Academic literature on the topic 'Thriller / suspense'
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Journal articles on the topic "Thriller / suspense"
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Hochhauser, Daniel. "Oncogenes: the suspense thriller." Lancet 349, no. 9051 (1997): 579. http://dx.doi.org/10.1016/s0140-6736(97)80138-9.
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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.
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The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
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Kokotkiewicz, Martyna. "Extraordinary Protagonists, Average Issues." Folia Scandinavica Posnaniensia 25, no. 1 (2018): 101–11. http://dx.doi.org/10.2478/fsp-2018-0016.
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Abstract Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
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Schubert, Christoph. "Tarantino’s eloquent villains." English Text Construction 16, no. 2 (2023): 119–43. http://dx.doi.org/10.1075/etc.22022.sch.
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Abstract Suspense as an aesthetic effect is a key narrative strategy of thriller movies, serving the function of entertainment for wide audiences. As the plot unfolds, arcs of suspense rely on triggering an appealing sense of anticipation that calls for a resolution. The present study examines the creation of suspense throughout fictional dialogue in Quentin Tarantino’s popular feature films Pulp Fiction (1994), Inglourious Basterds (2009), and Django Unchained (2012). In these movies, dialogic interaction is often dominated by eloquent villains who skilfully flout the conversational maxims of Grice’s cooperative principle, thereby exercising verbal power over other interlocutors. As is demonstrated in a qualitative pragma-stylistic framework, the villains’ discursive strategies amount to stylistic deviation resulting in suspenseful implicatures. In particular, suspense is commonly caused by digressing from current topics, by giving too little information or too many details, by being insincere or ironic, and by making equivocal or redundant statements.
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Frasson, Luana. "Os paradoxos conceituais de Charles Derry: O catálogo em debate." Anagrama 5, no. 2 (2011): 1–11. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2011.35629.
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O presente ensaio percorre ao longo da carreira acadêmica do pesquisador Charles Derry, seus textos mais relevantes de forma crítica, visando à análise de sua contribuição como catalogador e pensador de cinema, buscando aporte em teóricos da psicanálise e da filosofia, auxiliando na compreensão para o estudo teórico e do “thriller de suspense” como um gênero e o nascimento de subgêneros cinematográficos que evoluíram em conjunto com o panorama sócio histórico ao longo do século vinte
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Cilliers, Louise. "Techniques used in creating dramatic suspense in roman comedy and a modern thriller." Journal of Literary Studies 12, no. 4 (1996): 367–83. http://dx.doi.org/10.1080/02564719608530148.
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Zhu, Xinchen. "Transcultural Appropriation and Aesthetic Breakthrough of Hollywood Film Noir in Contemporary Taiwan Suspense Thriller Films: A Case Study of Who Killed Cock Robin (2017)." Arts 13, no. 3 (2024): 96. http://dx.doi.org/10.3390/arts13030096.
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The production of suspense thriller films has recently surged in Taiwan. These films adopt narrative techniques and visual aesthetics reminiscent of classic and neo-noir Hollywood cinema but also address social issues in Taiwan and represent transcultural aesthetic appropriation of film noir. This article employs a case study approach to examine the narrative and visual style of the Taiwanese suspense thriller Who Killed Cock Robin (2017), using film narratology as a textual analytical framework. This study considers themes, characters, visual style, and narrative structures, focusing on fundamental characteristics of classic film noir and neo-noir. This study reveals that the selected film both appropriates and deviates from the aesthetics of Hollywood film noir. It effectively incorporates aesthetic elements from classic Hollywood film noir and neo-noir, enriching the intricacies of storytelling and character depiction, while also localizing them through complex narrative strategies and nuanced Taiwanese cultural and social elements. The film brings attention to several prevalent issues in Taiwan’s media landscape, including truth manipulation, sensationalism, tabloidization, and conglomerate and political control. The film portrays Yi-Chi as a morally compromised character embodying the detective archetype with classic noir traits, while also reflecting the “Eastern mentality” in Taiwan journalism. Despite his moral compromises, Yi-Chi partly retains traditional virtues, presenting a nuanced view of human nature that blends pessimism and optimism in Taiwan. This approach creates a distinct cross-cultural narrative that resonates emotionally with Taiwanese audiences, while also contributing to the broader global cinematic discourse on film noir.
