin Books, 1986).Google Scholar

Jones, David J., Gothic Machine: Textualities, Pre-cinematic Media and Film in Popular Visual Culture, 1670–1910 (Cardiff: University of Wales Press, 2011).Google Scholar

Jones, James, The Thin Red Line (New York: Dell, 1962).Google Scholar

Jowett, Lorna and Abbott, Stacey, TV Horror: Investigating the Dark Side of the Small Screen (London: I. B. Tauris, 2013).Google Scholar

Joyce, James, Dubliners, edited by Brown, Terence (Harmondsworth: Penguin, 2000).Google Scholar

Kamal Jha, Raj, Fireproof (London: Picador, 2007).Google Scholar

Kaplan, Amy and Pease, Donald E. (eds), Cultures of United States Imperialism (Durham, NC: Duke University Press, 1993).Google Scholar

Kastbjerg, Kirstine Marie, Reading the Surface: The Danish Gothic of B. S. Ingemann, H. C. Andersen, Karen Blixen and Beyond (Unpublished PhD thesis; University of Washington, 2013).Google Scholar

Kavka, Misha, ‘The Gothic on Screen’, in Hogle, Jerrold E. (ed.), The Cambridge Companion to Gothic Fiction (Cambridge: Cambridge University Press, 2001), pp. 209–28.Google Scholar

Keetley, Dawn, ‘Introduction: Six Theses on Plant Horror; or, Why Are Plants Horrifying?’, in Keetley, Dawn and Tenga, Angela (eds), Plant Horror: Approaches to the Monstrous Vegetal in Fiction and Film (Basingstoke: Palgrave Macmillan, 2016).Google Scholar

Keetley, Dawn and Sivils, Matthew Wynn (eds), Ecogothic in Nineteenth-Century American Literature (New York: Routledge, 2018).Google Scholar

Kermode, Frank, The Sense of an Ending: Studies in the Theory of Fiction (New York: Oxford University Press, 1967).Google Scholar

Kilgour, Maggie, ‘Dr Frankenstein Meets Dr Freud’, in Martin, Robert K. and Savoy, Eric (eds), American Gothic: New Interventions in a National Narrative (Iowa City: University of Iowa Press, 1998), pp. 40–54.Google Scholar

King, Richard A., A Southern Renaissance: The Cultural Awakening of the American South, 1930–1955 (New York: Oxford University Press, 1980).Google Scholar

King, Stephen, Danse Macabre (London: Warner, 1991).Google Scholar

King, Stephen, It (London: Hodder & Stoughton, 2011).Google Scholar

King, , The Stand (London: Hodder & Stoughton, 2011).Google Scholar

Kivisto, Peter, ‘We Really Are All Multiculturalists Now’, The Sociological Quarterly 53 (2012): 1–24.Google Scholar

Klein, Naomi, No Is Not Enough: Resisting Trump’s Shock Politics and Winning the World We Need (London: Penguin, 2018).Google Scholar

Knock Knock 2. Dir. Chris Sheng. Red Baron Films, Indican Pictures. 2011. Lionsgate Home Entertainment, 2012. DVD.Google Scholar

Kortenaar, Neil, ‘Multiculturalism and Globalization’, in Howells, Coral Ann and Kröller, Eva-Marie (eds), The Cambridge Companion to Canadian Literature (Cambridge: Cambridge University Press, 2004), pp. 556–80.Google Scholar

Kracauer, Siegfried, ‘Hollywood’s Terror Films: Do They Reflect an American State of Mind?’, New German Critique 89 (2003): 105–11.Google Scholar

Kymlicka, Will, Multicultural Odysseys: Navigating the New International Politics of Diversity (Oxford: Oxford University Press, 2009).Google Scholar

Lammers, Tim, ‘Interview: Ransom Riggs thrilled to enter “Peculiar” world of Tim Burton’, DirectConversations.com, 2 September 2016 <https://directconversations.com/2016/09/02/interview-ransom-riggs-thrilled-enter-peculiar-world-tim-burton/> (last accessed 27 April 2019).+(last+accessed+27+April+2019).>Google Scholar

