Sean Redmond excavates the many significances of Blade Runner (1982): its breakthrough use of special effects as a narrative tool; its revolutionary representation of the future city; its treatment of racial and sexual politics; and its unique status as a text whose meaning was fundamentally altered in its re-released forms.

David Carter examines Christopher Nolan's Inception (2010) in terms of its blurring the distinctions between genres and its explorations of the nature of the mind and how dreams are related to the conscious and unconscious mind. He also considers it in the context of the director's other work.

Wes Craven's Scream (1996) emerged at the point where the early eighties American slasher cycle had effectively morphed into the post-Fatal Attraction trend for Hollywood thrillers that incorporated key slasher movie tropes.

Hammer maintained consistent period settings, creating a timeless and enchanting aesthetic. Studying Hammer Horror treats Hammer as a quintessentially British product and through a study of its work investigates larger conceptions of national horror cinemas.

Neil Archer considers to what extent a modestly funded film such as this can be considered 'British' at all