Relevant bibliographies by topics / Thriller films

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

Academic literature on the topic 'Thriller films'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Thriller films"

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Cybulski, Marcin. "Czy w ZSRR kręcono thrillery?" Acta Polono-Ruthenica 1, no. XXIII (2018): 51–64. http://dx.doi.org/10.31648/apr.1508.

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This article is an attempt to answer the question whether, in the specific conditions in which the cinematography of the Soviet Union was created and developed, we can talk about the production of thrillers. The notion of the thriller is considered and attention is paid to the problem of the definition of the term itself and the fact that some researchers do not treat the thriller as a genre at all. The thriller, associated by the Soviet decision-makers with Western culture (and thus also American), was perceived as a bourgeois creation, which made it an undesirable genre in the Soviet Union. Nevertheless, for many years immediately after the end of World War II and at the very end of the existence of the historical empire, a series of films were created and they could be called thrillers in the general modern sense of the word. Titles of Soviet films created in the years 1947–1991 have been chosen from the rich resources of cinematography of our eastern neighbours. At the cinema historian’s workshop, there were both images of well-known and popular Soviet directors (Boris Barnet, Stanisław Goworouchin, Eldar Riazanow), as well as slightly less known personalities, (Gieorgij Nikulin, Boris Durow).
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Fisher, Mark. "The Lost Unconscious: Delusions and Dreams in Inception." Film Quarterly 64, no. 3 (2011): 37–45. http://dx.doi.org/10.1525/fq.2011.64.3.37.

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An analysis of Christopher Nolan's science-fiction thriller, Inception, which relates it to Nolan's previous films and argues that the film's multilayered nest of worlds and strangely cold action sequences relate to the commodification of the psyche.
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Burton, Alan. "‘Jumping on the Bondwagon’: The Spy Cycle in British Cinema in the 1960s." Journal of British Cinema and Television 15, no. 3 (2018): 328–56. http://dx.doi.org/10.3366/jbctv.2018.0426.

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The article examines the significant cycle of spy thrillers in British cinema in the 1960s. It argues that the success of the early James Bond pictures, which commenced with Dr. No in 1962, initiated a popular cycle of spy films that lasted through the decade. The interest in fictional intrigue generated by the new-style espionage stories of Len Deighton and John le Carré further fuelled the cycle, and there appeared a number of adaptations of these authors’ novels. The article pays particular attention to the critical reception of the cycle and the two styles of Bond-inspired spy thriller and Deighton/le Carré-inspired espionage drama, carefully considering the mounting reviewer fatigue regarding the overworked spy picture and recounting the decline of the cycle.
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Kozlova, Svetlana S. "Dynamics of Corporality and Static Models of Space in Thriller Dramaturgy." Journal of Flm Arts and Film Studies 9, no. 1 (2017): 50–59. http://dx.doi.org/10.17816/vgik9150-59.

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The article analyzes the mechanism of building the conflict in screenwriting within confrontation alive / dead by means of dynamic of corporeality - from an alive corporeal world of the protagonist to a dead static model of the antagonist's world. The scheme of their interaction is based on examples of thriller films, as well as indie films which use the elements of this genre.
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Loman, Nick, and Jennifer Gardy. "Contagion: a worthy entrant in the outbreak film genre." Biochemist 37, no. 6 (2015): 22–25. http://dx.doi.org/10.1042/bio03706022.

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As researchers working in the fields of genomics, infection and epidemiology, we chose to write about Contagion for this issue. It wasn't much of a choice, a quick bit of Internet research confirmed that there aren't many films about infectious diseases, outbreaks and epidemiology, with the exception of the fairly terrible Outbreak (1995), and the 1970s-tastic sci-fi thriller The Andromeda Strain. What we do have plenty of are zombie flicks, and the parallels to outbreaks have been well recognized. Often starting with a virus or uncharacterized pathogen, zombie films exploit the nature of contagion as ever greater numbers of the population are infected, usually with the film's heroic (World War Z) or hapless (Shaun of the Dead) protagonist tasked with rescuing humanity, or at least staying alive.
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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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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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Krämer, Peter. "The politics of independence." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 89–103. http://dx.doi.org/10.33178/alpha.6.06.

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This article draws, among other things, on press clippings files and scripts found in various archives to reconstruct the complex production history, the marketing and the critical reception of the nuclear thriller The China Syndrome (1979). It shows that with this project, several politically motivated filmmakers, most notably Jane Fonda, who starred in the film and whose company IPC Films produced it, managed to inject their antinuclear stance into Hollywood entertainment. Helped by the accident at the Three Mile Island nuclear power plant two weeks into the film’s release, The China Syndrome gained a high profile in public debates about nuclear energy in the U.S. Jane Fonda, together with her then husband Tom Hayden, a founding member of the 1960s “New Left” who had entered mainstream politics in the California Democratic Party by the late 1970s, complemented her involvement in the film with activities aimed at grass roots mobilisation against nuclear power.
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Abuhassan, Lama. "The Event of Fear in Thriller Films: The Silence of the Lambs." International Journal of the Image 8, no. 3 (2017): 85–101. http://dx.doi.org/10.18848/2154-8560/cgp/v08i03/85-101.