Land of the Dead. Dir. George A. Romero. Universal Pictures. 2005.Google Scholar

Laskawy, Michael and Haynes, Todd, ‘Poison at the Box Office: AN INTERVIEW WITH TODD HAYNES, Cinéast 18:3 (1991): 38–9.Google Scholar

Latham, Rob, Consuming Youth: Vampires, Cyborgs, and the Culture of Consumption (Chicago and London: University of Chicago Press, 2002).Google Scholar

Latour, Bruno, Down to Earth: Politics in the New Climatic Regime, trans. By Catherine Porter (London: Polity Press, 2018).Google Scholar

Lawrence, D. H., Women in Love, edited by Farmer, David, Vasey, Lindeth and Worthen, John (Cambridge: Cambridge University Press, 1987).Google Scholar

Ledwon, Lenora, ‘Twin Peaks and the Television Gothic’, Literature/Film Quarterly 21:4 (1993): 260–70.Google Scholar

Lee, Hyangjin, ‘Family, Death and the Wonhon in Four Films of the 1960s’, in Peirse, Alison and Martin, Daniel (eds), Korean Horror Cinema (Edinburgh: Edinburgh University Press, 2013), pp. 23–34.Google Scholar

Leeder, Murray, ‘Introduction’, in Leeder, Murray (ed.), Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (New York, London, New Delhi and Sydney: Bloomsbury, 2015), pp. 1–14.Google Scholar

Leeder, Murray, Horror Film: A Critical Introduction (New York: Bloomsbury, 2018).Google Scholar

Leffler, Yvonne, ‘Vampyrmotivet och erotiken’, in Svensson, Birgitta and Sjöberg, Birthe (eds), Kulturhjälten. Viktor Rydbergs humanism (Stockholm: Atlantis, 2009), pp. 155–68.Google Scholar

Leffler, Yvonne, I skräckens lustgård: Skräckromantik i svenska 1800–talsromaner (Gothenburg: Skrifter utgivna av litteraturvetenskapliga institutionen vid Göteborgs universitet, 1991).Google Scholar

Leffler, Yvonne, Horror as Pleasure: The Aesthetics of Horror Fiction (Stockholm: Almqvist & Wiksell International, 2000).Google Scholar

The Legend of the Witches. Dir. Malcolm LeighBorder Film Productions/Negus Fancey, Border Film Productions. 1970.Google Scholar

LeMenager, Stephanie, Living Oil: Petroleum Culture in the American Century (Oxford: Oxford University Press, 2016).Google Scholar

Lenoir, Tim and Caldwell, Luke, The Military-Entertainment Complex (Cambridge, MA: Harvard University Press, 2018).Google Scholar

Lentin, Alana and Titley, Gavan, The Crises of Multiculturalism: Racism in a Neoliberal Age (London: Zed Books, 2011).Google Scholar

Lessig, Lawrence, Remix: Marking Art and Commerce Thrive in the Hybrid Economy (London: Penguin, 2008).Google Scholar

Leung, Wing-Fai, ‘From A Tale of Two Sisters to the Uninvited: A Tale of Two Texts’, in Peirse, Alison and Martin, Daniel (eds), Korean Horror Cinema (Edinburgh: Edinburgh University Press, 2013), pp. 173–86.Google Scholar

Lévi, Éliphas, The History of Magic, trans. by A. E. Waite (London: Rider & Company, 1913).Google Scholar

Lévy, Maurice, ‘FAQ: What is Gothic?’, Anglophonia 15 (2004): 23–37.Google Scholar

Levinas, Emmanuel, Alterity and Transcendence, trans. by M. B. Smith (New York: Columbia University Press, 1999).Google Scholar

Lewis, Wyndham, ‘Vortices and Notes: Futurism, Magic and Life’, BLAST 1 (1914): 132–5.Google Scholar

Lewis, Wyndham, Tarr, edited by Klein, Scott W. (Oxford: Oxford University Press, 2010).Google Scholar

Liénard-Yeterian, Marie and Monnet, Agnieszka Soltysik, ‘The Gothic in an Age of Terror(ism)’, Gothic Studies 17:2 (November 2015): 1–9.Google Scholar

Ligotti, Thomas, Teatro Grottesco (London: Virgin, 2008).Google Scholar

Lively, Penelope, The Whispering Knights (London: Pan Books, 1973).Google Scholar

