Relevant bibliographies by topics / Gothic film

Academic literature on the topic 'Gothic film'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Gothic film"

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Donnar, Glen. "“It’s not just a dream. There is a storm coming!”: Financial Crisis, Masculine Anxieties and Vulnerable Homes in American Film." Text Matters, no. 6 (November 23, 2016): 159–76. http://dx.doi.org/10.1515/texmat-2016-0010.

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Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter (2011) and Winter’s Bone (2010) represent how the domestic-everyday was made unfamiliar, unsettling and threatening in the face of metaphorical and real (socio-)economic crisis and disorder. The films’ explicit engagement with contemporary American economic malaise and instability thus illustrates the Gothic’s continued capacity to lay bare historical and cultural moments of national crisis. Illuminating culturally persistent anxieties about the American male condition, Take Shelter and Winter’s Bone materially evoke the Gothic tradition’s ability to scrutinize otherwise unspeakable national anxieties about male capacity to protect home and family, including through a focus on economic-cultural “white Otherness.” The article further asserts the significance of prominent female assumption of the protective role, yet finds that, rather than individuating the experience of financial crisis on failed men, both films deftly declare its systemic, whole-of-society basis. In so doing, the Gothic sensibility of pervasive anxiety and dread in Take Shelter and Winter’s Bone disrupts dominant national discursive tendencies to revivify American institutions of traditional masculinity, family and home in the wakes of 9/11 and the recession.
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Elliott, K. "Gothic--Film--Parody." Adaptation 1, no. 1 (March 1, 2008): 24–43. http://dx.doi.org/10.1093/adaptation/apm003.

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Barron, Lee. "Ultraviolent Gothic Visions: Lucio Fulci's ‘Gates of Hell’ Trilogy as Derridean Cinematic Haunted Spaces." Gothic Studies 22, no. 2 (July 2020): 197–213. http://dx.doi.org/10.3366/gothic.2020.0049.

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This article examines films produced by the Italian director Lucio Fulci between 1980 and 1981: City of the Living Dead/Paura nella città dei morti viventi (1980), The Beyond/L'aldilà (1981), and The House by the Cemetery/Quella villa accanto al cimitero (1981). Unofficially termed the Gates of Hell trilogy, the films stress a distinctive gothic sensibility brought together by the vivid and extreme subjects of decay and unflinching depictions of ultraviolent death and bodily destruction. The article explores the gothic motifs of the film series from the perspective of the work of Jacques Derrida. It argues that Fulci establishes a unique and highly stylized neo-gothic vision in his ‘trilogy’ that reflects a hauntological ethos, and effectively a distinctively Derridean evocation of the gothic, but with a sustained focus upon Derrida's deconstructive concept of ‘Undecidability.’ In the Gates of Hell trilogy the idea of undecidability is a persistent and compelling subject actively woven into the narratives through the gothic elements that infuse their extreme violence, the supernatural, the irrational, and the frequently surreal cinematic visions that Fulci conjures.
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HAWORTH, CATHERINE. "“Something beneath the flesh”: Music, Gender, and Medical Discourse in the 1940s Female Gothic Film." Journal of the Society for American Music 8, no. 3 (August 2014): 338–70. http://dx.doi.org/10.1017/s1752196314000236.

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AbstractClosely related to both film noir and the woman's film, 1940s female gothic pictures combine suspense and mystery with a focus on the subjective experience of the female protagonist. This article discusses the use of music and sound in the cinematic female gothic tradition, focusing upon two historically located films that form part of its “gaslight” subgenre:Experiment Perilous(dir. Tourneur; comp. Webb, 1944) andThe Spiral Staircase(dir. Siodmak; comp. Webb, 1946). In both films, the positioning of the female lead is mediated by the presence of a medical discourse revolving around her professional and romantic relationship with a male doctor, whose knowledge and authority also allows him to function as an unofficial investigator into the woman's persecution at the hands of a serial murderer. The female gothic soundtrack is a crucial element in the creation and communication of this gendered discourse, articulating the shifting position of characters in relation to issues of crime, criminality, and romance. Musical and vocal control reinforce the doctor's dominance whilst allying his presentation with that of an emasculated killer, and create and contain agency within complex constructions of female victimhood.
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Gentry, E. "The Biology of Horror: Gothic Literature and Film; Gothic Passages: Racial Ambiguity and the American Gothic." American Literature 78, no. 3 (September 1, 2006): 635–37. http://dx.doi.org/10.1215/00029831-2006-037.

