Gothic Film Criticism

General Studies


ACKERMAN, Forrest J. The Frankenscience Monster. New York: Ace Books, 1969. [GGI: 2449].
ADAMS, Ann Marie. "What's in a Frame?: The Authorizing Presence in James Whale's Bride of Frankenstein. The Journal of Popular Culture 42.3 (403-418).
ALBERTAZZI, Silvia. “Letteratura e cinema: David Cronenberg dagli incubi del gotico inglese ai disagi dell’eta postcoloniale.” Problemi: Periodico Quadrimestrale di Cultura 103 (1995): 234-41. [Literature and Cinema: David Cronenberg from the Incubi of the English Gothic to his Postcolonial Discomforts].
ALEXANDER, Bryan. “The Blair Witch Project: Expulsion from Adulthood and Versions of American Gothic." Nothing That Is: Millennial Cinema and the Blair Witch Controversies. Eds. Sarah L. Higley, Jeffrey Andrew Weinstock. Detroit: Wayne State University Press, 2004. 145-61.
AMIS, Kingsley. “Dracula, Frankenstein, Sons and Co.” What Became of Jane Austen? And Other Questions. New York: Harcourt, Brace, Jovanich, 1970. [GGI: 2450].
AYLESWORTH, Thomas G. Monsters from the Movies. Philadelphia, PA: Lippincott, 1972. [GGI: 2451] .
BADDELEY, Gavin. Gothic, la Culture des Ténèbres. Paris: Denoël, 2004.
BECK, Calvin. Heroes of the Horrors. New York: Collier, 1975. [GGI: 2452].
BERENSTEIN, Rhona J. Attack of the Leading Ladies: Gender Sexuality and Spectatorship in Classic Horror Cinema. New York: Columbia University Press, 1996.
BIGNELL, Jonathan. “A Taste of the Gothic: Film and Television Versions of Dracula.” The Classic Novel: From Page to Screen. Eds. Robert Giddings and Erica Sheen. New York: St. Martin’s Press, 2000. 114-30.
BOLTON, Michael Sean. "Monstrous Machinery: Defining Posthuman Gothic." Aeternum: The Journal of Contemporary Gothic Studies 1(1): 2014, 1-15.
BOUJUT, Michel. “Preface and Filmography.” Frankenstein. Levallois-Perret (Haut-de Seine), France: Cercle du Bibliophile, 1969. [GGI: 2454].
BOYLE, Brenda M. “Monstrous Bodies, Monstrous Sex: Queering Alien Resurrection.“ Gothic Studies 7 (2005): 158-71.
BREDEROO, Nico J. “Dracula in Film.” Exhibited by Candlelight: Sources and Developments in the Gothic Tradition. Eds. Valeria Tinkler Viviani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995. 171-81.
BREDEROO, Nico J. “Hollywood und die englische romangattung des ‘Gothic Novel.’” Interbellum und Exil. Ed. Sjaak Onderdelinden. Amsterdam: Rodopi, 1991. 107-125. [GGII: 1500].
BRITTON, Andrew. “The Devil, Probably: The Symbolism of Evil.” American Nightmare: Essays on the Horror Film. Ottowa: Canadian Film Institute, 1981. 34-42. [GGI: 2456].
BROPHY, Philip. “Horrality––The Textuality of Contemporary Horror Films.” Screen 27.1 (January-February 1986): 2-13. [GGII: 1501].
BROSNAN, John. The Horror People. New York: St. Martin's Press, 1976. [GGI: 2457].
BRUSTEIN, Robert. “Reflections on Horror Movies.” Partisan Review 25 (1958): 288-296. [GGII: 2458].
BUNNELL, Charlene. “The Gothic: A Literary Genre’s Transition to Film.” Planks of Reason: Essays on the Horror Film. Ed. Barry Keith Grant. Metuchen, NJ: Scarcrow Press, 1984. 79-100. [GGII: 1502].
BUTLER, Erik.  Metamorphoses of the Vampire in Literature and Film: Cultural Transformations in Europe, 1732-1933.  Rochester, NY: Camden House, 2010.  
