Relevant bibliographies by topics / Thriller film

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Thriller film'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Thriller film"

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Steven, Mark. "Nietzsche on Film." Film-Philosophy 21, no. 1 (2017): 95–113. http://dx.doi.org/10.3366/film.2017.0033.

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This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, ‘there is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,’ the essay's mode of argument avoids reductive totalization and instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming Béla Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style.
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Pratiwi, Mulyani, Yoki Yusanto, and Husnan Nurjuman. "Konstruksi Maskulinitas Perempuan Melawan Tindak Kekerasan pada Film Thriller." KOMUNIKA 8, no. 2 (2021): 138–49. http://dx.doi.org/10.22236/komunika.v8i1.5670.

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Di tengah konstruksi yang berlangsung di masyarakat tentang perempuan sebagai makhluk yang indah dengan karakter lemah lembut, manja, dan situasi memburuknya berbagai tindak kekerasan dengan memposisikan perempuan sebagai korban, Film Marlina Si Pembunuh Dalam Empat Babak justru hadir dengan sebuah konstruksi tentang maskulinitas perempuan. Tulisan ini menggambarkan suatu riset yang bertujuan untuk mengetahui konstruksi maskulinitas perempuan dalam melawan tindak kekerasan terhadap perempuan. Penelitian tersebut merupakan suatu analisis semiotika terhadap berbagai adegan dan dialog dalam film Marlina Si Pembunuh Dalam Empat Babak karya Mouly Surya dengan pendekatan kualitatif yang kemudian dibedah dengan analisis yang dilandasi teori Konstruksi Sosial Realita pemikiran Peter L. Berger dan Thomas Luckmann. Kajian dalam penelitian ini juga menghubungkan antara proses konstruksi realitas yang terjadi melalui film ini dengan fenoemena maraknya tindak kekerasan yang terjadi pada perempuan. Hasil penelitian yang dapat diidentifikasi antara lain 1) Film Marlina Si Pembunuh Dalam Empat Babak telah mengkonstruksi maskulinitas perempuan dengan beberapa karakter, antara lain a) bersikap tenang, b) mandiri, c) keberanian, d) sedikit bicara, e) berpikir praktis dan simpel, f) woman power. 2) Maskulintas Perempuan sebagai realitas objektif yang dimunculkan dalam film Marlina Si Pembunuh Dalam Empat Babak merupakan bagian dari suatu proses eksternalisasi sebagai bagian dari Konstruksi realitas. Eksternalisasi berupa interaksi sutradara dan pembuat film dengan realitas a) gagasan kesetaraan gender, b) fenomena kekerasan terhadap perempuan, c) konsep maskulinitias. 3) Konstruksi maskulinitas perempuan pada film Marlina Si Pembunuh Dalam Empat Babak merupakan suatu konstruksi yang mencoba menghapus konstruksi sebelumnya tentang perempuan sebagai makhluk yang lemah.
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Kronshage, Eike. "Weimar Wallace: Three Early German Screen Adaptations of Novels by Edgar Wallace (1931–1934)." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (2019): 375–91. http://dx.doi.org/10.1515/zaa-2019-0028.

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Abstract The article analyzes three little-known films from the early 1930s which are based on novels by British crime thriller writer Edgar Wallace. It presents the films and their genre as a case study for crime cinema and politics in the transition from the Weimar Republic to Nazi Germany by contextualizing them within the rapidly changing film market after January 1933. The series of popular Weimar Wallace films ended abruptly with Hitler’s rise to power, which also put a stop to most of the country’s transnational cinema practices, including film adaptations of novels which were then considered as un-German.
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Kessler, Kelly. "Bound Together." Film Quarterly 56, no. 4 (2003): 13–22. http://dx.doi.org/10.1525/fq.2003.56.4.13.