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Herrero-Puertas, Manuel. "Gothic Access." Journal of Literary & Cultural Disability Studies 14, no. 3 (August 1, 2020): 333–51. http://dx.doi.org/10.3828/jlcds.2020.21.

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The article charts gothic fiction’s spatialization of disability by examining two representative entries: Horace Walpole’s foundational novel The Castle of Otranto (1764) and Peter Medak’s film The Changeling (1980). Their different media and historical backgrounds notwithstanding, both texts feature haunted houses where ghosts and nonghosts collaborate in tearing walls, clearing passageways, tracking voices, and lighting up cellars. These accommodations, along with the antiestablishment critiques they advance, remain unanalyzed because gothic studies and disability studies have intersected mainly around paradigms of monstrosity, abjection, and repression. What do we gain, then, by de-psychologizing the gothic, assaying ghosts’ material entanglements instead? This critical gesture reveals crip ghosts Joseph (Changeling) and Alfonso (Otranto) engaged in what the article conceptualizes as “gothic access”: a series of hauntings that help us collapse and reimagine everyday life’s unhaunted—yet inaccessible—built environments.
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Valančiūnas, Deimantas. "Indian Horror: The Western monstrosity and the fears of the nation in the Ramsay Brothers’ Bandh Darwaza." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 47–60. http://dx.doi.org/10.15388/aov.2011.1.3933.

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Vilnius UniversityThis paper investigates Indian horror films as a site of socio-economical tensions in India at the end of the 1980s through the employment of the postcolonial reading of the 1990 Ramsay brothers’ horror film Bandh Darwaza. This paper argues that specific references to the European gothic tradition and employment of imagery and interpretation of a western monstrosity (Dracula) in the film are not merely the exploitation of the exotic discourse, but an unconscious articulation of fears and anxieties summoned by the specific socio-economic conditions of India. The political turmoil and the economic changes at the end of the 1980s created a specific platform for fears and anxieties that were articulated through the deformed monsters of the western gothic tradition.
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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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Henderson, Jennifer. "Residential School Gothic and Red Power: Genre Friction in Rhymes for Young Ghouls." American Indian Culture and Research Journal 42, no. 4 (October 1, 2018): 43–66. http://dx.doi.org/10.17953/aicrj.42.4.henderson.

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Rhymes for Young Ghouls is a hyper-stylized film, extremely conscious of the way narrative conventions are organized into genres. In telling a story about a Mi'kmaw girl's leadership of a revenge plot, the film juxtaposes the genres—and the very different models of time-space—of the Gothic novel and the Red Power-era exploitation film. I read this jolting combination as a critical intervention into what I call Residential School Gothic, a dominant discourse on the historical wrong of Indian residential schooling which has emerged in Canada over the past two decades. The film's immanent critique of this public narrative template for telling stories about residential school exposes some of the crucial ways in which Residential School Gothic serves to reconfirm a settler common sense about liberal progress.
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Zanini, Claudio Vescia. "It hurts ’cause you’re in my world now, bitch: Gothic features in the 1984 and 2010 versions of A Nightmare on Elm Street." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 199–212. http://dx.doi.org/10.5007/2175-8026.2019v72n1p199.