BUTLER, Ivan. The Horror Film. [GGI: 2059].
CARROLL, Noel. “Nightmare and Horror Film: The Symbolic Biology of Fantastic Beings.” Film Quarterly 34 (1981): 16-25. [GGI: 2460].
CHAMBRUN, Noëlle de. “l’exorciste, le Diable et les péres.” Imaginaires, gothique, néogo-thique, contre-utopie. Littérature et cinéma du domaine anglosaxon. Ed. Max Duperray. Aix-en- Provence : Publications de l’université de Provence , 2001. 124-39. [The Exorcist, the Devil and their Fathers.].
CHERRY, Brigid. “Dark Wonders and the Gothic Sensibility: Jan Svankmajer’s Neco z Alenky.” Kinoeye 2 January 2002: no pagination. Online: www.kinoeye. org. Accessed: 23 December 2003.
CLARENS, Carlos. An Illustrated History of the Horror Films. New York: G.P Putnam, 1967; Rpt. New York: Capricorn, 1967. [GGI: 2461].
COLLINS, Michael J. “Culture in the Hall of Mirrors: Film and Fiction and Fiction and Film.” A Dark Night’s Dreaming: Contemporary American Horror Fiction. Eds. Tony Magistrale and Michael A Morrison. Columbia, SC: South Carolina University Press, 1996. 110-22. [GG III: 5244].
CONRICH, Ian. “Kiwi Gothic: New Zealand's Cinema of a Perilous Paradise." Horror International. Ed. Tony Williams. Detroit: Wayne State University Press, 2005. 114-27. [GGIV: 0000].
CONRICH, Jan. “A Czech Cinema of the Gothic: Juraj Herz’s Spalovac mrtvol (The Cremator, 1968) and Morgiana (1971).” Kinoeye 7 January 2002: no pagination. [GG III: 5245].
COOPER, Douglas W. “The Lovely Load: An Archetype of the Horror Film.” Studies in Popular Culture 13 (1990): 17-26. [GGII: 1503].
COYKENDALL, Abigail Lynn. “Bodies Cinematic, Bodies Politic: The ‘Male’ Gaze and the ‘Female’ Gothic in De Palma’s ‘Carrie.’” Journal of Narrative Theory 30 (2000): 332-63.
CRANE, Jonathan Lake. “Terror and Everyday Life: A History of Horror.” Dissertation Abstracts International 52 (1992): 2300A (University of Illinios, Urbana). [GGII: 1504].
CRAWFORD, Joseph. The Twilight of the Gothic?: Vampire Fiction and the Rise of the Paranormal Romance.  Cardiff: U of Wales P, 2014.
CREED, Barbara . “Phallic Panic: Male Hysteria and Dead Ringers.” Screen 31 (1990): 125-146. [GGII: 1505] .
CREED, Barbara. “Horror and the Monstrous-Feminine: An Imaginary Abjection.” Feminist Film Theory: A Reader. Ed. Sue Thornham. New York: New York University Press, 1999. 251-66.
CREED, Barbara. The Monstrous Feminine: Film, Feminism, Psychoanalysis. London: Routledge, 1993.
DAVIES, Michael. “‘What’s the Story Mother?’: Abjection and Anti-Feminism in Alien and Aliens.” Gothic Studies 2 (2000): 245-56.
DAVIS, Michael. “Tied to that Maternal ‘Thing Death and Desire in Jane Campion’s The Piano.” Gothic Studies 4 (2002): 63-78.
DERRY, Charles. Dark Dreams: The Horror Film from Psycho to Jaws. London: Yoseloff, 1977. [GGI: 2462].
DILLARD, R.H.W . “Even a Man Who Is Pure at Heart: Poetry and Danger in the Horror Film.” Man and the Movies. Ed. W.R. Robinson. Baltimore: Penguin, 1967. 60-96. [GGII: 1507] .