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An, Ji-yoon. "The Korean mother in contemporary thriller films: a Monster or just modern?" Journal of Japanese and Korean Cinema 11, no. 2 (2019): 154–69. http://dx.doi.org/10.1080/17564905.2019.1661655.

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Dissertations / Theses on the topic "Thriller films"

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Abuhassan, Lama. "Screen architecture : a phenomenology of dread atmospheres in thriller films." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/115023/.

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By looking at thriller films, and establishing their relationship to suspense, my thesis examines the construction of dread atmosphere and how it enables the viewer to become part of that atmosphere. The aim of the thesis is to develop a comprehensive reading of the atmosphere of dread by adopting the approach of phenomenology, and through an investigation and analysis of its definition of the process of embodiment, in order to identify some of the atmospheric corporeal situations in dread spaces that are used to increase the corporeality of the viewer, so as to ultimately reveal the experience of suspense. By doing that, this thesis elaborates on Hanich’s analysis and description of cinematic dread’s atmosphere. The thesis builds a structure of embodiment based on Merleau-Ponty’s Phenomenology of Perception and on the work of other phenomenologists from different fields including film, architecture and video games, to create a framework whereby the viewer’s embodiment with the screen is understood. In addition, it adopts Shīrāzī’s approach of Phenomenal Phenomenology to read a dread scene from the Silence of the Lambs phenomenologically. This reading identified new atmospheric corporeal situations, named as quasi-things in Griffero’s terms, which have not previously been discussed in the context of film under the framework of the phenomenology of text, of transparency and of surveillance. The research found that any situation that is linked with the senses, such as through ‘sensorimotor verbs’ and ‘sensorial transparency’, is experienced more corporeally, consciously, affectively, and eventually increases the sense of embodiment. The researcher extends the conception of these phenomena by means of a horizontal reading of other films to make the observations more objective and generalizable to thrillers in general and the dread atmosphere in specific. The significance of my research lies in making a contribution to the understanding of the kinesthetic experience of cinematic space and to promoting its potential in theorising related arts such as architecture, Virtual Reality, and video games.
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An, Ji-yoon. "Family pictures : representations of the family in contemporary Korean cinema." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/268018.

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The family has always been a central narrative theme in cinema. Korean cinema has been no exception, where the family has proved to be a popular subject since its earliest days. Yet Western scholarship on Korean cinema has given little attention to this dominant theme, preferring to concentrate on the film industry's recent revival and its blockbusters. Scholarship in Korea and in the Korean language, on the hand, has continuously discussed some of the major cinematic works on the family. However, such literature has tended to be in the form of articles discussing one or two particular works. A comprehensive study of the family in contemporary Korean cinema therefore remains absent both in Korean and in English. This thesis is an attempt to provide such a work, bringing together films on the family and writings on them in both Western and Korean scholarships, as well as filling the gaps where certain trends and patterns have gone undetected. How are the changes in the understanding of the family or in the roles of individual family members reworked, imagined, or desired in films? Taking this question as the starting point of the research, each chapter explores a separate theme: transformations in the structure of the family; faltering patriarchy and fatherhood; motherhood and the extremity of maternal love; and certain children's experiences of the family. The first chapter detects a general move away from the traditional patriarchal nuclear family and an interest in depicting alternative families, exploring shifting family forms in contemporary society and the public discourses surrounding them. The second chapter highlights the contradictory ways that the father has been illustrated in films during and after the IMF crisis. The third chapter explores a branch of recent thrillers that depicts mothers as dark and dangerous characters, offering an interesting cultural framing to the multiple perceptions of the mother figure in contemporary society. Finally, the last chapter aims to extend representations of the 'Korean family' to include films by/about those currently living outside of Korea, namely Korean emigrants and adoptees.
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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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Cullors, Kasey P. "Gradations of Thrills, Kicks and Moonwalks: A Textual and Cultural Analysis of the Effects of Michael Jacskon, the Legend and “Thriller”, the Legendary." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1305637508.

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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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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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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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Books on the topic "Thriller films"

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

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Make your own action thriller. Capstone Press, 2012.

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

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

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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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Leigh, Janet. Psycho: Behind the Scenes of the Classic Thriller. Pavilion, 1995.

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Leigh, Janet. Psycho: Behind the scenes of the classic thriller. Harmony Books, 1995.

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

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

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Book chapters on the topic "Thriller films"

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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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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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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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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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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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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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Vibenius, Bo Arne, and Xavier Mendik. "Thriller: A Cruel Picture (Thriller – en grym film)." In 100 Cult Films. British Film Institute, 2011. http://dx.doi.org/10.5040/9781838710545.0094.

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"Basic Instinct and the Erotic Thriller." In Crime Films. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511606458.007.

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