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This article aims to discuss the 1984 slasher film A Nightmare on Elm Street and its 2010 remake within a Gothic framework. The main hypothesis is that while both versions display Gothic traces in their imagery and structure, such as transgression and excesses (Botting, 2004), the monstrous character, the haunting return of the past, and the Terrible Place (Clover, 2015), the 2010 film capitalizes more efficiently on the interplay between appearance and reality by enhancing the importance of trauma in its plot. The proposal’s pertinence and originality rely on the juxtaposition of a consolidated framework (Gothic studies), a prolific horror cinema subgenre (slashers), and a recurrent tendency in contemporary cinema (remakes).
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Dissertations / Theses on the topic "Gothic film"

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Hanson, Helen. "Painted women : framing portraits in film noir and the gothic woman's film of the 1940s." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364751.

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Maye, Valerie Renee. "Reviving the Romantic and Gothic traditions in contemporary zombie fiction." Thesis, State University of New York at Buffalo, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255511.

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This paper combines concepts from Romantic and Gothic literature with ecocriticism in order to discuss eco-zombies in Mary Shelley’s Frankenstein as well as the film, 28 Days Later and the texts that follow the film: the graphic novel, 28 Days Later: The Aftermath by Steve Niles, and the comic books series, 28 Days Later, by Michael Alan Nelson. Throughout this paper, nature, primarily through the eco-zombie interpretation of it, is read as a character in order to determine how much agency nature has over the human characters within the texts and film being discussed. The use Todorov’s narrative theory, in this paper, depicts the plots of these stories, specifically the changes to the lives of these characters and how they are affected by nature in various ways, to depict nature’s ever growing assertiveness over the humans that encounter it as well as how those humans attempt to overcome the disruptions that nature places on their sense of self. Both Frankenstein’s monster and the infected in 28 Days Later, when seen as eco-zombies, and therefore granting agency to nature, exert power of humans through physically affecting them as well as mentally.

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Ashton, Romana, and darkroom@optus com au. "Antipodean Gothic Cinema: A Study of the (postmodern) Gothic in Australian and New Zealand Film since the 1970s." Central Queensland University. Humanities, 2006. http://library-resources.cqu.edu.au./thesis/adt-QCQU/public/adt-QCQU20060921.111449.

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Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheff’s Wake in Fright (1971) to Peter Jackson’s Heavenly Creatures (1994). Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema. In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility. In its conclusion, the study finds that “Antipodean Gothic cinema”, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms.
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Kierstead, Joshua Anthony. "Noir of the past: anatomy of the historical film noir." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5791.

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This dissertation documents how a series of cynical 1940s Hollywood films set in historical eras served as a forum for Hollywood to reconcile the complex relationship between America and its European past. While these films are rarely discussed in the ongoing discourse surrounding film noir, this study posits that they function as “noirs of the past” by transposing the pessimism and trauma surrounding World War II to the distant American and European past in a narrative and stylistic manner consistent with film noir. Film noir is a branching term to describe a group of 1940s and 50s Hollywood crime melodramas that are known for their cynical worldviews and femme fatales. Produced during the war and postwar era, film noirs primarily depict squalid urban settings that underscore the broken promise that is the American Dream. However, this project maintains that many of these noirs also critique American society through historical settings that trace present-day class and gender problems back to the European aristocracy and its excesses. Noirs of the past are universally ignored in debates surrounding historical films because they appear at first blush to have little interest in depicting historical events in a precise manner. This is for good reason: they openly resist historical accuracy by employing devices that highlight their artificiality. The noir of the past’s lack of historical verisimilitude further extends to character types, dialogue, costumes, and aesthetics that feel closer in spirit to the gloomy shadows of contemporary-set film noirs than the glossy and monumental historical films of the 1940s. Through their overlap of historical and contemporary 1940s signifiers, “noirs of the past” construct a sense of location and time that borrows from both the past and present to demonstrate the cyclical nature of events and figures across history.
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Althans, Katrin [Verfasser]. "Darkness Subverted : Aboriginal Gothic in Black Australian Literature and Film / Katrin Althans." Bonn : Universitäts- und Landesbibliothek Bonn, 2021. http://d-nb.info/1229086420/34.