DILLARD, R.H.W . “The Roots of Horror.” International Film Annual No. 3. Ed. William Whitebair. New York: Taplinger Press, 1959. 69-75. [GGII: 1506] .
DILLARD, R.H.W. Horror Films. New York: Monarch, 1976. [GGI: 2463].
DIXON , Wheeler Winston. “Gender Approaches to Directing the Horror Film: Women Filmmakers and the Mechanisms of the Gothic.” Popular Culture Review. 7:1 (1996): 121-34.
DIXON , Wheeler Winston. “Visions of the Gothic and Grotesque.” The Second Century of Cinema: The Past and Future of the Moving Image. Albany, NY: State University of New York Press, 2000. 59-96.
DIXON, Wheeler Winston. “The Site of the Body in Torture/The Sight of the Tortured Body: Contemporary Incarnations of Graphic Violence in the Cinema and the Vision of Edgar Allan Poe.” Film and Philosophy 1 (1994): G2, 70.
DOUGLAS, Drake. Horror! New York and Toronto: Collier-Macmillan, 1969. [GGI: 2464].
DUBINO, Jeanne. “Romance Meets Horror and Thriller in the Films Misery and Basic Instinct.” Clues: A Journal of Detection 21 (2000): 23-48.
DUVALL, Daniel S. “We Each Owe a Death: King and Darabont’s Green Mile.” Creative Screen Writing 7:1 (2000): 71-75.
DUVALL. Daniel S. “Inner Demons: Flawed Protagonists and Haunted Houses in The Haunting and The Shining.” Creative Screenwriting 6:4 (1999): 32-37 .
EBERLE-SINATRA, Michael. “Exploring Gothic Sexuality.“ Gothic Studies 7 (2005): 123-26.
EBERLE-SINATRA, Michael. “Readings of Homosexuality in Mary Shelley's Frankenstein and Four Film Adaptations.“ Gothic Studies 7 (2005): 185-202.
EDWARDS, Roy. “Movie Gothick.” Sight and Sound 27 (Autumn, 1957): 16-18. [GGI: 2465].
EISNER, Lotte H. The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. [GGI: 2466].
ELLIOTT, Kamilla. "Gothic---Film---Parody." Adaptation 1.1 (2008): 24-43.
ELLISON, Harlan. “Three Faces of Fear: A Theory of Film Horror from the Works of Val Lewton.” Cinema 3.2 (1966): 4-8, 13-14. [GGII: 1508].
EVANS, Walter. “Monster Movies and the Rites of Initiation.” Journal of Popular Film 4 (1975): 124-142. [GGII: 1509].
EVANS, Walter. “Movie Monsters: A Sexual Theory.” Journal of Popular Film 2 (1973): 353-365. [GGI: 2467].
EVERSON, William K . “The Monsters.” The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. 94-113. [GGI: 2469] .
EVERSON, William K . Classics of the Horror Film. New York: Citadel Press, 1974. [GGI: 2470] .
EVERSON, William K. “Horror Films.” Films in Review 5 (1954): 12-23. [GGI: 2468].
FLETCHER, John. “Primal Scenes and the Female Gothic: Rebecca and Gaslight.” Screen 36:4 (1995): 341-70.
FRANK, Alan G . Horror Movies: Tales of Terror in the Cinema. London :Octopus Books, 1974. [GGII: 1510] .
FRANK, Alan G . Monsters and Vampires. London: Octopus Books, 1976. [GGI: 2326] .
FRANK, Alan G. The Horror Film Handbook. Totowa, NJ: Barnes and Noble, 1982. [GGI: 2471].
FRY, Carol. “'Unfit for Earth, Undoomed for Heaven': The Genesis of Coppola's Byronic Dracula.“ Literature/Film Quarterly 30 (2002): 271-78.
GIANVITO, John. “An Inconsolable Darkness: The Reappearance and Redefinition of Gothic in Contemporary Cinema.” Gothic: Transmutations of Horror in Late Twentieth-Century Art. Ed. Christoph Grunenberg. Cambridge, MA : MIT Press, 1997. 50-40.