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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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Fang, Wang. "The Playwriting Characteristic Analysis of American Contemporary Suspense Thriller - Based on the Gone Girl -." Journal of the Korea Entertainment Industry Association 13, no. 7 (2019): 145–53. http://dx.doi.org/10.21184/jkeia.2019.10.13.7.145.
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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.
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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
Dissertations / Theses on the topic "Thriller / suspense"
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Waage, Fred. "The Birth Spoon." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.
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This mystery is set in the early 1980s and based on actual events. A high-school student unearths dark and deadly secrets of his Appalachian community. The explosive consequences forever mark his own life, his family's, and his town's.<br>https://dc.etsu.edu/etsu_books/1009/thumbnail.jpg
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Brandão, Alessandra Soares. "Screening thrilles." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83200.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente<br>Made available in DSpace on 2012-10-19T21:48:11Z (GMT). No. of bitstreams: 0<br>A análise da construção do suspense através da manipulação do espaço e do tempo em duas adaptações cinematográficas de Alfred Hitchcock, A Janela Indiscreta e Os Pássaros. Propõe que os filmes mostram uma articulação entre tempo e espaço que parece aumentar o suspense dos contos nos quais foram baseados e que o aumento do suspense é criado por elementos como o privilégio à montagem e o modelo clássico de cinema. A relação entre espaço, tempo e tema, isto é, entre forma e conteúdo, subjaz à leitura dos filmes. Considera-se que no processo de adaptação o filme adquire um significado independente através das inescapáveis e essenciais diferenças da obra literária. Assim, pretende mostrar que os contos, apesar de sua própria articulação entre tempo e espaço, não produzem a quantidade de suspense criada no filmes, devido a uma série de fatores que vão da edição e da mudança de meio e propriedades ao estilo Hitchcockiano.
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Pratt, Scott. "River on Fire: Disscussion/Study Guide Included." Digital Commons @ East Tennessee State University, 2013. https://www.amzn.com/B01N3UMM5E/.
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River on Fire" is the story of Randall Smith, a foundling orphan growing up in the midwestern United States in the late 1960s. Without the intimate guidance of loving parents, Randall struggles to understand a dangerous and confusing world during one of the most tumultuous times in modern history. Immensely readable and filled with humor and irony, "River on Fire" will both warm and break your heart. A Discussion/Study Guide is included at the end of the novel.<br>https://dc.etsu.edu/alumni_books/1031/thumbnail.jpg
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Elston, James C. (James Cary). "Bearclaw: a Novel." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500777/.
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Written in the tradition of American political suspense thrillers such as "Fail-Safe" and "Seven Days In May," "Bearclaw" uses their idealistic and nationalistic elements to tell a story of an American President eager to lead the world's peoples in a quest to achieve man's "highest destiny," the conquest of space. Believing that this common goal will cause mankind to come together in a spirit of brotherhood, he misreads the historical purpose of the United States and, in the end, refuses to recognize the obvious truths of human frailty and ambition even though he has been victimized by them. The Introduction is a brief survey of the sociopolitical and literary forces which combined to create the American political suspense thriller and an attempt to define its place in the literary canon.
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Almeida, Francisca Alves Moreira Gomes de. "Produção de suspense nos thrillers do cinema americano : 1940-1980 : formas e métodos de montagem." Master's thesis, 2017. http://hdl.handle.net/10400.14/26376.
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A dissertação tem como tema a “Produção de Suspense nos Thrillers do Cinema
Americano (1940-1980) – Formas e Métodos de Montagem”.
O objectivo central da dissertação é a montagem cinematográfica, sendo explorada as
melhores formas e métodos de montagem dos realizadores no contexto do Cinema
Americano, de forma a produzirem suspense nos seus filmes.
