Works Cited
A Quiet Place. Directed by John Krasinski, performances by Emily Blunt, Millicent Simmonds, Noah Jupe and John Krasinski, Paramount Pictures, 2018.
Antebellum. Directed by Gerard Bush and Christopher Renz, performances by Janelle Monáe, Jenna Malone, Gabourey Sidibe, Kiersey Clemons and Jack Huston, Lionsgate, 2020.
Barney Oldfield’s Race for a Life. Directed by Mack Sennett, Keystone Film Company, 1913.
Blow Out. Directed by Brian de Palma, performances by John Travolta, Nancy Allen and John Lithgow, Paramount Pictures, 1981.
Chion, Michele. The Voice in Cinema. Columbia University Press, 1999.
Dr. Jekyll and Mr. Hyde. Directed by John S. Robertson, Famous Players–Lasky/Artcraft Pictures, 1920.
Engelberg, Jonathan W. M. Acoustic, Emotional, and Perceptual Variation in Human Screams: Exploring the Diversity in a Basic Call Type, Emory University, 2021.
Engelberg, Jonathan WM, and Harold Gouzoules. “The Credibility of Acted Screams: Implications for Emotional Communication Research.” Quarterly Journal of Experimental Psychology, vol. 72, no. 8, 2019, pp. 1889-1902.
“Extreme Violence Directed at Women.” At the Movies. PBS, WTTW, Chicago, 18 Sept. 1980.
Frankenstein. Directed by J. Searle Dawley, Edison Manufacturing Company, 1910.
Gaines, Jane and Radha Vatsal. “How Women Worked in the US Silent Film Industry.” Women Film Pioneers Project, n.d.
Grunhauser, Eric. “The Myth of the Damsel on the Railroad Tracks.” Atlas Obscura, 23 Jan. 2017.
Harrington, Erin. Women, Monstrosity and Horror film: Gynaehorror. Routledge, 2017.
Kerner, Aaron Michael, and Jonathan L. Knapp. Affective Strategies in Transnational Media. Edinburgh University Press, 2016.
Kramer, Fritz. “Silent Movie Myth: Tied to the Railroad Tracks.” Movies Silently, 12 Mar. 2013.
Lebowitz, Michael A. “Holloway’s Scream: Full of Sound and Fury.” Historical Materialism, vol. 13, no. 4, 2005, pp. 217-231.
Lee, Theresa Man Ling. “Rethinking the Personal and the Political: Feminist Activism and Civic Engagement.” Hypatia, vol. 22, no. 4, 2007, pp. 163-179.
Lupack, Barbara Tepa. The Othering of Women in Silent Film: Cultural, Historical, and Literary Contexts. Lexington Books/Fortress Academic, 2024.
Nosferatu. Directed by F. W. Murnau, Prana, 1922.
Phillips, Kendall R. Projected Fears: Horror Films and American Culture. Bloomsbury Publishing USA, 2005.
Schwartz, Jay W., Jonathan WM Engelberg, and Harold Gouzoules. “Was That a Scream? Listener Agreement and Major Distinguishing Acoustic Features.” Journal of Nonverbal Behavior, vol. 44, 2020, pp. 233-252.
Schwenger, Peter. “Phenomenology of the Scream.” Critical Inquiry, vol. 40, no. 2, 2014, pp. 382-395.
Searl, M. N. “The Psychology of Screaming.” The International Journal of Psycho-Analysis, vol. 14, 1933, p. 193.
Shary, Timothy, and Nancy McVittie. Fade to Gray: Aging in American Cinema. University of Texas Press, 2016.
Sloan, Kay. “Sexual Warfare in the Silent Cinema: Comedies and Melodramas of Woman Suffragism.” American Quarterly, vol. 33, no. 4, 1981, pp. 412-436.
Teddy at the Throttle. Directed by Mack Sennett, Triangle Film Corporation, 1917.
The Attempt on the Special. Directed by Unknown, Pathé/American Kinema, 1911.
The Cabinet of Dr. Caligari. Directed by Robert Wiene, Decia Film, 1920.
The Doll’s Revenge. Directed by Cecil M. Hepworth, Hepworth, 1907.
The Infernal Cauldron. Directed by Georges Méliès, Star Film Company, 1903.
The Lonely Villa. Directed by Mack Sennett, Biograph Company, 1909.
The Tingler. Directed by William Castle, performances by Vincent Price, Judith Evelyn and Pamela Lincoln, Columbia Pictures, 1959.
The Train Wreckers. Directed by Edwin S. Porter, Edison Manufacturing Company, 1905.
Todd, Barbara. “Separate Spheres: Woman’s Place in Nineteenth-Century America.” Canadian Review of American Studies, vol. 16, no. 3, 1985, pp. 329-338.
Wills, Matthew. “How Women’s Suffrage Has Been Represented in American Film.” JSTOR Daily, 9 Dec. 2017.
Within Our Gates. Directed by Oscar Micheaux, Micheaux Book and Film Company, 1920.