GIFFORD, Denis. A Pictorial History of the Horror Films. London: Hamlyn, 1973. [GGI: 2473].
GIFFORD, Denis. Movie Monsters. London: Studio Vista, 1969; New york: E.P. Dutton, 1970. [GGI: 2472].
GLUT, Donald F . The Frankenstein Catalogue. Jefferson, NC: McFarland, 1979. [GGI: 2475] .
GLUT, Donald F. Classic Movie Monsters. Metuchen, NJ: Scarcrow Press, 1978. [GGII: 1511].
GLUT, Donald F. The Frankenstein Legend: A Tribute to Mary Shelley and Boris Karloff. Metuchen, NJ :Scarcrow Press, 1978. [GGI: 2474].
GONZALEZ, Tanya. "Murders, Madness, Monsters: Latina/o Gothic in the U.S.A." Dissertation Abstracts International 65:8 (2005): 2988-89 (University of California, Riverside).
GRANT, Barry Keith . “Taking Back The Night of the Living Dead: George Romero, Feminism, and the Horror Film.” Wide Angle: A Film Quarterly of Theory, Criticism, and Practice 14 (1992): 64-76. [GGII: 1513] .
GRANT, Barry Keith. Planks of Reason: Essays on the Horror Film. Metuchen, NJ: Scarcrow Press, 1984. [GGII: 1512].
GRANT, Barry Keith. The Dread of Difference: Gender and the Horror Film. Austin: Texas University Press, 1996 .
GRANT, Michael. “James Whale’s Frankenstein: The Horror Film and the Symbolic Biology of the Cinematic Monster.” Frankenstein, Creation, and Monstrosity, ed. Stephen Bann. London: Reaktion, 1994. 113-35.
GRAY, Emily. "In/between Places: Connection and Isolation in The Bridge." Aeternum: The Journal of Contemporary Gothic Studies 1(1): 2014, 73-85.
GREGORY, Alan. "Fabricating Narrative Prosthesis: Fashioning (Disabled) Gothic Bodies in Tim Burton's Batman Returns." Aeternum: The Journal of Contemporary Gothic Studies 1(2): 2014, 26-39.
HAHN, Ronald M. and Rolf GIESEN. Das Neue Lexikon des Horrorfilms: Alles über die dunkle Seite des Kinos. Berlin: Schwartzkopf and Schwartzkopf, 2002. [The New Lexicon of Horror Films: Everything About the Dark Side of the Cinema.]
HAINING, Peter. The Ghouls. New York: Stein and Day, 1971. [GGI: 2173].
HALLIWELL, Leslie. Dead That Walk: Dracula, Frankenstein, the Mummy, and Other Favorite Movie Monsters. New York: Frederick Ungar, 1988. [GGII: 1514].
HALTOF, Marek. “From Gothicism to Demonism: A Literary Transition to German Expressionist Film.” European Journal for Semiotic Studies 4:3 (1992): 441-58.
HAMMOND, Paul. “Melmoth in Norman Rockwell Land . . . On Night of the Hunter.” Sight and Sound 48.2 (1979): 105-109. [GGII: 1515].
HANKE, Ken. A Critical Guide to Horror Film Series. New York: Garland Publishing, 1991. [GGII: 1516].
HANSEN, Michelle Kay. "Monsters in our Midst: An Examination of Human Monstrosity in Fiction and Film of the United States." Diss.  University of Nevada, Las Vegas, 2012.
HANSON, Helen. “From Suspicion (1941) to Deceived (1991): Gothic Continuities, Feminism, and Postfeminism in the Neo-Gothic Film.” Gothic Studies 9:2 (2007): 20-32.
HANTKE, Steffen. American Horror Film: The Genre at the Turn of the Millenium. University Press, of Mississippi, 2010.
HARDY, Phil, Tom MILNE, Paul WILLEMEN. The Encyclopedia of Horror Movies. New York: Harper and Row, 1986. [GGII: 1517].
