Ashworth, Mark, ‘Steele, Barbara’, in Kim Newman (ed), The BFI Companion to Horror. London: Cassell, 1996, pp.301-302.
Bonner, Frances and Jacobs, Jason, ‘The First Encounter: Observations on the Chronology of Encounter with some Adaptations of Lewis Carroll’s Alice books’, Convergence: The International Journal of Research into New Media Technologies, vol.17, no.1, 2011, pp.37-48.
Bright, Morris and Ross, Robert, Fawlty Towers: Fully Booked. London: BBC Worldwide, 2001.
Brooker, Peter, ‘Postmodern Adaptation: Pastiche, Intertextuality, and Re-Functioning’, in The Cambridge Companion to Literature on Screen, edited by Deborah Cartmell and Imelda Whelehan, Cambridge: Cambridge University Press, 2007, pp. 107-120.
Carney, Jessica, Who’s There: The Life and Career of William Hartnell, London: Fantom Publishing, 2013.
Cartmell, Deborah and Whelehan, Imelda (eds), The Cambridge Companion to Literature on Screen, Cambridge: Cambridge University Press, 2007
Chibnall, Steve and Petley, Julian (eds), British Horror Cinema, London: Routledge, 2002.
Cook, Pam, Fashioning the Nation: Costume and Identity in British Cinema, London: British Film Institute, 1996a.
_____ (ed), Gainsborough Pictures, London: Cassell, 1997.
_____, ‘On Memorialising Gainsborough Studios’, Journal of British Cinema and Television, vol.6, 2009, pp.249-255.
_____, ‘Neither Here nor There: National Identity in Gainsborough Costume Drama’, in Andrew Higson (ed), Dissolving Views: Key Articles on British Cinema, London: Cassell, 1996b.
Cooper, Ian, Devil’s Advocates: Witchfinder General. Leighton Buzzard: Auteur, 2011.
Crane, Jonathan Lake, Terror and Everyday Life: Singular Moments in the History of the Horror Film, Thousand Oaks: Sage, 1994.
Davies, Anthony, Filming Shakespeare’s Plays, Cambridge: Cambridge University Press, 1988.
Dixon, Wheeler Winston, The Charm of Evil: The Life and Films of Terence Fisher, Metuchen, NJ: The Scarecrow Press, 1991.
Eddington, Paul, So Far, So Good: The Autobiography, London: Hodder and Stoughton, 1995.
Edwards, Kyle Dawson, ‘Brand Name Literature: Film Adaptation and Selznick International Pictures’ Rebecca (1940)’, Cinema Journal 45, no.3, 2006, pp.32-58.
Forry, Steven Earl, Hideous Progenies: Dramatizations of ‘Frankenstein’ from Mary Shelley to the Present, Philadelphia: University of Pennsylvania Press, 1990.
Furmanek, Bob and Palumbo, Ron, Abbott and Costello in Hollywood, New York: Perigee Books, 1991.
Gillett, Philip, The British Working Class in Postwar Film, Manchester: Manchester University Press, 2003.
Hamilton, John, The British Independent Horror Film 1951-70, Hemlock Books, 2013.
Hand, Richard J and McRoy, Jay (eds), Monstrous Adaptations: Generic and Thematic Mutations in Horror Film, Manchester: Manchester University Press, 2007.
Hand, Richard J, ‘Paradigms of metamorphosis and transmutation: Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde’ in Richard J Hand and Jay McRoy (eds), Monstrous Adaptations: Generic and Thematic Mutations in Horror Film, Manchester: Manchester University Press, 2007, pp.9-19.
Harmes, Marcus, ‘Martians, demons, vampires and vicars: the Church of England in post-war science fiction’, The Journal of Religion and Popular Culture, vol.25, no.2, 2013, pp.217-229.
_____, ‘Why does your church look like a fortress? God and the Gothic in Doctor Who and Hammer’, Science Fiction Film and Television, vol.7, no.1, 2014, pp.99-116.
Harper, Sue, Picturing the Past: The Rise and Fall of the British Costume Film. London: British Film Institute, 1994.
Hearn, Marcus, The Hammer Vault, London: Titan Books, 2011.
Heffernan, James AW, ‘Looking at the Monster: Frankenstein and Film’, Critical Inquiry, vol.24, no.1, 1997, pp.133-58.
Higson, Andrew (ed), Dissolving Views: Key Articles on British Cinema, London: Cassell, 1996.
Hogg, Thomas Jefferson, The Life of Percy Bysshe Shelley, London: E. Moxon, 1858.
Hunter, I. Q., British Trash Cinema, London: British Film Institute, 2013.
______, ‘Hang On a Minute Lads, I Got a Great Idea: Three Ways (Not) to Remake a British Cult Film’, paper at Rewriting, Remixing and Reloading: Adaptations Across the Globe, International Conference, Centre for British Studies, Berlin, 30 September 2010.
Hutcheon, Linda, A Theory of Adaptation, London: Routledge, 2006.
Hutchings, Peter, Dracula, London: I. B. Tauris/British Film Institute, 2003.
