Ben Challis, Geraint D’Arcy, Robert Dean, Richard Hand, Rob Smith & Mary Traynor (2014) 'Wireless zombies! A re-creation of Golden Age radio drama for a contemporary audience’, Studies in Theatre and Performance 34(3): 252-259
McElroy, R. (ed.) (forthcoming 2017) Contemporary British TV Crime Drama, Ashgate
Williams, R. (forthcoming, under contract) Theme Park Fandom: Distinction, Immersion and Participatory Culture, Amsterdam: University of Amsterdam Press.
Williams, R. (ed.) (forthcoming, under contract) Transitions, Endings, and Resurrections in Fandom, University of Iowa Press.
Williams, R. (2015) Post-object Fandom: Television, Identity and Self-Narrative, London: Bloomsbury.
Smith, A. (forthcoming, 2017) 'Universal Pictures of the 1930s’. In Gothic Projections, edited by R. Hand and J. McRoy, Edinburgh University Press.
Russell, D. (forthcoming) 'Narrative, Space and Autobiographical film in the Digital Age: An Analysis of The Beaches of Agnès’ in Johannes Riquet and Elizabeth Kollman (eds)Travelling Narratives, London: Routledge.
Williams, R. (forthcoming) ‘Fan pilgrimage & tourism’ in Melissa Click and Suzanne Scott (ed.) The Routledge Companion to Media Fandom, London: Routledge.
Williams, R. (forthcoming) ‘“Fate has a habit of not letting us choose our own endings”: Post-object fandom, social media & uncertainty at the end of Hannibal’ in Paul Booth (ed.) A Companion to Fandom and Fan Studies, Blackwell.
Williams, R. (forthcoming) ‘Saving Maelstrom: Theme park fandom, replacement and the Disney brand’ in Rebecca Williams (ed.) Transitions, Endings, and Resurrections in Fandom, University of Iowa Press.
Williams, R. (forthcoming) ‘“Putting the show out of its misery” – Textual endings, anti-fandom and the ‘rejection discourse’’ in Melissa Click (ed.) Dislike, Hate, and Anti-Fandom in the Digital Age, New York: New York University Press.
Williams, R. (forthcoming) ‘Walking Whitechapel: Ripper Street, Whitechapel, and place in the Gothic crime drama’ in Ruth McElroy (ed.) Cops on The Box: Crime Drama on Contemporary UK Television Screens, Ashgate.
McElroy, R. (2017), ‘The Feminization of Contemporary British Television Drama: Sally Wainwright and Red Production’ in Moseley, R., Wheatley, H. and Wood, H. (eds.) Television for Women: New Directions, Routledge.
Smith, A. and Orrillard, N. (2016) ‘Working with Actors: Learning – teaching – Learning’ In 21st Century Film, Television and Media School: Challenges, Clashes, Changes by Mourao, M., Semerdjiev, S., Mello, C. & Taylor, A. (eds), Centre International de Liaison des Ecoles de Cinéma et de Télévision (CILECT).
Williams, R. and R. McElroy (2016) ‘Omnisexuality And The City: Exploring national and sexual identity in BBC Wales’ Torchwood’ in Huw Osborne (ed.) Queer Wales:The History, Culture and Politics of Queer Life in Wales, Lampeter: University of Wales Press.
Williams, R. (2016) “We live round here too”: Representing fandom and local celebrity in Pulp: A Film About Life, Death & Supermarkets’, in Lucy Bennett and Paul Booth (ed.) Seeing Fans: Representations of Fandom in Media and Popular Culture, London: Bloomsbury Academic.
McElroy, R. (2016) 'Minor Cinema’ in Claire Molloy and Yannis Tzioumakis (eds.) Routledge Companion to Film and Politics, London: Routledge
Williams, R. (2015) ‘“Anyone who Calls Muse a Twilight Band will be Shot on Sight”: Music, Distinction, and the “Interloping Fan” in the Twilight Franchise’, in Mark Duffett (ed.) Fan Identities and Practices: Dedicated to Music, London: Routledge. [Reprint of journal article]
Williams, R. (2014) ‘Neighbours’ in Bridget Griffen-Foley (ed.) A Companion to the Australian Media, Australian Scholarly Publishing.
Jordan, G. (forthcoming) ‘Subversive ethnography: voices from below in Cardiff Bay”, Cultural Studies–Critical Methodologies.