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While many recent male-directed lesbian-couplefocused films contain murdering or violent lesbians, the dyke mob thriller Bound stands apart. This study analyzes the film in terms of three issues—the presentation of the female body and lesbian sex, stereotyping, and a caricature of the gangster genre—and shows how Bound avoids selling out to or alienating the mass audience while successfully providing a needed space for polyvalent identification and pleasure.
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Bernstein, Matthew H. "The Lives of Others: Matthew H. Bernstein on an Emotive Surveillance Thriller Set in Communist East Germany." Film Quarterly 61, no. 1 (2007): 30–36. http://dx.doi.org/10.1525/fq.2007.61.1.30.

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ABSTRACT This essay explores the film allusions, plot turns, hierarchies of knowledge, and most of all the multiple ironies that contribute to the extraordinary impact of Florian Henckel von Donnersmarck's surveillance thriller set in Communist East Germany.
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Hochscherf, Tobias. "A Casablanca of the North? Stockholm as imagined transnational setting in the British spy thriller Dark Journey." Journal of Scandinavian Cinema 9, no. 3 (2019): 329–47. http://dx.doi.org/10.1386/jsca_00007_1.

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The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.
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Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.

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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
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Castrillo, Pablo. "Towards a narrative definition of the American political thriller film." Communication & Society 28, no. 4 (2015): 109–23. http://dx.doi.org/10.15581/003.28.4.109-123.

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Clavin, Keith. "Narrating risk: the financial thriller film during the U.S. recession." Textual Practice 31, no. 3 (2017): 477–90. http://dx.doi.org/10.1080/0950236x.2017.1294893.

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Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (2012): 54–74. http://dx.doi.org/10.7202/1013161ar.

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This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
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Dissertations / Theses on the topic "Thriller film"

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Lopez, Laura. "BAKER:THE MAKING OF AN INDEPENDENT THRILLER." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2096.

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Baker is an independently financed low budget film that examines the ambiguous nature of compassion in the day-to-day life of hospice care personnel. The creation of the film entailed three stages: pre-production, production and post-production in which numerous artistic, financial and logistic challenges arose and threatened the completion of the picture. The complex nature of the subject matter required particular attention to the structure of the script. The budgetary restrictions enforced a minimalist approach to locations as well as other creative considerations such as the size of the cast and period setting. The shooting location dictated the framework of the aesthetic approach in design as well as in mise-en-scene for the film. The post-production phase redefined the film once the structure became dependant on the relationship between footage and aural elements rather than on the blueprint of the script. This artistic journey imposed a need for creative problem solving and adaptability. The process of working on Baker allowed me to have a full understanding of my role in the collaboration with talent, the management of crew and my creative duty to maintain the essence of the script while realizing my artistic vision. The overall experience has deepened my commitment to storytelling in the collaborative art of cinema. The result is a highly personal expression of my voice as a director, a female, and social critic<br>M.F.A.<br>School of Film and Digital Media<br>Arts and Humanities<br>Film and Digital Media MFA
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Blazevic, Sasha, and Carl Johan Kesten. "Editing within The Thriller Genre." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-21915.

