Psycho-killer: Shifting spectator address from Psycho to Bates Motel

References

1. Bates Motel ( 2013–17, USA:: Universal Television and E&A;).
   [Google Scholar]
2. Belau, Linda. ( 2018;), ‘ Family ties and maternal things: Bates Motel as family romance for the post-Oedipal era. ’, in K. Jackson, and L. Belau. (eds), Horror Television in the Age of Consumption: Binging on Fear, New York and London:: Routledge;, pp. 104–19.
   [Google Scholar]
3. Cavell, Stanley., ( 1992), Contesting Tears: The Hollywood Melodrama of the Unknown Woman, Chicago, IL:: University of Chicago Press;.
   [Google Scholar]
4. Chion, Michel. ( 2010;), ‘ The impossible embodiment. ’, in S. Žižek. (ed.), Everything You Always Wanted to Know about Lacan but Were Afraid to Ask Hitchcock, London:: Verso;, pp. 195–207.
   [Google Scholar]
5. Clover, Carol J.. ( [1992] 2015), Men, Women, and Chain Saws: Gender in the Modern Horror Film, Princeton:: Princeton University Press.;
   [Google Scholar]
6. Cukor, George. ( 1949), Adam’s Rib, USA:: Metro-Goldwyn-Mayer;.
   [Google Scholar]
7. Diquinzio, Patrice. ( 1993;), ‘ Exclusion and essentialism in feminist theory: The problem of mothering. ’, Hypatia, 8:3, pp. 1–20.
   [Google Scholar]
8. Durgnat, Raymond. ( 2010), A Long Hard Look at Psycho, London:: BFI;.
   [Google Scholar]
9. ‘ First You Dream, Then You Die. ’ ( 2012), Tucker Gates (dir.), Bates Motel, 1/1 (March 2013, US:: Universal Television;).
   [Google Scholar]
10. Friedman, Lester,, Desser, David,, Kozloff, Sarah,, Nochimson, Martha, and Prince, Stephen. ( 2015), An Introduction to Film Genres, New York:: Norton;.
    [Google Scholar]
11. Gunning, Tom. ( 1989;), ‘ The cinema of attractions. ’, in T. Corrigan,, P. White, and M. Mazaj. (eds), Critical Visions in Film Theory, Boston, MA:: Bedford/St Martins;, pp. 69–76.
    [Google Scholar]
12. Hitchcock, Alfred. ( 1960), Psycho, USA:: Universal Studios;.
    [Google Scholar]
13. Humm, Maggie. ( 1997), Feminism and Film, Bloomington, IN:: Indiana University Press;.
    [Google Scholar]
14. Joyrich, Lynne. ( 1992;), ‘ All that television allows: TV melodrama, postmodernism, and consumer culture. ’, in L. Speigel, and D. Mann. (eds), Private Screenings: Television and the Female Consumer, Minneapolis:: University of Minnesota Press;, pp. 227–51.
    [Google Scholar]
15. Metz, Christian. ( 1982), The Imaginary Signifier, Bloomington, IN:: Indiana University Press;.
    [Google Scholar]
16. Modleski, Tania. ( 1988;), ‘ Hitchcock, feminism, and the patriarchal unconscious. ’, in T. Corrigan,, P. White, and M. Mazaj. (eds), Critical Visions in Film Theory, Boston, MA:: Bedford/St Martins;, pp. 377–85.
    [Google Scholar]
17. Mulvey, Laura. ( [1975] 1996;), ‘ Visual pleasure and narrative cinema. ’, in The Sexual Subject: A Screen Reader in Sexuality, New York:: Routledge;, pp. 22–34.
    [Google Scholar]
18. Negra, Diane. ( 1996;), ‘ Coveting the feminine: Victor Frankenstein, Norman Bates, and Buffalo Bill. ’, Literature/Film Quarterly, 24:2, pp. 193–200.
    [Google Scholar]
19. Scahill, Andrew. ( 2016;), ‘ Serialized killers: Prebooting horror in Bates Motel and Hannibal. ’, in A. A. Klein, and B. Palmer. (eds), Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television, Austin, TX:: University of Texas Press;, pp. 316–35.
    [Google Scholar]
20. Thirtysomething ( 1987–91, USA:: The Bedford Falls Company and MGM/UA Television Productions;).
    [Google Scholar]
21. Torres, Sasha. ( 1993;), ‘ Melodrama, masculinity, and the family: Thirtysomething as therapy. ’, in C. Penley, and S. Willis. (eds), Male Trouble, Minneapolis, MN:: University of Minnesota Press;, pp. 283–304.
    [Google Scholar]
22. Truffaut, François. ( 1984), Hitchcock, New York:: Simon & Schuster;.
    [Google Scholar]
23. Žižek, Slavoj. ( 2010;), ‘ In his bold gaze my ruin is writ large. ’, in S. Žižek. (ed.), Everything You Always Wanted to Know about Lacan but Were Afraid to Ask Hitchcock, London:: Verso;, pp. 211–72.
    [Google Scholar]
24. Dubois, Derek. ( 2021;), ‘ Psycho-killer: Shifting spectator address from Psycho to Bates Motel. ’, Journal of Adaptation in Film & Performance, 14:2, pp. 163–77, https://doi.org/10.1386/jafp_00051_1
    [Google Scholar]