Lloyd, Christopher, ‘Southern Gothic’, in Faflak, Joel and Haslam, Jason (eds), American Gothic Culture: An Edinburgh Companion (Edinburgh: Edinburgh University Press, 2016), pp. 79–91.Google Scholar

Lloyd Smith, Allan, ‘Postmodernism/Gothicism’, in Sage, Victor and Smith, Allan Lloyd (eds), Modern Gothic: A Reader (Manchester: Manchester University Press, 1995), pp. 6–19.Google Scholar

Lloyd Smith, Allan, American Gothic Fiction: An Introduction (London: Continuum, 2005).Google Scholar

Löfflmann, Georg, ‘Hollywood, the Pentagon, and the Cinematic Production of National Security’, Critical Studies on Security 1:3 (2013): 280–94.Google Scholar

Logan, Bey, Hong Kong Action Cinema (Woodstock: Overlook Press, 1996).Google Scholar

Loomba, Ania, Kaul, Savir, Bunzl, Matti, Burton, Antoinette and Esty, Jed, ‘Beyond What? An Introduction’, in Loomba, Ania, Kaul, Savir, Bunzl, Matti, Burton, Antoinette and Esty, Jed (eds), Postcolonial Studies and Beyond (Durham, NC: Duke University Press, 2005), pp. 1–38.Google Scholar

Lorde, Audre, ‘The Transformation of Silence into Language and Action’, in Lorde, Audre, Sister Outsider (Freedom: The Crossing Press, 1984), pp. 40–4.Google Scholar

Lovecraft, H. P., The Case of Charles Dexter Ward (London: Victor Gollancz, 1951).Google Scholar

Lovecraft, H. P., The Call of Cthulhu and Other Weird Stories, edited by Joshi, S. T. (London: Penguin, 1999).Google Scholar

Lowenthal, David, The Past Is a Foreign Country (Cambridge: Cambridge University Press, 1985).Google Scholar

Lowenthal, David, The Heritage Crusade and the Spoils of History (Cambridge: Cambridge University Press, 1997).Google Scholar

Löwy, Michael, ‘The Current of Critical Irrealism: “A moonlit enchanted night”’, in Beaumont, Matthew (ed.), Adventures in Realism (Oxford: Blackwell, 2007), pp. 193–206.Google Scholar

Luckhurst, Roger, ‘The Contemporary London Gothic and the Limits of the Spectral Turn’, Textual Practice 16.3 (2010): 527–46.Google Scholar

Luckhurst, Roger, ‘Gothic Colonies, 1850–1920’, in Byron, Glennis and Townshend, Dale (eds), The Gothic World (Abingdon and New York: Routledge, 2014), pp. 62–71.Google Scholar

Luo, Liang, ‘The White Snake in Hong Kong Horror Cinema: From Horrific Tales to Crowd Pleasers’, in Bettinson, Gary and Martin, Daniel (eds), Hong Kong Horror Cinema (Edinburgh: Edinburgh University Press, 2018), pp. 34–51.Google Scholar

MacCabe, Colin, Performance (London: BFI/Bloomsbury, 2020).Google Scholar

Maguire, Ryan, ‘The Ghost in the MP3’, Proceedings: International Computer Music Association (ICMC) and Sound and Music Computing (SMC), Athens, Greece, 14–20 September 2014, pp. 243–7 (p. 244) <http://ryanmaguiremusic.com/media_files/pdf/TheGhostICMC.pdf> (last accessed 26 August 2018).+(last+accessed+26+August+2018).>Google Scholar

Malchow, H. L., Gothic Images of Race in Nineteenth-Century Britain (Stanford: Stanford University Press, 1996).Google Scholar

Malin, Irving, New American Gothic (Carbondale, IL: Southern Illinois University Press, 1962).Google Scholar

Mandal, Anthony, ‘Gothic 2.0: Remixing Revenants in the Transmedia Age’, in Piatti-Farnell, Lorna and Brien, Donna Lee (eds) New Directions in 21st-Century Gothic: The Gothic Compass (London: Routledge, 2015), pp. 84–100.Google Scholar

Mannoni, Laurent, The Great Art of Light and Shadow: Archaeology of the Cinema (Exeter: Exeter University Press, 2000).Google Scholar