No contexto do tema apurado, serão analisados filmes e processos de montagem de
realizadores que marcaram os thrillers do Cinema Americano: Alfred Hitchcock, Francis
Ford Coppola, Martin Scorsese, Michael Curtiz, Orson Welles e Stanley Kubrick.
Através dos métodos de montagem paralela, montagem através do ponto de vista, pacing
(ritmo) e jump cut, serão analisadas cenas dos seguintes filmes: Psycho (1960, Alfred
Hitchcock), Taxi Driver (1976, Martin Scorsese), The Conversation (1974, Francis Ford
Coppola), The Shining (1980, Stanley Kubrick) e Touch Of Evil (1958, Orson Welles).
A metodologia deste trabalho assenta na consulta de artigos científicos e livros
relacionados com o tema e na visualização e na análise de filmes.
Para investigar as melhores formas e métodos de montagem, serão explorados alguns livros
de edição como Cutting Rhytms: Shaping The Film Edit (2006) de Karen Pearlman e A
Estética da Montagem (2010) de Vicent Amiel. Pesquisando o cinema americano e os
respectivos realizadores, serão utilizados alguns livros como American Cinema Of The
1960s: Themes and Variations (2008) de Barry Keith Grant; American Cinema Of The
1970s: Themes and Variations (2007) de Lester D. Friedman; American Cinema Of The
1980s: Themes and Variations (2007) de Alexander Wolker; Stanley Kubrick Directs (1972)
de Alexander Walker; Hitchcock (1985) de François Truffaut; Thrillers: Genres In American
Cinema (1999), de Martin Rubin; A Cinema Of Loneliness: Penn, Kubrick, Scorsese, Altman
(1988) de Robert Phillip Kolker; A Companion To Martin Scorsese (2014), de Aaron Baker;
The Francis Ford Coppola Encyclopedia (2010) de James Welsh, entre outros.<br>This dissertation is named "Produção de Suspense nos Thrillers do Cinema
Americano (1940-1980) – Formas e Métodos de Montagem".
The main subject of the dissertation is the cinematographic montage, in which are
explored the best ways and methods of montage of the directors in the American Cinema
context, in order to produce suspense in their movies.
In the context of the theme under study, they will be analised movies and processes
of montage of directors that marked the thrillers of the American Cinema: Alfred Hitchcock,
Francis Ford Coppola, Martin Scorsese, Michael Curtiz, Orson Welles e Stanley Kubrick.
Through the methods of parallel montage, montage through the point of view, pacing
(rhythm) and jump cut, will be analyzed scenes of the following movies: Psycho (1960,
Alfred Hitchcock), Taxi Driver (1976, Martin Scorsese), The Conversation (1974, Francis
Ford Coppola), The Shining (1980, Stanley Kubrick) and Touch Of Evil (1958, Orson
Welles).
The methodology of this work is based on the research of cientific articles and books
related with the subject of the dissertation and in the visualization and movie analysis.
To explore the best ways and methods of montage, it will be explored some editing
books like “Cutting Rhytms: Shaping The Film Edit” (2006) from Karen Pearlman and “A
Estética da Montagem” (2010) from Vicent Amiel. Searching the american cinema and its
filmmakers it will be used some books like “American Cinema Of The 1960s: Themes and
Variations” (2008) from Barry Keith Grant; “American Cinema Of The 1970s: Themes and
Variations” (2007) from Lester D. Friedman; “American Cinema Of The 1980s: Themes and
Variations” (2007) from Alexander Wolker; “Stanley Kubrick Directs” (1972) from
Alexander Walker; “Hitchcock” (1985) from François Truffaut; “Thrillers: Genres In
American Cinema” (1999), from Martin Rubin; “A Cinema Of Loneliness: Penn, Kubrick,
Scorsese, Altman” (1988) from Robert Phillip Kolker; “A Companion To Martin Scorsese”
(2014), from Aaron Baker; “The Francis Ford Coppola Encyclopedia” (2010) from James
Welsh, among others.
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"The multiplicity of the detective thriller as literary genre." 2003. http://library.cuhk.edu.hk/record=b5896108.
