| Beyond the screen: Emerging cinema and engaging audiences S Atkinson Bloomsbury Publishing USA, 2014 | 115 | 2014 |
| Inside-the-scenes: The rise of experiential cinema SA Atkinson, H Kennedy Participations: Journal of Audience and Reception Studies 13 (1), 2016 | 45 | 2016 |
| Stereoscopic-3D storytelling—Rethinking the conventions, grammar and aesthetics of a new medium S Atkinson Journal of Media Practice 12 (2), 139-156, 2011 | 40 | 2011 |
| The performative functions of dramatic communities: conceptualizing audience engagement in transmedia fiction S Atkinson International Journal of Communication 8, 2201-2219, 2014 | 37 | 2014 |
| Live cinema: Cultures, economies, aesthetics S Atkinson, HW Kennedy Bloomsbury Publishing USA, 2017 | 34 | 2017 |
| From conflict to revolution: The secret aesthetic, narrative spatialisation and audience experience in immersive cinema design S Atkinson, HW Kennedy Participations 13 (1), 252-279, 2016 | 25 | 2016 |
| “Where We’re Going, We Don’t Need an Effective Online Audience Engagement Strategy”: The case of the Secret Cinema viral backlash S Atkinson, HW Kennedy Frames Cinema Journal 8, 1-24, 2015 | 23 | 2015 |
| Transmedia film: From embedded engagement to embodied experience S Atkinson The Routledge companion to transmedia studies, 15-24, 2018 | 18 | 2018 |
| Extended Reality Ecosystems: Innovations in Creativity and Collaboration in the Theatrical Arts S Atkinson, HW Kennedy Refractory: A Journal of Entertainment Media 30 (1), 2018 | 17 | 2018 |
| From film practice to data process: Production aesthetics and representational practices of a film industry in transition S Atkinson Edinburgh University Press, 2017 | 17 | 2017 |
| Tell no one: Cinema as game-space-Audience participation, performance and play SA Atkinson, HW Kennedy G| A| M| E 2015 (4), 5, 2015 | 17 | 2015 |
| Virtual Humanity: Empathy, Embodiment and Disorientation in Humanitarian VR Experience Design HW Kennedy, S & Atkinson Refractory: A Journal of Entertainment Media 30 (1), 2018 | 12 | 2018 |
| ‘You sure that’s a film, man?’: Audience anticipation, expectation and engagement in Lost in London LIVE SA Atkinson Participation: Journal of Audience and Reception Studies 14 (2), 697, 2017 | 12 | 2017 |
| The versatility of visualization: delivering interactive feature film content on DVD S Atkinson Nebula 4 (2), 21-39, 2007 | 9 | 2007 |
| Synchronic Simulacinematics. The Live Performance of Film Production S Atkinson de Gruyter, 2018 | 8 | 2018 |
| Live Cinema Conference S Atkinson, HW Kennedy Film and Screen Media, University College Cork, 2016 | 8 | 2016 |
| The Future of Film Report 2021 A Stolz, S Atkinson, H Kennedy | 7 | 2020 |
| The view from the fourth wall window: Crossmedia fictions S Atkinson Crossmedia innovations: Texts, markets, institutions, 77-91, 2012 | 7 | 2012 |
| Surrounded by sound: The aesthetics of multichannel and hypersonic soundscapes and aural architectures S Atkinson The Soundtrack 4 (1), 5-21, 2011 | 7 | 2011 |
| Secret, Immersive Cinema Is Likely to Change the Future of Film.” S Atkinson, HW Kennedy The Conversation 1, 2015 | 6 | 2015 |