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Thriller är en favoritgenre för många och har funnits längre än de flesta tror. Ursprungligen som en litteraturgenre har den utvecklats till en av de mest eftertraktade genrerna inom film. Tidiga anmärkningsvärda verk som Alfred Hitchcocks filmer i mitten av 1900-talet har banat vägen för genren och utformat dess redigering och cinematografi till vad vi har idag. Trots sin ödmjuka början i mitten av 1900-talet lyckas teknikerna, även om dem är aningen repetitiva, fortfarande vara relevanta idag och har bara utvecklats med åren. I den här artikeln studerar vi grunderna inom thrillergenren, redigerings- och filmtekniker som används; kameraarbete, klippning, PoV och färgsättning. I denna studie är vårt huvudsakliga fokus att förstå varför dessa tekniker används. Utöver kommer vi också gå djupare in i thrillergenren i helhet och trots genrens repetitivitet, försöka förstå oss på varför den lyckas vara relevant idag och hur redigering och cinematografi spelar en stor roll för att förstärka känslorna i thrillers där dessa tendenser härrör från.<br>Thriller is a favourite genre to many and has been around for longer than most think. Originally starting as a genre of literature, it has evolved into one of the most sought after genres within film. Early notable works such as Alfred Hitchcock's films in the mid 1900s have paved the way for the genre and solidified it’s editing and cinematography into what we have today. Despite its humbling beginnings in the mid 1900s the techniques, although somewhat repetitive, still manage to stay relevant today and have only gotten more advanced with time. In this article, we study the fundamentals within the thriller genre, the editing and cinematography techniques that are utilized; camera framing, cutting, PoV and color. In this study our main focus we intend to work towards is understanding why these techniques are used and the tendencies in which they are facilitated. Although we also intend to go in depth into the thriller genre as a whole and despite the repetitiveness of the genre, why it manages to stay relevant today and how editing and cinematography plays a big part in amplifying the emotions and feelings associated within thrillers in which these tendencies stem from.
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Neal, Sarah Jane, and sarahneal@myplace net au. "Structuring the Thrill in the True Crime Story: An Analysis of how the substructures of the classic screenplay operate in the Thriller film." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080514.095721.

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The research undertaken as the requirements of the degree is an analysis, evaluation and application of the usefulness of the substructures contained in the classic Thriller screenplay. The research identifies tools and techniques that the screenwriter can apply to the construction of a classically structured Thriller. These tools and techniques have been applied to the creation of an original feature length screenplay entitled Magnetic Fields. The substructures explored in this exegesis are those identified by screen theorist Dr Lisa Dethridge as being essential to the screenplay form, irrespective of genre. They are the premise, protagonist, dramatic problem and plot. The research identifies and defines each of these elements and examines for how they operate in the classic Thriller screenplay. Screen theorist and Thriller genre expert Neill D Hicks provides the theoretical structure for the classic Thriller. A case study, Heavenly Creatures (1994) written by Fran Walsh and Peter Jackson, illustrates the discussion of these substructures. The theories of Dethridge and Hicks are compared and evaluated for their usefulness in the construction of the original screenplay, Magnetic Fields. The story is loosely based on a true crime and the challenge in construction this screenplay was the process of identifying and employing the key conventions and techniques of the Thriller genre. Operating within the conventions of the classic Thriller enables the writer to address the requirements of both industry and audience. The film industry requires that a screenplay adhere to a number of standards relating to its format, length and the organisation of content. The audience, or the reader of the screenplay also has expectations. If a film is labelled a Thriller, the audience expects the story to provoke suspense and fear. They will expect to be thrilled. For the screenwriter to achieve this effect the research aims to prove the benefits of adhering to the structural conventions of the classic Thriller film.
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Lynch, Paul. "The development of the British conspiracy thriller, 1980-1990." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18180.

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This thesis adopts a cross-disciplinary approach to explore the development of the conspiracy thriller genre in British cinema during the 1980s. There is considerable academic interest in the Hollywood conspiracy cycle that emerged in America during the 1970s. Films such as The Parallax View (Pakula, 1975) and All the President's Men (Pakula, 1976) are indicative of the genre, and sought to reflect public anxieties about perceived government misdeeds and misconduct within the security services. In Europe during the same period, directors Costa-Gavras and Francesco Rosi were exploring similar themes of state corruption and conspiracy in films such as State of Siege (1972) and Illustrious Corpses (1976). This thesis provides a comprehensive account of how a similar conspiracy cycle emerged in Britain in the following decade. We will examine the ways in which British film-makers used the conspiracy form to reflect public concerns about issues of defence and national security, and questioned the measures adopted by the British government and the intelligence community to combat Soviet subversion during the last decade of the Cold War. Unlike other research exploring espionage in British film and television, this research is concerned exclusively with the development of the conspiracy thriller genre in mainstream cinema. This has been achieved using three case studies: Defence of the Realm (Drury, 1986), The Whistle Blower (Langton, 1987) and The Fourth Protocol (MacKenzie, 1987). For each case study chapter, interviews have been conducted with the film-makers in order to gain insight into the aims and motivations that underpin each film. As well as employing these first-hand accounts of the production contexts, close analysis of film style is provided in order to understand the ways in which the British genre is informed stylistically by its Hollywood and European forebears. This means that for the first time, the British conspiracy cycle can be understood within a wider historical and cinematic context. Detractors of the conspiracy genre argue that it offers audiences a simplistic view of complex political events. We will reflect on this criticism and evaluate the extent to which the British films provide meaningful political comment within the conventions of mainstream cinema.
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Krutnik, Frank S. "'In a lonely street' : 1940's Hollywood, film noir and the 'tough' thriller." Thesis, University of Kent, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253422.