McElroy, R. with Papagiannouli, C. & Wiliam, H. (2017) Broadcasting after devolution: policy and critique in the Welsh media landscape 2008–2015, International Journal of Cultural Policy, DOI 10.1080/10286632.2016.1268133v.
Williams, R. (2016) 'No Lynch, No Peaks!’ Authorship, fan/actor campaigns and the challenges of Twin Peaks’ return Series, International Journal of TV Serial Narratives, 2 (2), pp. 55-65.
Williams, R. (2016) ‘In Focus: Ontological security, authorship and resurrection: Exploring Twin Peaks’ social media afterlife’, Cinema Journal.
McElroy, R. (2016), Guest editor and introduction, 'Television Production in Small Nations’, Journal of Popular Television 4 (1), pp.69-73
McElroy, R. and Noonan, C. (2016), 'Television drama production in small nations: Mobilities in a changing ecology’ Journal of Popular Television 4 (1), pp.109-127
Williams, R. (2016) Localebrities, adopted residents, and local characters: Audience and celebrity in a small nation, Celebrity Studies. Online First.
Williams, R. (2014) The past isn’t dead…it’s deadly”: Horror, history and locale in ITV1’s Whitechapel, Journal of British Cinema and Television, 11 (1): 68-85.
Williams, R. (2014) ‘“The past isn’t dead…it’s deadly”: Horror, history and locale in ITV1’s Whitechapel’, Journal of British Cinema and Television.
Carr, P (2017). Sting: From Northern Skies to Fields of Gold, Reaktion.
Carr, P (2018). 'Rock Music Pedagogy: A Reflective Analysis’, in Allan Moore, The Bloomsbury Handbook of Rock Music Research.
Carr, P (2016). ‘The Impact of Virtuality in the Creation and Reception of the Music of Frank Zappa, in Sheila Whitely and Shara Ramarran (eds), The Oxford Handbook of Music and Virtuality, pp. 81 – 94.
Carr, P (2016). Final Thoughts on Musical Virtuality’, in Sheila Whitely and Shara Ramarran (eds), The Oxford Handbook of Music and Virtuality, pp. 613 – 625.
Carr, P, Challis, B (2015). ‘Quand l’impossible devient réel : typologie des boucles, impact de l’immédiat et de l’hypermédia sur la pop music’ (‘The Impossible Made Real: A Typology of Loops and an exploration of the impact of immediacy and hypermediacy in Popular Music’). Book Chapter in in Livo Bettoi, Michel Delville, Chrostophe Levaux, Christophe Pirenne, Bouchle et Repetition: musique, literature, arts visuels. Collection Clinamen, pp. 85-102 (in French).
Carr, P (2014). ‘The Big Note, Xenochrony and all Things Contextual, in, Nearchos Panos et al. (eds), Proceedings of the International Conference on Music Semiotics: In Memory of Raymond Monelle, The University of Edinburgh, pp. 455-463. ISBN: 978-0-9576548-0-8
Carr,P (2014). ‘Zappanale: My Kind of Music Festival’, in Dieter Jakob, Robert Riedt, Bukhard Schempp (eds), We Are the Other People: 25 Years of Zappanale, Wehrhahn Verlag, pp. 280-283.
Carr, P (2014). 'The Live Music Industry in Wales: The Sustainability and Working Practices of a Nation’, Civilizations (13): The State of Music Industry, pp. 201-220.
Carr, P, Dennis, R, Hand, R (2014). Dancing With Inter-disciplinarity: Strategies and Practices in HE Dance, Drama And Music, The Higher Education Academy.
Lewis, L. (forthcoming 2017) Performing Wales: People, Memory and Place, UWP.
Smith, A. and Reynolds, J. (eds.) (2016) Howard Barker’s Theatre: Wrestling With Catastrophe, London: Methuen, June 2015. Shortlisted for the Theatre Society Book of the Year, 2016.
Underwood-Lee, E. (with Lena Simic) (2016) Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal London: Live Art Development Agency, London: LADA.
Papagiannouli, C. (2016) Political Cyberformance: The Etheatre Project, Basingstoke: Palgrave Macmillan.
Hand, R. (with Michael Wilson)(2016) Performing Grand-Guignol: Playing the Theatre of Horror, University of Exeter Press.
Hand, R. (with Andrew Purssell) (2015) Adapting Graham Greene Palgrave Macmillan
Lacey, S. (with Paget, D.) (2015)“The War on Terror: Post-9/11 Television Drama, Docudrama and Documentary. University of Wales Press.