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West, Brandon Charles. "The Real Blurred Lines: On Liminality in Horror and the Threatened Boundary Between the Real and the Imagined." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/86381.

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The horror genre is obsessed with being treated as fact rather than fiction. From movies that plaster their title screens with "Based on actual events" to urban legends that happened to a friend of a friend, the horror genre thrives on being treated as fact even when it is more often fiction. Yet horror does more than claim verisimilitude. Whereas some stories are content to pass as reality, other stories question whether a boundary between fiction and reality even exists. They give us monsters that become real when their names are spoken (Tales from the Darkside) and generally undermine the boundaries we take for granted. Wes Craven's New Nightmare, for instance, shows a malevolent being forcibly blending the characters' reality with the fiction they themselves created. But why are scary stories concerned with seeming real and undermining our notions of reality? To answer this, I draw on various horror films and philosophical and psychological notions of the self and reality. Ultimately, I argue, horror is a didactic genre obsessed with showing us reality as it is, not as we wish it to be. Horror confronts us not only with our mortality (as in slasher films) but also with the truth that fiction and reality are not the easily divided categories we often take them to be.
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Quazi, Sobia. "The spectral figure unbound : a psychoanalytic reading of female gothic literature and film." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573015.

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This thesis examines the spectral figure in female gothic literature and film. I argue that the spectral figure is a trope, symbol and narrative device that recurs: throughout the female gothic genre, from early female gothic novels such as The Mysteries of Udolpho (Ann Radc1iffe, 1794) and Jane Eyre (Charlotte Bronte, 1847) to Rebecca (Daphne du Maurier, 1938). I also examine the representation of the spectral figure in film, in the adaptation of Rebecca (dir. Alfred Hitchcock, 1940) .and in contemporary Japanese horror film, which, I argue, is a powerful female gothic narrative. The spectral figure appears as a ghostly presence or even an absence at . the heart of the female gothic narrative that makes its presence strongly felt, and permeates the materiality of the text In the early female gothic works, the spectral figure is maternally connoted and appears mainly in relation to the heroine who textually operates as a "daughter". In contemporary female gothic narratives the locus of spectrality has shifted to the daughter-figure, who exists in relation to the now maternally characterized heroine. In both cases, the mother- daughter bond is foregrounded through the dynamics of the spectral figure. I argue that the reason these texts utilize the spectral figure lies in their interest in an important stage/aspect of female subjective development that is narratively signalled by such a figure. Thus the spectral figure and its issue of maternal absence can be best explored through the psychoanalytic theories of Sigmund Freud, Melanie Klein, Julia Kristeva and Donald . Winnicott. In utilizing their work, I am:. also making an intervention into psychoanalytic theories of female subjective development, since I build on the notion of maternal absence to point to the important cultural shift of the last few decades, one that has resulted in the appearance of a spectral daughter figure.
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De, Amil Da Costa Jacob Ramalho J. R. "Romantic-Gothic sepulchres : intersections of death, memory, and mourning in film (1907-1958)." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1468578/.

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In this study, I explore the representation of death, memory, mourning, and oneirism in specific transnational cinematic works from 1907 to 1958. Looking beyond psychoanalytic theories, I revise current theorisations of the Gothic through a formal-aesthetic methodological lens and propose new, cross-cultural avenues that have been heretofore neglected. I suggest that Romanticism and the Gothic have become catch-all terms whose usage may seem convenient to speak and write about film, but that nonetheless overlook the unique way the Gothic and Romantic doctrines meet and meld on the screen. I work towards an assessment of this singular relationship in cinema—which I describe as the Romantic-Gothic mode—by providing analyses of both US and European works. In so doing, I propose an interpretive strategy that highlights and investigates the implications of moving the afterlife out of the graveyard and into the space of the cinema. I endeavour to map the geographic, temporal, and psychological dislocations of the characters, which, I argue, are structured upon the contact between the sensing human body and the circumambient life. I examine the mediation of pastness by certain places and objects that insistently actualise gone-by events and thus question the notion of the past as an unequivocal cause for the present and future. I suggest that the encounter of the dwellers with what I call memory-objects in their lonely walks through the foreignness of private and outdoor spaces re/creates identity. A nodal point in the project concerns the idea that the Romantic-Gothic mode is a map of sensory memories where mourning, forgetfulness, and the annihilation of the self in time, space, and mind germinate. Finally, in broad outline, my work offers a starting point for a critical reappraisal of Romantic and Gothic art in film.
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Lawn, Jennifer. "Trauma and recovery in Janet Frame's fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25087.pdf.

