Film Adaptation: Cinema’s Reimaginings and Remediations. Columbia University Press, 2019 (forthcoming).
Psychomania (Devil’s Advocates). Auteur Publishing, 2019 (forthcoming).
“Closing visual codas: Infidelities, Diversions and Radical Practices in Adaptations,” in J. Nelmes and J. Selbo (eds.) Last Pages, Last Shots. Routledge, 2018 (forthcoming).
“Screenwriter, Auteur and Literary Adaptor - Questions of Authorship in Lynne Ramsay’s Expressionist Screenplays,” in J. Nelmes and J. Selbo (eds.) Women Screenwriters – An International Guide. Palgrave Macmillan, 2015.
“Adaptation through Screenwriting: Theories of Process and Practice in the Adapted Screenplay,” in D. Cartmell and I. Whelehan (eds.) Teaching Adaptations. Palgrave Macmillan, 2014.
“Degenrification in Andrei Tarkovsky’s Stalker: The Science-Fiction Novel Transformed into Art-Film Parable.” In I.Q. Hunter & T. Van Parys (eds.) Science Fiction across Media: Adaptation/Novelization. Gylphi, 2013.
“Paratextual Adaptation: Heart of Darkness as Hearts of Darkness via Apocalypse Now.” In D. Cartmell (ed.) A Companion to Literature, Film, and Adaptation. Blackwell, 2012.
“The Pleistocence protagonist: An evolutionary framework for the analysis of film protagonists.” Kira-Anne Pelican, Jamie Sherry and Robert Ward. Journal of Screenwriting 7.3 (Intellect, 2016).
“Adaptation Studies through Screenplay Studies: Theoretical Mutuality and the Adapted Screenplay.” Journal of Screenwriting 7.2 (Intellect, 2016).
“’Working for the building’: An Interview with Ben Wheatley.” Ballardian (2016). Available at: www.ballardian.com.
“Unique visual complexities: A review of Grande Anarca - adapted from J.G. Ballard’s short story.” Ballardian (2008). Available at: www.ballardian.com.
“The Screenwriters' Guru Guide.” Writers Guild Magazine UK Writer (Winter, 2005).
Field Trip: An interview with Syd Field.” Writers Guild Magazine UK Writer (Summer, 2005).
"Is it future, or is it past?" Over-writing, Infidelity and Multiple Sources in Twin Peaks: The Return (2017)." The 12th Association of Adaptation Studies Annual Conference, Amsterdam University, Netherlands (October, 2018)
“The 16-hour Film as TV Series: Twin Peaks: The Return (2017).” The 10th Screenwriting Research Network (SRN) International Conference, Università Cattolica del Sacro Cuore, Milan (September, 2018)
Plenary Lecture: "Closing visual codas: Infidelities, Diversions and Radical Practices in Adaptations." Last Pages, Last Shots Conference, Université de Caen, Normandie, France (October, 2017) “Production as Performance: Radical Adaptation Practices and Adapted Screenplay Process.” The 11th Association of Adaptation Studies Annual Conference, Oxford University, UK (September, 2016)
“Andrei Tarkovsky’s Screenplays: authorship, adaptation and anti-literary zones.” The 9th Screenwriting Research Network (SRN) International Conference, Leeds Beckett University & Leeds University, UK (September, 2016).
“The Performance of Production: Radical Adaptation Practices and Adapted Screenplay Process in Jonathan Glazer’s Under the Skin (2013).” Adaptation and the Metropolis: 10th Association of Adaptation Studies Annual Conference, Institute of English Studies, University of London, London, UK (September, 2015).
“Remediating Production: Radical Adaptation Practice and Adapted Screenplay Process.” Screenwriting: Text and Performance: The 8th Screenwriting Research Network (SRN) International Conference, University of London, UK (September, 2015).
“Paratextual Mimesis: The Film ‘Making-of’ Documentary as Mimetic Adaptation.” Adaptations and Multiplicities: The 9th Annual Conference of the Association of Adaptation Studies, Flagler College, St. Augustine Florida, USA (September, 2014).
“Pasolini/Sade – Visual Abjection and Authorship in Salò, or the 120 Days of Sodom.” Cine-Excess VII: European Erotic Cinema: Identity, Desire and Disgust – The 7th International Conference and Festival on Global Cult Film Traditions, University of Birmingham, UK (November, 2013).
“Must We Adapt Sade? Authorship, Scopophilia and Visual Abjection in Pasolini’s rehistoricised Salò, or the 120 Days of Sodom (1975).” Disturbing Adaptations: The 8th Annual Conference of the Association of Adaptation Studies, Linnæus University, Sweden (September, 2013).
“Adaptation’s Invisible Author: The Screenwriter as Liminal Adaptor, and the Poetics of the Interstitial Screenplay.” Visible and Invisible Authorships: The 7th Annual Conference of The Association of Adaptation Studies, University of York, UK (September, 2012).
“The Literary Screenplay, the Novelisation, and Fallacies of Adaptation.” Transformations Seminar Series, Bangor University. UK (April, 2012).
“Adaptation’s Missing Link: Literature into Film via the Screenplay - Jonze and Eggar’s amplification of Where the Wild Things Are.” Beyond Boundaries: Screenwriting Across Media, Fourth Screenwriting Research Network International Conference, University of Brussels, Belgium (September, 2011).
“The Children are Horrific: Transformation, Allusion, Inference, Ambiguity and the Intertextual Legacy of The Turn of the Screw.” Lost in Translation: Mediation, Adaptation and Appropriation, University of Leicester (October, 2009).
“Tarkovsky’s Stalker and the Aesthetics of Screenplay De-genrification.” Science Fiction across Media: Adaptation/Novelization, Leuven University, Belgium (April, 2009).
“Orson Welles’ Phantom Adaptation Screenplay.” Postgraduate Conference, De Montfort University (October, 2008).
“Paratextual Adaptation – Heart of Darkness as Hearts of Darkness.” Association of Adaptation Studies Conference, University of Amsterdam, Netherlands (September, 2008).