Manon, Hugh S. and Temkin, Daniel, ‘Notes on Glitch’, World Picture 6 (2011) <www.worldpicturejournal.com/WP_6/Manon.html> (last accessed 19 August 2018).Google Scholar

Marasco, Robert, Burnt Offerings (New York: Delacorte Press, 1973).Google Scholar

March, William, The Bad Seed (New York: HarperCollins, 1997).Google Scholar

Martin, Daniel, ‘Between the Local and the Global: “Asian Horror” in Ahn Byung- ki’s Phone and Bunshinsaba’, in Peirse, Alison and Martin, Daniel (eds), Korean Horror Cinema (Edinburgh: Edinburgh University Press, 2013), pp. 145–57.Google Scholar

Martin, Daniel, Extreme Asia: The Rise of Cult Cinema from the Far East (Edinburgh: Edinburgh University Press, 2015).Google Scholar

Martin, Daniel, ‘Japan’s Blair Witch: Restraint, Maturity, and Generic Canons in the British Critical Reception of Ring’, Cinema Journal 48: 3 (May 2009): 35–51.Google Scholar

Martin, Daniel, ‘South Korean Horror Cinema’, in Benshoff, Harry M. (ed.), A Companion to the Horror Film (Chichester: Wiley-Blackwell, 2014), pp. 424–5.Google Scholar

Martin, Sara, ‘Gothic Scholars Don’t Wear Black: Gothic Studies and Gothic Subcultures’, Gothic Studies 4.1 (2002): 28–43.Google Scholar

Marx, Karl, Capital: A Critique of Political Economy, Volume 1, trans. by Ben Fowkes (Harmondsworth: Penguin, 1976).Google Scholar

Matheson, Richard, I Am Legend (London: Gollancz, 2001).Google Scholar

Mathewes, Charles T., Evil and the Augustinian Tradition (Cambridge: Cambridge University Press, 2001).Google Scholar

McCarthy, Anna, ‘Visual pleasure and GIFs’, in Hesselberth, Pepita and Poulaki, Maria (eds), Compact Cinematics: The Moving Image in the Age of Bit-Sized Media (New York: Bloomsbury, 2017).Google Scholar

McCullers, Carson, ‘The Flowering Dream: Notes on Writing’, in Carson McCullers: Stories, Plays and Other Writings (New York: Library of America, 2017), pp. 510–17.Google Scholar

McEvoy, Emma, Gothic Tourism (Basingstoke: Palgrave Macmillan, 2016).Google Scholar

McGrath, Patrick, ‘Transgression and Decay’, in Grunenberg, Christoph (ed.), Gothic: Transmutations of Horror in Late Twentieth Century Art (Cambridge, MA: MIT Press, 1997), pp. 159–60.Google Scholar

McGrath, Patrick and Morrow, Bradford, ‘Introduction’, in McGrath, Patrick and Morrow, Bradford (eds), The New Gothic (London: Picador, 1993), pp. xi–xiv.Google Scholar

McLuhan, Herbert Marshall, ‘The Southern Quality’, The Sewanee Review 55:3 (1947): 357–83.Google Scholar

McNally, David, Monsters of the Market: Zombies, Vampires and Global Capitalism (Chicago, IL: Haymarket Books, 2012).Google Scholar

McNeillie, Andrew (ed.), Collected Essays of Virginia Woolf, 6 vols (New York: Harcourt, 1988).Google Scholar

McRoy, Jay, Nightmare Japan: Contemporary Japanese Horror Cinema (Amsterdam and New York: Rodopi, 2008).Google Scholar

Mehl, Dieter and Jansohn, Christa, ‘General Editors’ Preface’, in Lawrence, D. H., The Woman Who Rode Away and Other Stories, edited by Mehl, Dieter and Jansohn, Christa (Cambridge: Cambridge University Press, 2001), pp. xxi–xxii.Google Scholar

Mellor, Mary, Feminism and Ecology (New York: New York University Press, 1997).Google Scholar

Mencken, H. L., ‘The Sahara of the Bozart’, in Cairn, Huntington (ed.), The American Scene: A Reader (New York: Knopf, 1977), pp. 157–68.Google Scholar