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Kwok Sze-Ki.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.<br>Includes bibliographical references (leaves 131-138).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>摘要 --- p.iii<br>Acknowledgements --- p.v<br>Introduction The Genre of Detective Thriller --- p.1<br>Chapter Chapter One --- The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackroyd --- p.33<br>Chapter Chapter Two --- """Thrillers are like life´ؤmore like life than you are"": Graham Greene's The Ministry of Fear" --- p.68<br>Chapter Chapter Three --- "Cultural and Metaphysical Mysteries: Paul Bowles's ""The Eye"" and Jorge Luis Borges's ""The Garden of Forking Paths""" --- p.99<br>Concluding Remarks --- p.127<br>Bibliography --- p.131
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Baraban, Elena V. "Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990s." Thesis, 2003. http://hdl.handle.net/2429/15156.
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The subject matter of my study is representations of Russia in Anglo-American
and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable
for representing the world split between good and evil, these genres played a prominent
role in constructing the image of the other during the Cold War. Crime fiction then is an
important source for grasping the changes in representing Russia after the Cold War. My
hypothesis is that despite the changes in the political roles of Russia and the United
States, the end of the Cold War and the demise of the Soviet Union continued to have a
significant impact on popular fiction about Russia in the 1990s. A comparative
perspective on depictions of Russia in the 1990s is particularly suitable in regard to
American and Russian popular cultures because during the Cold War, Soviet and
American identities were formed in view of the other. A comparative approach to the
study of Russian popular fiction is additionally justified by the role that the idea of the
West had played in Russian cultural history starting from the early eighteenth century.
Reflection on depictions of Russia in crime fiction by writers coming from the
two formerly antagonistic cultures poses the problem of representation in its relationship
to time, history, politics, popular culture, and genre. The methods used in this
dissertation derive from the field of cultural studies, history, and structuralist poetics. A
combination of structuralist readings and social theory allows me to uncover the ways in
which popular detective genres changed in response to the sentiments of nostalgia and
anxiety about repressed or lost identities, the sentiments that were typical of the 1990s.
My study of Anglo-American and Russian spy novels, mysteries, and action thrillers
contributes to our understanding of the ways American and Russian cultures invent and
reinvent themselves after a significant historical rupture, how they mobilize the past for
making sense of the present. Drawing on readings of literature and culture by such
scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen,
Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and
Russian representations of Russia are a result of cultural asymmetries and cultural
chronotopes in the United States and in Russia. I argue that Russian and American crime
fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and
historical sensibilities after the end of the Cold War and the fall of the Soviet Union.
Memories of the Cold War and coming to terms with the end of the Cold War played a
defining role in depicting Russia by Anglo-American detective authors of the 1990s; this
role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly,
reconsideration of Russian history became an essential characteristic in the development
of the new Russian detektiv.
Books on the topic "Thriller / suspense"
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Anand, Aryann Neeraaj. Vanishings: Suspense Thriller. Independently Published, 2021.
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Braganza, Alfredo De. Operativo (Suspense / Thriller Español). Independently Published, 2018.
Find full textBook chapters on the topic "Thriller / suspense"
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Butts, Dennis. "The Hunter and the Hunted: The Suspense Novels of John Buchan." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_4.
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Thompson, Kaelie. "The Suspense-Thriller’s Pygmalion Complex: Masculine Desire in Vertigo (1958), Les Biches (1968), and Body Double (1984)." In Classical Myth on Screen. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137486035_8.
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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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"The 'tough' suspense thriller." In In a Lonely Street. Routledge, 2006. http://dx.doi.org/10.4324/9780203130308-8.
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Toropova, Anna. "Learning to Hate." In Feeling Revolution. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831099.003.0004.