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Wenk, Christian. "Abjection, madness and xenophobia in gothic fiction." Berlin : wvb, Wiss. Verl, 2008. http://d-nb.info/989569101/04.

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Books on the topic "Gothic film"

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Conrich, Ian, and Laura Sedgwick. Gothic Dissections in Film and Literature. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-30358-5.

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English gothic: A century of horror cinema. London: Reynolds & Hearn, 2000.

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Rigby, Jonathan. English gothic: A century of horror cinema. 3rd ed. London: Reynolds & Hearn, 2004.

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Hopkins, Lisa. Screening the gothic. Austin., TX: University of Texas Press, 2004.

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Screening the gothic. Austin, TX: University of Texas Press, 2005.

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The biology of horror: Gothic literature and film. Carbondale: Southern Illinois University Press, 2002.

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Touchstones of gothic horror: A film genealogy of eleven motifs and images. Jefferson, N.C: McFarland & Co., 2010.

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Max, Duperray, and International Gothic Association, eds. Gothic N.E.W.S.: Exploring the Gothic in relation to new critical perspectives and the geographical polarities of North, East, West and South. Paris: M. Houdiard, 2009.

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Skal, David J. Hollywood gothic: The tangled web of Dracula from novel to stage to screen. New York: Faber and Faber, 2004.

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Skal, David J. Hollywood gothic: The tangled web of Dracula from novel to stage to screen. London: Deutsch, 1992.

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Book chapters on the topic "Gothic film"

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Kaye, Heidi. "Gothic Film." In A New Companion to the Gothic, 239–51. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781444354959.ch17.

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Gentile, Kathy Justice. "Beast’s Triumph over Beauty in Gothic Film." In Le Gothic, 137–50. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582811_9.

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Georgieva, Margarita. "The Gothic Child on Film." In The Gothic Child, 168–90. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137306074_6.

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Hubner, Laura. "Gothic Transgression, Horror and Film." In Fairytale and Gothic Horror, 43–73. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-39347-0_3.

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Hubner, Laura. "Afterword: Uncanny Transformations in Film." In Fairytale and Gothic Horror, 191–95. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-39347-0_7.

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Worland, Rick. "The Gothic Revival (1957-1974)." In A Companion to the Horror Film, 273–91. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch16.

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Forshaw, Barry. "Nights of the Demon: The English Supernatural Story and Film." In British Gothic Cinema, 106–23. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137300324_9.

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Shoos, Diane L. "Gaslight, Gaslighting, and the Gothic Romance Film." In Domestic Violence in Hollywood Film, 39–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65064-7_2.

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Takolander, Maria. "Monstrous Women: Gothic Misogyny in Monster House." In Contemporary Children’s Literature and Film, 79–93. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34530-0_5.

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Greven, David. "The Southern Gothic in Film: An Overview." In The Palgrave Handbook of the Southern Gothic, 473–86. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_36.

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Conference papers on the topic "Gothic film"

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Wang, Guodong, and Zhe Wang. "A Study of GOTHIC 8.0 Code Application to AP1000 Containment Response." In 2013 21st International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/icone21-15014.