Menkman, Rosa, The Glitch Moment(um) (Amsterdam: Colophon, 2011).Google Scholar

Mernissi, Fatima, Beyond the Veil: Male-Female Dynamics in Muslim Society (London: Al Saqi Books, 1985).Google Scholar

Me Too Movement at <https://metoomvmt.org/> (last accessed 4 August 2020).+(last+accessed+4+August+2020).>Google Scholar

Michaud, Marilyn, Republicanism and the American Gothic (Cardiff: University of Wales Press, 2009).Google Scholar

Mighall, Robert, ‘Vampires and Victorians: Count Dracula and the Return of the Repressive Hypothesis’, in Day, Gary (ed.), Varieties of Victorianism: The Uses of a Past (London: Palgrave Macmillan, 1998), pp. 236–49.Google Scholar

Mignolo, Walter, The Darker Side of Western Modernity: Global Futures, Decolonial Options (Durham, NC: Duke University Press, 2011).Google Scholar

Miles, Robert, Gothic Writing, 1750–1820: A Genealogy, 2nd edition (Manchester: Manchester University Press, 2002).Google Scholar

Mills, Kevin, Approaching Apocalypse: Unveiling Revelation in Victorian Writing (Lewisburg, PA: Bucknell University Press, 2007).Google Scholar

Miltner, Kate M. and Highfield, Tim, ‘Never Gonna GIF You Up: Analyzing the Cultural Significance of the Animated GIF’, Social Media + Society 3:3 (2017): 1–11.Google Scholar

Mincheva, Dilyana, ‘Sense8 and the Praxis of Utopia’, Cinephile 12:1 (Spring 2018): 32–9.Google Scholar

Minford, John, ‘Introduction’, in Songling, Pu, Strange Tales from a Chinese Studio (London: Penguin, 2006), pp. xi–xxxi.Google Scholar

Modleski, Tanya, Loving with a Vengeance: Mass-Produced Fantasies for Women (New York: Routledge, 1990).Google Scholar

Moers, Ellen, Literary Women: The Great Writers (New York: Doubleday, 1976).Google Scholar

Moers, Ellen, Literary Women (London: The Women’s Press, 1978).Google Scholar

Morgan, Robin, ‘Introduction: The Women’s Revolution’, in Morgan, Robin (ed.), Sisterhood is Powerful: An Anthology of Writings from the Women’s Liberation Movement (New York: Random House, 1970), pp. xiii–xli.Google Scholar

Morrison, Toni, Beloved (London: Picador, 1987).Google Scholar

Morrison, Toni, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge, MA: Harvard University Press, 1992).Google Scholar

Morrot, Gil, Brochet, Frédéric and Dubourdieu, Denis, ‘The Color of Odors’, Brain and Language 79 (2001): 309–20.Google Scholar

Morton, Timothy, Hyperobjects: Philosophy and Ecology after the End of the World (Minneapolis: University of Minnesota Press, 2013).Google Scholar

Moss, Zoe, ‘It Hurts to Be Alive and Obsolete: The Ageing Woman’, in Morgan, Robin (ed.), Sisterhood is Powerful: An Anthology of Writings from the Women’s Liberation Movement (New York: Random House, 1970), pp. 170–5.Google Scholar

mother! Dir. Darren Aronofsky. Paramount Pictures, Protozoa Pictures, 20th Century Fox. 2017.Google Scholar

Mullan, Bob, R. D. Laing: Creative Destroyer (London: Cassell, 1997).Google Scholar

Mulvey, Laura, ‘Visual Pleasure and Narrative Cinema’, in Mulvey, Laura, Visual and Other Pleasures (Basingstoke: Macmillan, 1989), pp. 14–26.Google Scholar

Mulvey, Laura, ‘Afterthoughts on “Visual Pleasure and Narrative Cinema” Inspired by King Vidor’s Duel in the Sun (1946)’, in Visual and Other Pleasures (Basingstoke: Macmillan, 1989), pp. 29–38.Google Scholar

Mulvey, Laura, Death at 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006).Google Scholar

Mulvey-Roberts, Marie, Gothic Immortals: The Fiction of the Brotherhood of the Rosy Cross (Abingdon: Routledge, 1990).Google Scholar

