Atkinson, Sarah. And Kennedy, H.W. (2019) The Live Cinema Paradox: Continuity and Innovation in Live Film Broadcast, Exhibition and Production, in Batty, C., Berry, M., Dooley, K., Frankham, B., Kerrigan, S. (Eds.) The Palgrave Handbook of Screen Production, London: Palgrave MacMillan, 335-346.
Atkinson, S. and Kennedy, H. (2016) Inside-the-scenes: The rise of experiential cinema in Participations: Journal of Audience & Reception Studies, 13 (1), 139-151.
Kennedy, H. W. (2017) ‘“Join a cast of 1000s, to sing and dance in the Revolution”: the Secret Cinema “Activist” brand and the commodification of affect within “experience communities”’, Participations, Volume 14:2, November 2017, pp. 682-96.
Kennedy, H. W. (2017) Funfear attractions: the playful affects of carefully managed terror in immersive 28 days later live experiences in Atkinson, S. & Kennedy H.W eds Live Cinema: Cultures, Economies, Aesthetics New York: Bloomsbury.
Atkinson, S. and Kennedy, H. (2016) From Conflict to Revolution: The secret aesthetic and narrative spatialisation in immersive cinema experience design, Participations: Journal of Audience & Reception Studies, 13 (1), 252-279.
Atkinson, S. and Kennedy, H. (2015) ‘Where we’re going, we don’t need an effective online audience engagement strategy’: The case of the Secret Cinema viral backlash. Frames Cinema Journal. Issue 8. [online] http://framescinemajournal.com/article/where-were-going-we-dont-need-an-effective-online-audience-engagement-strategy-the-case-of-the-secret-cinema-viral-backlash/ ISSN 2053-8812
Atkinson, S. and Kennedy, H. (2015) Tell no one: Cinema as game-space – Audience participation, performance and play, G|A|M|E: The Italian Journal of Game Studies, Number 4/2015.