HASLAM, Jason. “'A Secret Proclamation:' Queering the Gothic Parody of Arsenic and Old Lace.“ Gothic Studies 7 (2005): 127-42. [GG IV: 0000].
HASLEM, Wendy. “Neon Gothic: Lost in Translation.“ Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema 31 (2004); no pagination. [GGIV:0000].
HAUPT, Adam. “Polanski’s Gothic Mission.” Inter-Action. Eds. Loes Nas, Lesley Marx. Capetown, South Africa: Department of English, University of Capetown; Department of English, University of Western Cape, 1994. 79-93. [GG III: 5294].
HAWKINS, Joan. Cutting Edge: Art, Horror, and the Horrific Avant-Garde. Minneapolis: University of Minnesota Press, 2000. [GG III:5295].
HAYNES, Roslynn D. “A Gothic Desert: Psychodrama in Fiction and Film.” Seeking the Centre: The Australian Desert in Literature, Art and Film. Cambridge, UK: Cambridge University Press, 1998. 184-208. [GG III:5296].
HENDERSHOT, Cyndy. “(Re)visioning the Gothic: Jane Campion’s The Piano.” Literature Film Quarterly 26:2 (1998): 97-108. [GG III: 5297].
HERRING, Gina. “The Beguiled: Misogynist Myth or Feminist Fable?” Literature/Film Quarterly 26:3 (1998): 214-19. [GG III: 5298].
HIGSON, Andrew. “Gothic Fantasy as Art Cinema: The Secret of Female Desire in The Innocents.” Gothick Origins and Innovations. Eds. Victor Sage and Allan Lloyd Smith. Amsterdam; Atlanta, GA : Rodopi; Costerus New Series 91, 1994. 204-17. [GG III:5299].
HILL, Derek. “The Face of Horror.” Sight and Sound 28 (Winter, 1958-1959): 6-11. [GGI: 2477] .
HOPKINS, Lisa. Screening the Gothic. Austin: University of Texas Press, 2005. [GG IV: 0000].
HOWELL, Amanda. “Nam Gothic: Telling the Truth in the 1980’s.” Genre 30 (1997): 215-41. [GG III: 5301].
HUMPHRIES, Reynold. The American Horror Film: An Introduction. Edinburgh: Edinburgh University Press, 2002.
HUSS, Roy and T.J. ROSS. Focus on the Horror Film. Englewood Cliffs, NJ: Prentice-Hall, 1972. [GGI: 2478].
HUTCHINGS, Peter. “Tearing Your Soul Apart: Horror’s New Monsters.” Modern Gothic: A Reader. Eds. Victor Sage and Allan Lloyd Smith. Manchester and New York: Manchester University Press, 1996. 89-103. [GG III: 5304].
HUTCHINGS, Peter. Dracula: A British Film Guide. London: I.B. Tauris. 2003. [GG IV: 0000].
IOCCO, Melissa. “Addicted to Affliction: Masculinity and Perversity in Crash and Fight Club.” Gothic Studies 9:1 (2007): 46-56. [GG IV: 0000].
ISHERWOOD, Christopher and Don BACHARDY. Frankenstein: The True Story. New York: Avon, 1973. [GGI: 2479].
ISON, John Montgomery. “Comebacks from the Grave: Women, Stardom and the Gothic.” Dissertation Abstracts International 61:10 (2000): 3805 (University of California, Riverside).
JACKSON, Chuck. "Blood for Oil: Crude Metonymies and Tobe Hooper's Texas Chain Saw Massacre (1974). Gothic Studies 10.1 (2008): 48-60.
JACKSON, Kevin. “Gothic Shadows––Director Freddie Francis Discusses What Lies on the Other Side of Horror.” Sight and Sound 3.7 (1992): 16-19. [GGII: 1518].
JACKSON, Kimberly B. “Performing Infancy: Transmitting/Transmuting the Inhuman in Evolutionary and Technological Gothic.” Dissertation Abstracts International 65:12 (2005): 4552-53 (SUNY Buffalo). [GG IV: 0000].