Murphy, Bernice M., ‘Horror Fiction from the Decline of Universal Horror to the Rise of the Psycho Killer’, in Reyes, Xavier Aldana (ed.), Horror: A Literary History (London: British Library, 2016), pp. 131–57.Google Scholar

Murphy, Bernice M., The Rural Gothic in American Popular Culture: Backwoods Terror and Horror in the Wilderness (Basingstoke: Palgrave Macmillan, 2013).Google Scholar

Musser, Charles, Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company (Berkeley, CA: University of California Press, 1991).Google Scholar

Naremore, James, ‘A Season in Hell or the Snows of Yesteryear’, in Borde, Raymond and Chaumeton, Etienne (eds), A Panorama of American Film Noir (San Francisco: City Lights, 2002), pp. vii–xxi.Google Scholar

Navas, Eduardo, Remix: The Bond of Repetition and Representation (2009) <http://remixtheory.net/?p=361> (last accessed 16 November 2014).+(last+accessed+16+November+2014).>Google Scholar

Nead, Lynda, The Haunted Gallery: Painting, Photography, Film, c1900 (London: Yale University Press, 2007).Google Scholar

Nevins, Jess, Heroes and Monsters: The Unofficial Companion to The League of Extraordinary Gentlemen (Austin, TX: MonkeyBrain, 2003).Google Scholar

Newman, Michael Z., ‘GIFs: The Attainable Text’, Film Criticism 40:1 (2016), no pag.Google Scholar

Hock, Ng Soon, Andrew, ‘Adorno, Foucault, and Said: Toward a Multicultural Gothic Aesthetic’, Concentric: Literary and Cultural Studies 33 (2007): 177–98.Google Scholar

Nietzsche, Friedrich, The Gay Science, trans. by Thomas Common (New York: Barnes & Noble, 2008).Google Scholar

Ní Fhlainn, Sorcha, Postmodern Vampires: Film, Fiction, and Popular Culture (London: Palgrave Macmillan, 2019).Google Scholar

Night of the Living Dead. Dir. G. A. Romero. Image Ten, Continental Distributing. 1968. Dimension Extreme, 2008. DVD.Google Scholar

Nixon, Nicola, ‘When Hollywood Sucks, or, Hungry Girls, Lost Boys, and Vampirism in the Age of Reagan’, in Gordon, Joan and Hollinger, Veronica (eds), Blood Read: The Vampire as Metaphor in Contemporary Culture (Philadelphia: University of Pennsylvania Press, 1997), pp. 115–28.Google Scholar

Nixon, Rob, Slow Violence and the Environmentalism of the Poor (Cambridge, MA: Harvard University Press, 2011).Google Scholar

Nolan, Emer, James Joyce and Nationalism (London: Routledge, 1995).Google Scholar

Oakley, Ann, The Sociology of Housework (Oxford: Basil Blackwell, 1974).Google Scholar

O’Connor, Flannery, ‘Some aspects of the Grotesque in Southern Fiction’, in Sally, Robert Fitzgerald, (eds), Mystery and Manners (London: Faber and Faber, 1972), pp. 36–50.Google Scholar

O’Day, Marc, ‘“Mutability is having a field day: The Sixties Aura of Angela Carter’s Bristol Trilogy’, in Sage, Lorna (ed.), Flesh and the Mirror: Essays on the Art of Angela Carter (London: Virago, 1994), pp. 24–59.Google Scholar

O’Flynn, Paul, ‘Production and Reproduction in Frankenstein’, Literature and History 9:2 (1983): 194–213.Google Scholar

Olivier, Marc, ‘Glitch Gothic’, in Leeder, Murray (ed.), Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (London: Bloomsbury Academic, 2015), pp. 253–70.Google Scholar

Olson, Christopher J. and Reinhard, Carrie Lynn D., Possessed Women, Haunted States: Cultural Tensions in Exorcism Cinema (London: Lexington Books, 2017).Google Scholar

‘Our History 1884–1945’, The National Trust <www.nationaltrust.org.uk/lists/our-history-1884-1945> (last accessed 1 February 2019).+(last+accessed+1+February+2019).>Google Scholar

