Abel, E., Hirsch, M. & Langland, E. (1984). The Voyage in: Fictions of Female Development. The Johns Hopkins University Press.
Abel, R. (1999). Silent Film. Bloomsbury Publishing.
Baron, C. (1992). Tales of Sound and Fury Reconsidered: Melodrama as a
System of Punctuation. Spectator, vol. 13, no. 2, 46-59.
Basinger, J. (1993). A Woman’s View: How Hollywood Spoke to Women.
Wesleyan University Press.
Bell, C.E. (2012). Hermione Granger Saves the World: Essays on the Feminist
Heroine of Hogwarts. McFarland.
Brown, J. & St. Clair, N. (2002). Declarations of Independence: Empowered Girls
in Young Adult Literature, 1990-2001. Scarecrow Press.
Chandler, D. (1997). An Introduction to Genre Theory. The Media and
Communications Studies Site, University of Wales, Aberystwyth.
Day, D. (2008). From Woman to Chick: the Rhetorical Evolution of Women in
American Film. Texas A&M University.
Day, S.K., Green-Barteet M.A & Montz A.L. (2014). Female Rebellion in Young
Adult Dystopian Fiction. Surrey: Ashgate Publishing Limited.
Dresang, E. (2002). Hermione Granger and the Heritage of Gender. Columbia:
University of Missouri Press.
Fristedt, G. (2005). Strong Girls Now And Then: A Comparison Between Strong Girls In Classic And Modern Children’s Literature As: The Secret Garden And Harry Potter And The Philosopher’s Stone. English Kristianstad University.
Gilligan, C. (1982). In a Different Voice: Psychological Theory and Women’s Development. USA: Harvard University Press
Hurley, K. (2016). The Geek Feminist Revolution. USA: Tor Books.
Jacobs, L. (2008). The Decline of Sentiment. University of California Press.
Kelleter, F., Mayer, R. (2007). The Melodramatic Mode Revisited. An Introduction. In: Melodrama! The Mode of Excess from Early America to Hollywood. Heidelberg: Universitätsverlag Winter.
Knight, G.L. (2010). Female Action Heroes: A Guide to Women in Comics, Video Games, Film and Television. Greenwood.
LaPlace, M. (1987). Producing and Consuming the Woman’s Film. British Film Institute.
McDougall, S. (2013). I hate Strong Female Characters. UK: New Statesman.
Mc Taggart, C.M. (2011). Harry Potter and the Adolescent Reader: Representations of Empowered Female Characters and Their Implications on the Lives of Adolescents. Ohio: College of Bowling Green State University.
Mlawski, S. (2008). Why Strong Female Characters are Bad for Women. Overthinking it.
Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen 16.3 Autumn 1975, p 6-18.
Reisman, S. (2007). Hermione Granger: Feminist Role Model. Blog Her.
Rowling, J.K. (1997). Harry Potter and the Philosopher’s Stone. UK: Bloomsbury
Publishing.
Rowling, J.K. (1998). Harry Potter and the Chamber of Secrets. UK: Bloomsbury Publishing.
Rowling, J.K. (1999). Harry Potter and the Prisoner of Azkaban. UK: Bloomsbury Publishing.
Rowling, J.K. (2000). Harry Potter and the Goblet of Fire. UK: Bloomsbury Publishing.
Rowling, J.K. (2003). Harry Potter and the Order of the Phoenix. UK: Bloomsbury Publishing.
Rowling, J.K. (2005). Harry Potter and the Half-Blood Prince. UK: Bloomsbury Publishing.
Rowling, J.K. (2007). Harry Potter and the Deathly Hallows. UK: Bloomsbury Publishing.
Singer, B. (2001). Melodrama and Modernity: Early Sensational Cinema and Its Contexts. USA: Columbia University Press.
Smelik, A. (1999). Feminist Film Theory. Londen: BFI Publishing. California: Reap Mediazine.
Stewart, M. (2014). Melodrama in Contemporary Film and Television. UK: Palgrave Macmillan.
Topping, A. (2014). Becoming Human: the Evolution of Female Characters in Media.
Williams, L. (1991). Film Bodies: Gender, Genre and Excess. In: Film Quarterly, vol. 44, no. 4, 2-13. University of California Press.
Williams, L. (2001). When the Woman Looks. In: The Horror Film Reader. London: Routledge.
Zettel, S. (2005). Hermione Granger and the Charge of Sexism. USA: Smart Pop.