JANION, Maria. “Films, Demons, and Romanticism.” Polish Perspectives 18.4 91975): 57-67. [GGI: 2480].
JENSEN, Paul. “On Frankenstein.” Film Comment 6 (1970): 42-46. [GGI: 2481].
JEWEL, John. Lips of Blood: An Illustrated Guide to Hammer’s Dracula Movies Starring Christopher Lee. London : Glitter Books, 2002. [GG III: 5310].
JONES, David. J.  Gothic Machine: Textualities, Pre-cinematic Media and Film in Popular Visual Culture 1670-1910.  Cardiff, University of Wales Press, 2012.
KAVKA, Misha. “The Gothic on Screen.” The Cambridge Companion to Gothic Fiction. Ed. Jerrold E. Hogle. Cambridge, UK: Cambridge University Press, 2002. 209-28.
KAYE, Heidi. “Gothic Film.” A Companion to the Gothic. Ed. David Punter. Oxford, UK and Malden, MA: Blackwell Publishers, 2000. 180-92.
KEESEY, Douglas. “Patriarchal Mediations of Carrie: The Book, the Movie, and the Musical.” Imagining the Worst: Stephen King and the Representation of Women. Ed. Theresa Thompson. Westport, CT: Greenwood Press, 1998. 31-45.
KENNEDY, Harlan. “Kubrick Goes Gothic.” American Film 5.8 (1980): 49-52. [GGII: 1519].
KEROUAC, Jack. “Nosferatu.” Film and the Liberal Arts. New York: holt, Rinehart, Winston, 1970. 354-357. [GGI: 2482].
KLOSSNER, Michael. “Horror on Film and Television.” Horror Literature: A Reader’s Guide. Ed. Neil Barron. New York: Garland, 1990. 426-449. [GGII: 1520].
KOVACS, Lee. The Haunted Screen: Ghosts in Literature and Film. Jefferson, NC : McFarland, 1999.
KRACAUER, Siegfried. “Hollywood Terror Films: Do They Reflect an American State of Mind?” Commentary 2 (August, 1946): 132-136. [GGI: 2483].
LAPLACE SINATRA, Michael. “Science, Gender and Otherness in Shelley’s Frankenstein and Kenneth Branagh’s Film Adaptation.” European Romantic Review 9 (1998): 253-70.
LAVERY, David. “The Horror Film and the Horror of Film.” Film Criticism 7.1 (1982): 47-55. [GGII: 1521].
LAW, Jules. “Being There: Gothic Violence and Virtuality in Frankenstein, Dracula, and Strange Days.” ELH 73.4 (2006): 975-96.
LAWN, Jennifer. “Scarfies, Dunedin Gothic, and the Spirit of Capitalism.“ Journal of New Zealand Literature 22 (2004): 124-40.
LEE, Walt. Reference Guide to Fantastic Films: Science Fiction, Fantasy and Horror. [GGI: 2085].
LEONARD, Kendra Preston. "From 'Angel of Music' to 'that Monster': Music for the Human Uncanny in Phantom of the Opera (1925/1929)." Studies in Gothic Fiction 3(1): 2014, 13-23. 
LEWIS, Barbara Jo. “Frankenstein’s Monsters and Moral Accountability.” Journal of Evolutionary Psychology 22 (2001): 78-86.
LIGHT, Alison. “Rebecca.” Sight and Sound 6:5 (1996): 28-31.
LOSANO, Wayne A. “The Horror Film and the Gothic Narrative Tradition.” Dissertation Abstracts International 34 (1973): 5221A (Reuselaer Polytechnic Institute). [GGI: 2486].
LOSANO, Wayne A. “The Vampire Rises Again in Films of the Seventies.” Film Journal 2.2 (1973): 60-62. [GGII: 1522].
LUHR, William. “Nosferatu and Postwar German Film.” Michigan Academician: Papers of the Michigan Acedemy of Science, Arts, and Letters 14 (1982): 453-458. [GGII: 1523].