Özkaracalar, Kaya, ‘İslami korku filmlerinin ideolojik/siyasi topoğrafyası’[The Ideological/Political Topography of Islamic Horror Films], İleri Haber, 13 February 2016 <http://ilerihaber.org/yazar/islami-korku-filmlerinin-ideolojiksiyasi-topografyasi-50243.html> (last accessed 26 November 2020).+(last+accessed+26+November+2020).>Google Scholar

Paley, Morton D., Apocalypse and Millennium in English Romantic Poetry (Oxford: Clarendon Press, 1999).Google Scholar

Palmer, Paulina, ‘From “Coded Mannequin” to Bird Woman: Angela Carter’s Magic Flight’, in Roe, Sue (ed.), Women Reading Women’s Writing (Brighton: Harvester, 1987), pp. 179–201.Google Scholar

Paquet, Darcy, ‘Christmas in August and Korean Melodrama’, in Gateward, Frances (ed.), Seoul Searching: Culture and Identity in Contemporary Korean Cinema (Albany, NY: State University of New York Press, 2007), pp. 37–54.Google Scholar

Parikka, Jussi, What Is Media Archaeology? (Cambridge: Polity Press, 2012).Google Scholar

Parry, Benita, ‘Materiality and Mystification in A Passage to India’, Novel: A Forum on Fiction 31:2 (1998): 174–94.Google Scholar

Patterson, James, Grand Expectations: The United States, 1945–1974 (New York: Oxford University Press, 1996).Google Scholar

Pearson, Roberta E. and Uricchio, William, ‘How Many Times Shall Caesar Bleed in Sport?: Shakespeare and the Cultural Debate about Moving Pictures’, in Grieveson, Lee and Krämer, Peter (eds), The Silent Cinema Reader (London: Routledge, 2004), pp. 155–68.Google Scholar

Peirse, Alison, After Dracula: The 1930s Horror Film (London and New York: I. B. Tauris, 2013).Google Scholar

Pepys, Samuel, Eyewitness Accounts: London’s Great Plague (Gloucestershire: Amberly Press, 2014).Google Scholar

Performance. Dir. Donald Cammell and Nicholas Roeg. Goodtimes Enterprises, Warner Brothers. 1970.Google Scholar

Phillips, Kendall, A Place of Darkness: The Rhetoric of Horror in Early American Cinema (Austin, TX: University of Texas Press, 2018).Google Scholar

Pirie, David, A Heritage of Horror: The English Gothic Cinema, 1946–1972 (London: Avon, 1973).Google Scholar

Pirie, David, The Vampire Cinema (London: Quarto, 1977).Google Scholar

Pirie, David, A New Heritage of Horror: The English Gothic Cinema (London: I. B. Tauris, 2008).Google Scholar

Poe, Edgar Allan, ‘The Fall of the House of Usher’, in Mabbott, Thomas (ed.), The Collected Works of Edgar Allan Poe: Tales and Sketches 1831–1842 (Cambridge, MA: Belknap Press, 1978), pp. 392–421.Google Scholar

Poison. Dir. Tod Haynes. Bronze Eye Productions, Zeitgeist Films. 1991. Zeitgeist Films, 2011. DVD.Google Scholar

Potter, Rachel, Modernist Literature (Edinburgh: Edinburgh University Press, 2012).Google Scholar

Pound, Ezra, Gaudier-Brzeska: A Memoir (London: John Lane, 1916).Google Scholar

Power, Jennifer, Movement, Knowledge, Emotion: Gay Activism and HIV/AIDS in Australia (Canberra: Australian National University Press, 2011).Google Scholar

Praz, Mario, The Romantic Agony (London: Fontana Library, 1960).Google Scholar

Punter, David, ‘Hungry Ghosts and Foreign Bodies’, in Smith, Andrew and Wallace, Jeff (eds), Gothic Modernisms (Basingstoke: Palgrave, 2001), pp. 11–28.Google Scholar

Punter, , The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day, 2 vols (London: Longman, 1996).Google Scholar

Punter, David, The Literature of Terror, Volume One: The Gothic Tradition (London: Longman, 1996)Google Scholar

Punter, David, The Literature of Terror, Volume Two: The Modern Gothic (London: Longman, 1996).Google Scholar