Lacey, S. (2014) (ed.) Television Drama: Past, Present and Future. Palgrave Macmillan.
Hand, R. (2014) Listen in Terror: British Horror Radio from the Advent of Broadcasting to the Digital Age Manchester: Manchester University Press.
Minier, M. (with Pennacchia, M.) (2014) Adaptation, Intermediality and the British Celebrity Biopic, Farnham: Ashgate.
Underwood-Lee, E. (forthcoming) ‘Titillation Script and Introduction’ in Bleakley, A., Lynch, L. and Whelan, G. (eds) Risk and Regulation at the Interface of Medicine and the Arts Newcastle: Cambridge Scholars.
Ramsden, H, Milling, J & Simpson, R (2017) 'Understanding grassroots arts groups and practices in communities’ in A McCabe & J Phillimore (eds), Community Groups in Context: Local activities and actions. Third Sector Research Series, Policy Press, Bristol, UK.
Hand, R. (2016) 'Disruptive Corpses: Tales of the Living Dead in Horror Comics of the 1950s and Beyond’ in D. Fischer-Hornung, T. Fox and M. Mueller (eds.) Vampires and Zombies: Transnational Transformations . University Press of Mississippi, pp. 213-228.
Minier, M. (2016) ’Interdisciplinary Considerations about a Subgenre of the Contemporary Biographical Drama: Celebrity and Fandom in Recent Adaptations of Famous Lives for the Stage’ Critical Stages 12 (Special Topics: Adaptation, ed. by Patrice Pavis), 2015.
Smith, A. (2015) “’To experience a thing as beautiful”: the Photographic Practice of Howard Barker.’ In: Howard Barker’s Theatre: Wrestling With Catastrophe, James Reynolds and Andy W. Smith (eds.), London: Methuen.
Smith, A. (2015) ‘Staging Barker in America – Andy W. Smith in conversation with Cheryl Faraone and Richard Romagnoli’ In: Howard Barker’s Theatre: Wrestling With Catastrophe, James Reynolds and Andy W. Smith (eds.), London: Methuen.
Crews, S. (2015) ‘Barker from a Viewpoint: Staging Ursula: Fear of the Estuary’ in Howard Barker’s Theatre: Wrestling with Catastrophe by Reynolds, J and Smith, A. (eds.), Methuen Engage Series.
Minier, M. (2014) ‘Uprooting Shakespeare: A Historical Survey of Early to Institutionalised Hungarian Shakespeare Translation’ in In double trust: Shakespeare in Central Europe edited by Jana Bzochova-Wild (Bratislava, Slovakia: VSMU, 2014, pp. 29-51).
Underwood-Lee, E. (with Simic, L.) (forthcoming) ‘Performance and the Maternal’ Contemporary Theatre Review 28:4.
Underwood-Lee, E. (with Simic, L.)(forthcoming 2017) ‘On the Maternal’ special edition of Performance Research, (22.6). This will include a joint authored article (with Simic) ‘Manifesto for Maternal Performance’.
Underwood-Lee, E. (with Simic, L.) (Forthcoming) “Performance and the Maternal” Contemporary Theatre Review 28:4.
Lewis, L. and Sharma, A. (2016), 'Welsh and Khasi Cultural Dialogues: Transactions and Translations’, Performance Research: International Journal of the Performing Arts, 21.5, on 'Trans/Performance’, Routledge / Taylor & Francis.
Underwood-Lee, E. (2016) What the Body Commands: The Imperative Theory of Pain, reviewed by Emily Underwood-Lee Centre for Medical Humanities.
Underwood-Lee, E. (with Simic, L.) (2016) Motherhood and Live Art The Institute for the Art and Practice of Dissent at Home.
Underwood-Lee, E. (2015) Bangers to Cancer: Social media, charity fundraising and objectification, Body Space Technology.
Underwood-Lee, E. (2015) The Naming of Cancer, reviewed by Emily Underwood-Lee Centre for Medical Humanities.
Underwood-Lee, E. (2015) Challenging Illness Narratives Through Writing Lapidus.
Hand, R. (2015) L’Épidémie/The Epidemic (1898), a farce in one act by Octave Mirbeau, translated by R. Hand, Journal of Adaptation in Film and Performance, Intellect.
Crews, S. (2014) 'If you cannot say it, point to it’: Part of the ‘Practice Makes Perfect’ Arts and Humanities in Higher Education Sage Journals.