LUKAS, Christian. Die Scream Trilogy und die Ge-schichte des Teen-Horror Films. München: Heyne Verlag, 2000. [The Scream Trilogy and the Story of Teen Horror Films].
LUKAS, Scott A. and John Mamysz, eds. Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction, and Fantasy Films Remade. Lanham: Lexington Books, 2009.
MANK, Gregory W. “Old Dark House––Elegant Gothic Comedy.” American Cinematographer 1 October 1988: 42-48.
MANK, Gregory W. It’s Alive! The Classic Cinema Saga of Frankenstein. San Diego: A.S. Barnes, 1981. [GGII: 1524]
MARSHALL, Erik. “Defanging Dracula: The Disappearing Other in Coppola's Bram Stoker's Dracula." The Gothic Other: Racial and Social Constructions in the Literary Imagination. Eds. Ruth Bienstock Anolik, Douglas L. Howard. Jefferson, NC: McFarland, 2004. 289-302.
MARTIN, Adrian. “Lady, Beware: Paths Through the Female Gothic.” Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema 12 (2001): no pagination. Online: <www. sensesofcinema.com>. Accessed: 11 October 2002.
MARTIN, Nina K. “The Subject of Passion, the Object of Murder: Refashioning the Gothic and Film Noir Genres” (XXX). Sexy Thrills: Undressing the Erotic Thriller. Urbana: University of Illinois Press, 2007.
MAYNE, Judith. “Dracula in Twilight: Murnau’s Nosferatu (1922).” German Film and Literature: Adaptations and Transformations. Ed. Eric Reutschler. New York: Methuen, 1986. 25-39. [GGII: 1525].
MCCONNELL, Frank. “Rough Beast Slouching: A Note on Horror Movies.” Kenyon Review 32 (1970): 109-120. [GGI: 2488].
MCGUNNIGLE, Christopher. “My Own Vampire: The Metamorphosis of the Queer Monster in Francis Ford Coppola's Bram Stoker's Dracula." Gothic Studies 7.2 (2005): 172-84. [GG IV: 0000].
MCLLROY, Brian. “Irish Horror: Neil Jordan and the Anglo-Irish Gothic." Horror International. Ed. Tony Williams. Detroit: Wayne State University Press, 2005.128-40.
MENDIK, Xavier. “A Kind of (Perverse) Loving: The Gothic Horror Films of Joe D'Amato.“ Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema 30 (2004): no pagination.
MENGA, Mark L. “Misfits and Melancholy Nightmares: The Gothic World of Tim Burton’s Cinema.” Master’s Thesis, Regent University, Virginia Beach, Virginia , 2001.
MITCHELL, Charles P. The Complete H.P. Lovecraft Filmography. Westport, CT: Greenwood Press, 2001.
MONACO, James. “Aaaieeeaarrggh! Horror Movies.” Sight and Sound 49.2 (1980): 80-81. [GGII: 1526].
MORGAN, Jack. “Reconfiguring Gothic Mytholo-gy: The Film Noir––Horror Hybrid Films of the 1980s.” Post Script 21:3 (2002): 72-86.
MORRIS, Nigel. “Metropolis and the Modernist Gothic.” Gothic Modernisms. Eds. Andrew Smith and Jeff Wallace. Houndmills, Basingstoke, Hampshire, UK and New York : Palgrave, 2001. 188-206.
MULVEY, Laura. “The Pre-Oedipal Father: The Gothicism of Blue Velvet.” Modern Gothic: A Reader. Eds. Victor Sage and Allan Lloyd Smith. Manchester and New York: Manchester University Press, 1996. 38-57. [GG III: 5336].
NAHA, Ed. Horrors: From Screen to Scream. New York: Avon, 1975. [GGI: 2489].
NESTRICK, William. “Coming to Life: Frankenstein and the Nature of Film Narrative.” The Endurance of Frankenstein: Essays on Mary Shelley’s Novel. Eds. George Levine and U.C. Knoepflmacher. Berkeley, CA: California UP, 1979. [GGI: 24-90].