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The AP1000 containment model has been developed by using WGOTHIC version 4.2 code. Condensation heat and mass transfer from the volumes to the containment shell, conduction through the shell, and evaporation from the shell to the riser were all calculated by using the special CLIMEs model. In this paper, the latest GOTHIC version 8.0 code is used to model both condensation and evaporation heat and mass transfer process. An improved heat and mass transfer model, the diffusion layer model (DLM), is adopted to model the condensation on the inside wall of containment. The Film heat transfer coefficient option is used to model the evaporation on the outside wall of containment. As a preliminary code consolidation effort, it is possible to use GOTHIC 8.0 code as a tool to analysis the AP1000 containment response.
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Wang, Guodong, Shengjie Wei, Chenxiao Ni, Di Zhang, and Zhe Wang. "Application of GOTHIC8.0 3D Model to Simulate Heat Removal Process in Containment Safety Verification via Integral Test (CERT)." In 2017 25th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/icone25-67560.

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The purpose of this study is to establish a detailed three-dimensional (3D) model of containment safety verification via integral test (CERT) using the containment code GOTHIC 8.0. This paper presents the model construction and a typical CERT case for the model evaluation. In the typical CERT case, steam with high mass and energy is released to the test vessel to simulate the passive containment response during main steamline break (MSLB) accident. Heat removal process is accomplished primarily by absorption of energy by the gas volume and structures inside vessel, by condensation of steam on the inside shell surface, by heat conduction through the steel shell, and by evaporation of water film covered on the outer vessel shell surface. The main results of the typical CERT case are qualitatively compared with the results obtained from simulations with GOTHIC 8.0 code. From comparison, a verification of the code in terms of pressurization, temperature response, steam condensation and water film evaporation are carried out. The code analysis results are of significance on the research of thermal hydraulic phenomena which occur in the passive containment cooling system (PCS) during accidental sequences.
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Dashti, Hussain. "Robotic Fabrication as Catalysts for Emergent Topologies and Traditions: Nomadic Small Pavilions and Permanent Mega Structures in Kuwait." In International Conference on the 4th Game Set and Match (GSM4Q-2019). Qatar University Press, 2019. http://dx.doi.org/10.29117/gsm4q.2019.0015.

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Abstract:
This paper reviews tendencies and drives for future parametric computational design and robotic fabrication/construction automation. It sheds light on the local current impact of the computational paradigm and mass-customized robotic fabrication in Kuwait. This paper is intended to answer the following two questions: Is parametric design and robotic fabrication allowing for emergent architectural topologies? Is robotic fabrication a catalyst for legitimizing change in architectural traditions at a local level? This has been experimented on two building scales. One with more ephemeral or transient nomadic pavilions, designed by the author, intended to demand our momentary attention, offering essential opportunities for research, experimentation, heuristic testing and prototyping - public delight and exposure. Though impermanent, these can even go so far as to be catalysts for positive change displaying affirmative qualities of temporal architecture. On the other hand, the author shares parametric design and robotic fabrication practices/consultation on local permanent mega structures currently under construction. Such mega buildings act as proof that geometrically complex buildings do not stay in the realm of small experimental and heuristic research only, but incorporated in large-scale complex building, branding and placing countries on the global map. Robotic fabrication and construction gives rise to new paradigms such as "zero-tolerance" building with "file-to-factory" production allowing for Ruskinian tectonics blending structures with ornamental aesthetics, similar to gothic architecture. With the profusion of robotic fabrication and construction, the author claims that change in the physical built environment is eminent. A final inquiry will be raised as a future research topic pertaining to robotic in-situ "mobility-on-demand", Artificial Intelligence, "Machine Learning", "Big Data" and "evolutionary robotics" which raises the question of what will our future mass-customized cities look like and what type of physical infrastructure is needed to facilitate mobile robotic fabrication and construction.
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Reports on the topic "Gothic film"

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GOTHIC-gas, oil, and thermal history integrated code-source-code, user guide, and sample input and output file. Utah Geological Survey, 1992. http://dx.doi.org/10.34191/cr-92-2.

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