Punter, David, Postcolonial Imaginings: Fictions of a New World Order (Edinburgh: Edinburgh University Press, 2000).Google Scholar

Punter, David, The Gothic Condition: Terror, History and the Psyche (Cardiff: University of Wales Press, 2016).Google Scholar

Quéma, Anne, ‘The Gothic and the Fantastic in the Age of Digital Reproduction’, English Studies in Canada 30:4 (2007): 81–119.Google Scholar

Raven, Simon, Doctors Wear Scarlet (Kelly Bray, Cornwall: House of Stratus, 2001).Google Scholar

Recker, Laurel, ‘Zombie Palimpsests: Translating US Occupation in White Zombie’, M/m vol. 3, cycle 3 (August 20, 2018) <https://modernismmodernity.org/forums/posts/zombie-palimpsests> (last accessed 23 June 2020).+(last+accessed+23+June+2020).>Google Scholar

Reed, Ishmael, Flight to Canada (New York: Random House, 1976).Google Scholar

Rhodes, Gary D., Tod Browning’s Dracula (Sheffield: Tomahawk Press, 2014).Google Scholar

Rhys, Jean, Wide Sargasso Sea, edited by Smith, Angela (London: Penguin Books, 2000).Google Scholar

Rich, B. Ruby, New Queer Cinema: The Director’s Cut (Durham, NC and London: Duke University Press, 2013).Google Scholar

Rice, Anne, Interview With the Vampire (London: Sphere, 2008).Google Scholar

Rieder, John, Colonialism and the Emergence of Science Fiction (Middletown, CA: Wesleyan University Press, 2008).Google Scholar

Rigby, Jonathan, English Gothic: A Century of Horror Cinema, 2nd edition (London: Reynolds and Hearn Ltd, 2002).Google Scholar

Rigby, Jonathan, American Gothic: Sixty Years of Horror Cinema (London: Reynolds and Hearn Ltd, 2007).Google Scholar

Riggs, Ransom, Miss Peregrine’s Home for Peculiar Children (Philadelphia: Quirk Books, 2011).Google Scholar

Riggs, Ransom, Talking Pictures: Images and Messages Rescued from the Past (New York: IT Books, 2012).Google Scholar

Riquelme, John Paul, ‘Modernist Gothic’, in Hogle, Jerrold E. (ed.) The Cambridge Companion to the Modern Gothic (Cambridge, Cambridge University Press, 2014), pp. 20–35.Google Scholar

Robb, David L., Operation Hollywood: How the Pentagon Shapes and Censors the Movies (New York: Prometheus Books, 2004).Google Scholar

Roberts, Les, ‘Mortality after the 2003 Invasion of Iraq: A Cross-Sectional Cluster Sample Survey’, The Lancet 368 (12 October 2006): 1421–8.Google Scholar

Robins, Anna Gruetzner, ‘“Manet and the Post-Impressionists”: A Checklist of Exhibits’, The Burlington Magazine 152 (December 2010), 782–93.Google Scholar

The Rocky Horror Picture Show. Dir. Jim Sharman. Michael White Productions, 20th Century Fox. 1975.Google Scholar

Roy, Arundhati, Listening to Grasshoppers: Field Notes on Democracy (London: Hamish Hamilton, 2009).Google Scholar

Rubin, Louis D. Jnr, The Faraway Country: Writers of the Modern South (Seattle: University of Washington Press, 1963).Google Scholar

Rudd, Alison, Postcolonial Gothic Fictions from the Caribbean, Canada, Australia, and New Zealand (Cardiff: University of Wales Press, 2010).Google Scholar

Rudkin, David, Penda’s Fen (London: Davis Poynter Ltd, 1975).Google Scholar

Rudkin, David, Vampyr (London: BFI Publishing, 2005).Google Scholar

Rudolph, Lloyd I. and Rudolph, Susanne Hoeber, ‘Living with Multiculturalism: Universalism and Particularism in an Indian Historical Context’, in Shweder, Richard A., Minow, Martha and Markus, Hazel Rose (eds), Engaging Cultural Differences: The Multicultural Challenge in Liberal Democracies (New York: Russell Sage Foundation, 2002), pp. 43–62.Google Scholar