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Impossible Origins: Trauma Narrative and Cinematic Adaptation

Arts (Basel), 2021-01, Vol.10 (1), p.15

Belau, Linda

2021

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Horror Television in the Age of Consumption: Binging on Fear

1, 2018

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Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film

Film & history, 2016-01, Vol.46 (2), p.35-45

2016

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HAS TOMOMI LOST HER MIND? PSYCHOSIS, FEMININITY, AND THE UNIVERSAL APPEAL OF KAZUMI YUMOTO'S "THE SPRING TONE"

Studies in the novel, 2010-03, Vol.42 (1/2), p.11-27

BELAU, LINDA

2010

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Writing in Translationese: Kazuo Ishiguro’s The Remains of the Day and the Uncanny Dialect of the Diasporic Writer

Diaspora (New York, N.Y.), 2012-03, Vol.16 (1-2), p.67-91

2012

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Viewing the Impossible: The U.S. Holocaust Memorial Museum

The Reference librarian, 1998-04, Vol.29 (61-62), p.15-22

Belau, Linda M.

1998

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Reading Kristeva and beyond: Psychoanalysis As Textual Ethics

Critical studies (Amsterdam, Netherlands), 2005-01, Vol.26, p.175-189

Belau, Linda

2005

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Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination

ReFocus, 2022, p.178-194

2022

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Writing in Translationese: Kazuo Ishiguro’s The Remains of the Day and the Uncanny Dialect of the Diasporic Writer

Diaspora (New York, N.Y.), 2007-04, Vol.16 (1-2), p.67-91

2007

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Family Ties and Maternal Things: Bates Motel as Family Romance for the Post-Oedipal Era

Horror Television in the Age of Consumption, 2018, p.104-119

1, 2018

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Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination

ReFocus: The Films of Andrei Tarkovsky, 2021, p.178

2021

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Reading Otherwise: The Hermeneutics of Psychoanalysis (Trauma, Repetition, and the Signifier)

Janus head, 2002, Vol.5 (1), p.122-136

Belau, Linda

2002

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Trauma and the Material Signifier

Postmodern culture, 2001, Vol.11 (2)

Belau, Linda

2001

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Sleepy Hollow and the Horrors of History Post-9/11

Horror Television in the Age of Consumption, 2018, p.135-147

1, 2018

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Resurrection: Ash vs Evil Dead, Network Television, and the Cult Horror Film Revival

Horror Television in the Age of Consumption, 2018, p.176-186

1, 2018

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Masters of Mise-En-Scène: The Stylistic Excess of Hannibal

Horror Television in the Age of Consumption, 2018, p.120-134

1, 2018

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Welcome to the Upside Down: Nostalgia and Cultural Fears in Stranger Things

Horror Television in the Age of Consumption, 2018, p.187-201

1, 2018

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If I Could Have Feelings at All, I’d Have Them for Deb: Love, Law, and Loss in Showtime’s Dexter

Horror Television in the Age of Consumption, 2018, p.62-75

1, 2018

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White Trash in Wife-Beaters? U.S. Television Werewolves, Gender, and Class

Horror Television in the Age of Consumption, 2018, p.76-89

1, 2018

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Where It Belongs: Television Horror, Domesticity, and Alfred Hitchcock Presents

Horror Television in the Age of Consumption, 2018, p.29-44

1, 2018

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Slashing through the Bonds of Blood: Queer Family and Scream: The TV Series

Horror Television in the Age of Consumption, 2018, p.161-175

1, 2018

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Introduction: Binging on Horror

Horror Television in the Age of Consumption, 2018, p.1-15

1, 2018

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The Thing “Chants Out Between Two Worlds”: Surreal Latency in the Twin Peaks Universe

Horror Television in the Age of Consumption, 2018, p.45-61

1, 2018

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It’s a Monster Mash! Penny Dreadful and the Return to (and of) Contemporary Horror’s Victorian Roots

Horror Television in the Age of Consumption, 2018, p.148-160

1, 2018

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The World Is Changing Again: Bodies, Interpretation, and the Monotony of the Drive in The Walking Dead

Horror Television in the Age of Consumption, 2018, p.90-103

1, 2018

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Impossible Origins: Trauma Narrative and Cinematic Adaptation

Horror Television in the Age of Consumption: Binging on Fear

Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film

HAS TOMOMI LOST HER MIND? PSYCHOSIS, FEMININITY, AND THE UNIVERSAL APPEAL OF KAZUMI YUMOTO'S "THE SPRING TONE"

Writing in Translationese: Kazuo Ishiguro’s The Remains of the Day and the Uncanny Dialect of the Diasporic Writer

Viewing the Impossible: The U.S. Holocaust Memorial Museum

Reading Kristeva and beyond: Psychoanalysis As Textual Ethics

Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination

Writing in Translationese: Kazuo Ishiguro’s The Remains of the Day and the Uncanny Dialect of the Diasporic Writer

Family Ties and Maternal Things: Bates Motel as Family Romance for the Post-Oedipal Era

Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination

Reading Otherwise: The Hermeneutics of Psychoanalysis (Trauma, Repetition, and the Signifier)

Trauma and the Material Signifier

Sleepy Hollow and the Horrors of History Post-9/11

Resurrection: Ash vs Evil Dead, Network Television, and the Cult Horror Film Revival

Masters of Mise-En-Scène: The Stylistic Excess of Hannibal

Welcome to the Upside Down: Nostalgia and Cultural Fears in Stranger Things

If I Could Have Feelings at All, I’d Have Them for Deb: Love, Law, and Loss in Showtime’s Dexter

White Trash in Wife-Beaters? U.S. Television Werewolves, Gender, and Class

Where It Belongs: Television Horror, Domesticity, and Alfred Hitchcock Presents

Slashing through the Bonds of Blood: Queer Family and Scream: The TV Series

Introduction: Binging on Horror

The Thing “Chants Out Between Two Worlds”: Surreal Latency in the Twin Peaks Universe

It’s a Monster Mash! Penny Dreadful and the Return to (and of) Contemporary Horror’s Victorian Roots

The World Is Changing Again: Bodies, Interpretation, and the Monotony of the Drive in The Walking Dead

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