NEWMAN, Kim. “Madwomen and Black Beetles.” Sight and Sound 10:3 (2000): 9-12.
NEWMAN, Kim. Nightmare Movies: A Critical History of the Horror Film. Foreword Dennis Etchison. London: Bloomsbury, 1988; New York : Harmony Books, 1988.
NIXON, Nicola. “Making Monsters, or Serializing Killers.” The American Gothic: New Interventions in a National Narrative. Eds. R.K. Martin and Eric Savoy. Iowa City: University Iowa Press, 1998. 217-36.
O'RAWE, Desmond. “At Home With Horror: Neil Jordan's Gothic Variations.“ Irish Studies Review 11:2 (2003): 189-98.
PAGE, Edwin. Gothic Fantasy: The Films of Tim Burton. London & New York: Marion Boyers Publishers, 2007.
PATTISON, Barry. The Seal of Dracula. New York: Crown, 1975; London; Lorrimer, 1975. [GGI: 24-91].
PIRIE, David. A Heritage of Horror: The English Gothic Cinema 1946-1972. London: Gordon Fraser, 1973; New york: Avon, 1973. [GGI: 2492].
PIRIE, David. The Vampire Cinema. Feltham, England: Hamlyn Group, 1977. [GGI: 2493].
PITTS, Michael R. Horror Film Stars. Jefferson, NC: McFarland, 1981. [GGII: 1527].
POTTER, Russell. “Edward Schizohands: The Postmodern Gothic Body.” Postmodern Culture 2 (May 1992): 3. [GGII: 1528].
Powell, Anna. "Duration and the Vampire: A Deleuzian Gothic." Gothic Studies 11.1 (2009): 86-98.
PRAWER, Siegbert Salomon. Caligari’s Children: The Film as Tale of Terror. New York: Oxford UP, 1980. [GGI: 2494].
PRINCE, Stephen. “Dread, Taboo, and the Thing: Toward a Social Theory of the Horror Film.” Wide Angle: A Film Quarterly of Theory, Criticism, and Practice 10.3 (1988): 19-29. [GGII: 1529].
RADNER, Hilary. "Screening Women's Histories: Jane Campion and the New Zealand Heritage Film, from the Biopic to the Female Gothic." New Zealand Cinema: Interpreting the Past.  Eds. Alistair Fox, Barry Keith Grant, and Hilary Radner.  Bristol: Intellect, 2011. 259-275.
RAYNER. Jonathan. “'Terror Australis'“: Areas of Horror in the Australian Cinema." Horror International. Ed. Tony Williams. Detroit: Wayne State University Press, 2005. 98-113.
REED, Ellis. A Journey into Darkness: The Art of James Whale’s Horror Films. New York: Arno Press, 1980. [GGII: 1530].
REYES, Xavier Aldana. Body Gothic: Corporeal Transgression in Contemporary Literature and Horror Film. Cardiff: U of Wales P, 2014. 
RICCARDO, Martin. Vampires Unearthed: The Vampire and Dracula Bibliography of Books, Articles, Movies, Records, and Other Material. New York: Garland, 1983. [GGI: 2495].
RIGBY, Jonathan. English Gothic: A Century of Horror Cinema. London: Reynolds and Hearn, 1999.
RIO ÁLVARO, Constanza del. “Genre and Fantasy: Melodrama, Horror, and the Gothic in Martin Scorsese's Cape Fear.“ Atlantis: Rivista de la Asociación Española de Estudios Anglo-Norteamericanos 26:1 (2004): 61-71.
ROCKETT, William H . “Landscape and Manscape: Reflection and Distortion in Horror Films.” Post Script 3.1 (1983): 19-34. [GGII: 1532] .
ROCKETT, William H . “The Door Ajar: Structure and Convention in Horror Films That Would Terrify.” Journal of Popular Film and Television 10.3 (1982): 130-136. [GGII: 1531] .
ROCKETT, William H. “The Savage Cinema: Transcendence in the Film of Terror.” Dissertation Abstracts International 50 (1989): 3A (University of Toronto). [GGII: 1533].
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