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Armstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16446/.

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Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract. This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay. Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.
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Bowman, Deena. "The Hollywood political thriller during the Cold War, 1945-1962." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17734.

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This thesis investigates a corpus of films identifiable as Hollywood political thrillers during the Cold War spanning a period of seventeen years, between 1945 and 1962. It aims to dispel the assertion by critics and scholars that the political thriller originates with the release of The Manchurian Candidate (Frankenheimer, 1962). Moreover, it is my intent to engage an interdisciplinary approach given that the relationship between contemporary American cinema, ideology and propaganda has often been overlooked (see Shaw, 2007). Utilizing textual and contextual analysis, I shall argue that The Manchurian Candidate is a transitional film with respect to the political thriller. I shall also offer an explanation for the frequent mislabeling of Hollywood political thrillers as film noir, of which generic hybridity or overlap is a contributing factor. The first part of this thesis shall establish a political and historical context, which includes a discussion of Hollywood’s early entry into the Cold War, U.S. strategies of containment and the threat women posed to U.S. national security vis à vis Ethel Rosenberg. Given that the political thriller emerged as a distinct subgenre during the Cold War, the first part of this thesis shall include a chapter on technology and innovation (e.g. lighting, format, film stock) as a means of supporting prime generic theme of authenticity. Five exemplary mini-case studies shall be presented to demonstrate the way in which the Hollywood political thriller delivered distinct narrative and visual style that both projected and reflected Cold War discourses. Philip Wylie’s “momism” shall be considered within the context of the political thriller and Cold War discourses surrounding gender, U.S. national security and the atomic bomb. I shall expand upon current discussions of momism, approaching it through distinct representations evident within the political thriller. Given the pervasiveness of the nuclear threat during the Cold War, I shall discuss the thematic elements of fear and the unknowability of the atomic bomb in relation to the political thriller. In the second part of this thesis, I identify three distinct cycles of atomic political thrillers, in which issues of vulnerability of the physical locale, the nuclear family and the mind are addressed.
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Goldthwaite, Sean Henry. "The Mnemosyne Victim." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/123.

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Urech, Chelsea. "This Won't Hurt." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/794.

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Cliffe, David. "Thriller, horror, hacker, spy : the 'hacker' genre in film and television from the 1970s to the 2010s." Thesis, De Montfort University, 2018. http://hdl.handle.net/2086/16358.

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This thesis argues that hacking and surveillance have formed a ‘hacker’ genre in film and television that begins to emerge from the influences of 1970s films, forming between the 1980s and 1990s and continuing to develop through to the 2010s, grouping together computer hacking, surveillance and espionage as activities striving to achieve order over the ‘electronic frontier’. In particular, this thesis identifies how hacker genre films foreground and fetishise the technology of hacking and surveillance of the period of production, which inevitably leads to an in-built expiry date and limited shelf-life. Whilst these genre films draw on the crime, horror and thriller traditions to depict the tension and anxiety presented by the capabilities of this hacking and surveillance technology, as technology progresses and becomes more familiar to the audience, these films naturally lose their ability to elicit fear and terror from the viewer; instead these films become virtual parodies of their original intention. Moreover, the thesis maps the evolution and development of the generic features of the hacker film genre, charting the progression from passive observation to active intervention of the hacker figure; as the technology progresses, there is an increased sense of speed and mobility and the hacker emerges from small enclosed spaces to engage with the physical world. Similarly, the thesis considers the role of the ‘hacker figure’ in these films, using the viewer’s human connection to consider how this technology affects the user over time; considering the links to the thriller and horror traditions, this study considers the potential for the hacker to become dehumanised in using this technology.
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Books on the topic "Thriller film"