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With the return of the thriller genre onto Soviet screens in the late 1930s, cinema took a direct role in cultivating feelings of paranoid hatred for enemies. A body of films staging conspiracy, sabotage, and dark plots deployed the image of a persecutory ‘other’ to draw the defensive contours of Soviet identity. The Stalinist thriller’s mechanisms of paranoid projection and ‘splitting’ manufactured a sense of narcissistic self-mastery by directing outwards the ego-hostile forces internal to the subject. These paranoid defence strategies depended, however, on a risky process of negotiation. To create an image of a unified and harmonious social order, the thriller vividly represented threats to Soviet borders and identity, exposing their precariousness and fragility. Focusing on the genre’s deployment of the figure of duplicitous enemy and the narrative strategy of suspense, this chapter shows how the thriller’s characteristic unsettling of familiar patterns of identification turned the enemy’s ‘otherness’ into an object of fascination as well as repulsion. The thriller’s capacity to collapse boundaries between ‘Soviet’ and ‘unSoviet’ was nowhere more apparent than in the body of ‘dark’ films that emerged during the post-war period. Gesturing towards film noir’s pervasive sense of enclosure, loneliness, and anxiety, post-war thrillers like Secret Mission (dir. Mikhail Romm, 1950) and A Scout’s Exploit (dir. Boris Barnet, 1947) no longer permitted the spectator to identify with a position of narcissistic self-mastery. These ‘dark’ post-war thrillers conjured up a universe in which systems of knowledge proved unstable and identity structures vulnerable to contamination.
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"Chapter Four. Horror, Thriller, Suspense: “Who Are You?”." In The Crisis of Identity in Contemporary Japanese Film. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004171381.i-226.10.
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Baumgartner, Michael. "Referencing Music-Specific Genres and Genre-Specific Music." In Metafilm Music in Jean-Luc Godard's Cinema. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.003.0007.
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Abstract This chapter interprets metafilm music within a specific subcategory of quotation: musical referencing. Through referencing music-specific genres and genre-specific music, Godard explored in several of his 1960s films the music of the two popular Hollywood genres: musical comedy and film noir. In Une femme est une femme, he critically reflects on the Hollywood musical comedy by contradicting common Hollywood musical procedures. By alienating the familiar trope of Hollywood musical songs and dances, Godard accentuates the self-conscious artificiality of song-and-dance performances in musicals. He loosely follows the formulaic narrative strategy in classical Hollywood musicals, such as the self-reflexive model of the backstage musical, the love triangle, and the dual-focus narrative, as described by Rick Altman. A second investigation is devoted to the sci-fi noir thriller Alphaville, in which Godard converted Paul Misraki’s suspense score into a musical pastiche of film noir music. He requested from Misraki music that expressed the general mood of Alphaville at the expense of writing individual cues linked to specific narrative moments. By means of his somewhat unorthodox working method, Godard self-reflexively repurposed Misraki’s music for his sci-fi film noir reflection as a pastiched film noir score. He foregrounded the clichéd characteristics of Misraki’s paraphrasis of quintessential noir music as an ironic and imaginative reinterpretation of archetypical 1940s and 1950s noir B-movie music.
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Cohan, Steven. "Thrillers." In On Audrey Hepburn. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0006.
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Abstract This chapter looks at Charade and Wait Until Dark to analyze how, in playing a woman threatened with deception and murder in thrillers, Hepburn adjusted her screen persona to reflect her real age, reversed the conventional role of women in this genre through her strong female characters who confront danger on their own terms, and demonstrated her skill as an actress. The chapter looks at Charade to show how, through her performance, she controls the numerous tonal shifts as the film seesaws from romance to suspense to comedy. The chapter looks at Wait Until Dark to feature Hepburn’s strong character, who single-handedly deals with a psychopathic killer, as well as the acting challenge the film posed. Finally, the chapter looks at two lackluster thrillers Hepburn made following her sporadic return to acting toward the latter part of her life: the awful Bloodline and the generic TV movie Love Among Thieves.
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"Thrilled by Trilby? Dreading Dracula? Late-Victorian thrillers and the curse of the foreign tongue." In The Voices of Suspense and Their Translation in Thrillers. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401210690_004.
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"Thrills, Suspense, the Audience." In Hitchcock on Hitchcock, Volume 1. University of California Press, 2019. http://dx.doi.org/10.1525/9780520960947-005.
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