______, ‘Fisher, Terence’, in Kim Newman (ed), The BFI Companion to Horror. London: Cassell, 1996, p.117.
______, Hammer and Beyond: the British Horror Film, Manchester: Manchester University Press, 1993.
______, The Horror Film, Harlow: Pearson, 2004.
______, Terence Fisher, Manchester: Manchester University Press, 2001.
Hutchinson, Tom. ‘Cushing, Peter’ in Kim Newman (ed), The BFI Companion to Horror. London: Cassell, 1996, pp.85-86.
Jacobs, Stephen. Boris Karloff: More than a Monster. Tomohawk Press, 2011.
Johnson, Tom, Censored Screams: The British Ban on Hollywood Horror in the Thirties, Jefferson: McFarland, 1997.
Johnson, Tom and del Vecchio, Deborah, Hammer Films: An Exhaustive Filmography, Jefferson: McFarland, 1996.
Jowett, Lorna and Stacey Abbott, TV Horror: Investigating the Dark Side of the Small Screen, London: I. B. Tauris, 2013.
Kendrick, James, ‘A Nasty Situation: Social Panics, Transnationalism and the Video Nasty’, in Steffen Hantke (ed), Horror Film: Creating and Marketing Fear, Jackson: University of Mississippi Press, 2004, pp.153-164.
Lee, Christopher, Tall, Dark and Gruesome, London: Victor Gollancz, 1997.
Leeder, Murray, ‘Collective Screams: William Castle and the Gimmick Film’, Journal of Popular Culture, vol.44, iss. 4, 2011, pp.773-795.
Leggett, Paul, Terence Fisher: Horror, Myth and Religion, Jefferson: McFarland, 2002.
Lowe, Victoria. ‘“Stages of Performance”: Adaptation and Intermediality in Theatre of Blood (1973)’, Adaptation, vol.3, no.2, 2010, pp.99-111.
Martin, Sara, ‘In Mary Shelley’s Loving Arms: Brian Aldiss’s Frankenstein Unbound and its Film Adaptation by Roger Corman’, Foundation, vol.89, 2003, pp.76-92.
Marwick, Arthur, Culture in Britain since 1945, Oxford: Basil Blackwell, 1991.
Maxford, Howard, Hammer, House of Horror: Behind the Screams, London: B. T. Batsford, 1996.
Macdonald, DL, Poor Polidori, Toronto: Toronto University Press, 1991.
McFarlane, Brian, Novel to Film: An Introduction to the Theory of Adaptation, Oxford: Clarendon Press, 1996.
Meikle, Denis, A History of Horrors: The Rise and Fall of the House of Hammer, rev.edn, Lanham, Maryland: Scarecrow Press, 2009.
Miller, Mark A, Christopher Lee and Peter Cushing and Horror Cinema: A Filmography of their 22 Collaborations, Jefferson: McFarland, 1995.
Murray, Simone, ‘Materializing Adaptation Theory: The Adaptation Industry’, Literature/Film Quarterly, vol.36, no.1, 2008, pp.4-20.
Newman, Kim (ed), The BFI Companion to Horror. London: Cassell, 1996.
Petley, Julian, ‘The Lost Continent’, in Charles Barr (ed), All Our Yesterdays: 90 Years of British Cinema, London, British Film Institute, 1986, pp.98-119.
Petrie, Duncan, ‘Innovation and Economy: The Contribution of the Gainsborough Cinematographer’, in Pam Cook (ed), Gainsborough Pictures, London: Cassell, 1997, pp.118-136.
Pirie, David, Hammer: A Cinema Case Study, London: British Film Institute, 1981.
______, A Heritage of Horror: The English Gothic Cinema 1946-1972, London: Gordon Fraser, 1973.
Policante, Amedeo, ‘Vampires of Capital: Gothic Reflections between Horror and Hope’, Cultural Logic, 2010.
Raggio, Olga, ‘The Myth of Prometheus: its Survival and Metamorphoses up to the Eighteenth Century’, Journal of the Warburg and Courtauld Institutes, vol.21, no.1/2, 1958, pp.44-62.
Ray, Robert B. ‘The Field of “Literature and Film”’, in James Naremore (ed), Film Adaptation, London: Athlone Press, 2000, pp.38-53.
Ross, Robert, The Carry On Story, London: Reynolds and Hearn, 2005.
Salisbury, Mark, ‘Graveyard Shift’, Fangoria, November 1999.
Sanders, Julie, Adaptation and Appropriation, London: Routledge, 2006.
Sangster, Jimmy, Do you Want it Good or Tuesday? From Hammer Films to Hollywood: A Life in Movies, Midnight Marquee Press, 2009.
Scott, Walter, ‘Modern Prometheus: A Novel’, Blackwood’s Edinburgh Magazine, vol.2, no.20 March-1 April, 1818, pp.613-620.
Sedgwick, Eve Kosofsky, The Coherence of Gothic Conventions, London: Methuen, 1986.
Shelley, Mary, Frankenstein, or, the Modern Prometheus (ed. Maurice Hindle), Harmondsworth: Penguin, 1985 (reissued 1992).
Stam, Robert, ‘Beyond Fidelity: The Dialogics of Adaptation’, in James Naremore (ed), Film Adaptation, London: Athlone Press, 2000, pp.54-76.
______, Literature Through Film: Realism, Magic and the Art of Adaptation, Oxford: Blackwell, 2005.
_____ and Raengo, Allesandra (eds), Companion to Literature and Film, Oxford: Blackwell, 2008.