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Frank, Alan G. The thriller film guide. B. T. Batsford, 1997.

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Luca, Servini, ed. Thriller italiano in cento film. Le mani, 2011.

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See©len, Georg. Thriller: Kino der Angst. Schu˜ren, 1995.

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Writing the thriller film: The terror within. M. Wiese Productions, 2002.

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Writing the thriller film: The terror within. M. Wiese Productions, 2002.

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Donne in prigione: Nazisti, horror e fantascienza, thriller, decameroni e film esotici. Profondo rosso, 2005.

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Psyco & Psycho: Genesi, analisi e filiazioni del thriller più famoso della storia del cinema. Le mani, 2010.

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The suspense thriller: Films in the shadow of Alfred Hitchcock. McFarland, 1988.

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Martin, Rubin. Thrillers. Cambridge University Press, 1999.

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Nixdorf, Thomas. Licence to thrill: James Bond Plakate, 1962-1997. PlakatKonzepte, 1997.

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Book chapters on the topic "Thriller film"

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Vibenius, Bo Arne. "Thriller: A Cruel Picture (Thriller — en grym film)." In 100 Cult Films. British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-571-8_90.

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Labanyi, Jo, Antonio Lázaro-Reboll, and Vicente Rodríguez Ortega. "Film Noir, the Thriller, and Horror." In A Companion to Spanish Cinema. Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch9.

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E. Moore, Ellen. "Imagining Disaster in the Eco-Thriller." In Landscape and the Environment in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56411-1_4.

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Frankenberg, Natascha. "Queer-feministischer Film-Aktivismus gegen Prekarisierung." In Queeres Kino / Queere Ästhetiken als Dokumentationen des Prekären. ICI Berlin Press, 2021. http://dx.doi.org/10.37050/ci-22_03.

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Im Beitrag werden zwei filmische Positionen zusammengeführt. In beiden finden sich Inszenierungen von Gemeinschaft und Prekarisierungen als ästhetische Aushandlungen einer Politisierung der Filmform. Während der schwedische Film Folkbildningsterror (2014) politische Zustände im Musical zur Disposition stellt, untersucht der US-amerikanische Thriller The Owls(2010) die Konsequenzen homophober Entwürfe lesbischer Figuren im Film, die bis in die aktuelle Filmgeschichte reichen.
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E. Moore, Ellen. "The Spy Who Saved Me: Sustainability, Identity, and Intrigue in the Espionage Thriller." In Landscape and the Environment in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56411-1_3.

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Jancovich, Mark. "“Psychological Thriller”: Dead of Night (1945), British Film Culture, and the 1940s Horror Cycle." In Speaking of Monsters. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_6.

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de Nooy, Juliana. "Twins and Sexual Rivalry: Recasting the Wicked Sister in Thriller Films." In Twins in Contemporary Literature and Culture. Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230286863_3.

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Shoos, Diane L. "Sleeping With the Enemy, Victim Empowerment, and the Thrill of Horror." In Domestic Violence in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65064-7_3.

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Biesen, Sheri Chinen. "Haunting Landscapes in “Female Gothic” Thriller Films: From Alfred Hitchcock to Orson Welles." In Gothic Landscapes. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33165-2_3.

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"Suspense Thriller." In Hollywood Film 1963-1976. Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444395242.ch19.

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