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Journal articles on the topic 'Gothic film'

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Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

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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2

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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3

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Stričević Gladić, Mila N. "SCREENING THE GOTHIC: PARODY OF THE GOTHIC GENRE IN TIM BURTON’S DARK SHADOWS." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 8, no. 8 (April 4, 2019): 131–43. http://dx.doi.org/10.19090/zjik.2018.8.131-143.

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Since the first Gothic work, Horace Walpole’s The Castle of Otranto, was published in 1764, the Gothic genre has constantly been changing and evolving. One of its main purposes has always been social criticism, and therefore Gothic literature had to change together with the society. In the 20th and especially in the 21st century with the arrival of new technologies, Gothic moved from the paper to the screen. Film and television offered a whole new range of possibilities for the postmodern authors of Gothic works to express themselves. One such artist is certainly the American director Tim Burton who is famous for his dark comedies that are almost exclusively crammed with Gothic elements. In this paper, the author shows how, in his movie Dark Shadows from 2012, Tim Burton used parody as a tool to make an on-screen pastiche of Gothic elements packed in a dark comedy for the true lovers of the Gothic genre, creating a genuine example of the postmodern Gothic.

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12

Chronister, Kay. "‘My Mother, the Ap’: Cambodian Horror Cinema and the Gothic Transformation of a Folkloric Monster." Gothic Studies 22, no. 1 (March 2020): 98–113. http://dx.doi.org/10.3366/gothic.2020.0040.

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The most prominent monster in Khmer horror cinema, the ap, is originally a creature of folklore and is traditionally depicted as a woman's glowing head connected to exposed, floating entrails. I begin with an overview of the ap's historical origins in Khmer folktales about female transgression and witchcraft. I then discuss the ap's reemergence in Gothic horror film following the Khmer Rouge genocide of 1975–1979. In film, unlike in folklore, the ap is depicted as an innocent woman who was violated and then denied justice from her insular rural society; her assumption of a monstrous spectral body serves to make visible and undeniable the otherwise invisible violence exacted upon her. In staging dramas of reckoning and unburial, I argue, ap film in twenty-first-century Cambodia performs the typically Gothic work of using folklore and the supernatural to speak about otherwise unspeakable past trauma.

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13

Franck, Kaja. "‘The worst loups-garous that one can meet’: Reading the Werewolf in the Canadian ‘Wilderness’." Gothic Studies 22, no. 1 (March 2020): 64–80. http://dx.doi.org/10.3366/gothic.2020.0038.

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Ginger Snaps (2000) has been recognised as a significant example of feminist horror. This article analyses the final film in the trilogy, Ginger Snaps Back: The Beginning (2004). On first appearance, Ginger Snaps Back reacts to the ending of the first film, in which Brigitte kills her lupine sister Ginger. Set in the nineteenth century, the film draws on Canadian Gothic tropes with the two sisters trapped in an isolated fort, surrounded by frozen forest. In doing so, it echoes another Canadian werewolf narrative, Henry Beaugrand's ‘The Werwolves' (1898). Beaugrand's story opens with a group of settler-colonisers spending the Christmas period in Fort Richelieu, Quebec. This location evokes North American fears, and the representation of the wooded wilderness as full of wild beasts and wild men. Beaugrand collapses the ‘wild beasts’ and ‘wild men’ into one hybrid monster. By comparing the depiction of werewolves in Ginger Snaps Back and Beaugrand's story, this article uncovers the implications of ignoring and appropriating Native Canadian folklore.

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14

Hudson, Benjamin. "A Companion to the Horror Film, ed. Harry M. Benshoff." Gothic Studies 21, no. 2 (November 2019): 223–26. http://dx.doi.org/10.3366/gothic.2019.0024.

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15

Hauke, Alexandra. "A Woman by Nature? Darren Aronofsky’s mother! as American Ecofeminist Gothic." Humanities 9, no. 2 (May 26, 2020): 45. http://dx.doi.org/10.3390/h9020045.

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In this essay, I discuss Darren Aronofsky’s 2017 feature film mother! in the context of an intersectional approach to ecofeminism and the American gothic genre. By exploring the histories of ecofeminism, the significances of the ecogothic, and the Puritan origins of American gothic fiction, I read the movie as a reiteration of both a global ecophobic and an American national narrative, whose biblical symbolism is rooted in the patriarchal logic of Christian theology, American history, female suffering, and environmental crisis. mother! emerges as an example of a distinctly American ecofeminist gothic through its focus on and subversion of the essentialist equation of women and nature as feminized others, by dipping into the archives of feminist literary criticism, and by raising ecocritical awareness of the dangers of climate change across socio-cultural and anthropocentric categories. Situating Aronofsky’s film within traditions of American gothic and ecofeminist literatures from colonial times to the present moment, I show how mother! moves beyond a maternalist fantasy rooted in the past and towards a critique of the androcentric ideologies at the core of the 21st-century Anthropocene.

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16

Simmons, David. "Postmodern Vampires: Film, Fiction, and Popular Culture. By Sorcha Ní Fhlainn." Gothic Studies 23, no. 1 (March 2021): 118–20. http://dx.doi.org/10.3366/gothic.2021.0083.

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17

McNally, Karen. "hollywood heroines: women in film Noir and the female Gothic film." Feminist Review 94, no. 1 (March 2010): 166–68. http://dx.doi.org/10.1057/fr.2009.50.

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18

Burger, Alissa. "Hollywood Heroines: Women in Film Noir and the Female Gothic Film." Quarterly Review of Film and Video 27, no. 1 (November 30, 2009): 83–86. http://dx.doi.org/10.1080/10509200903119999.

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19

Hantke, Steffen, and Jack Morgan. "The Biology of Horror: Gothic Literature and Film." Rocky Mountain Review of Language and Literature 57, no. 1 (2003): 95. http://dx.doi.org/10.2307/1348041.

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20

Davies, Ann. "Pleasure and Historical Memory in Spanish Gothic Film." Bulletin of Hispanic Studies 96, no. 4 (April 2019): 397–411. http://dx.doi.org/10.3828/bhs.2019.23.

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21

Casey, Máiréad. "Fairytale and Gothic Horror: Uncanny Transformations in Film, Laura Hubner (2018)." Journal of European Popular Culture 11, no. 1 (April 1, 2020): 66–69. http://dx.doi.org/10.1386/jepc_00014_5.

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22

Kella, Elizabeth. "Indian Boarding School Gothic in Older than America and The Only Good Indian." American Studies in Scandinavia 47, no. 2 (September 1, 2015): 5–27. http://dx.doi.org/10.22439/asca.v47i2.5347.

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This article examines the appropriation and redirection of the Gothic in two contemporary, Native-centered feature films that concern a history that can be said to haunt many Native North American communities today: the history of Indian boarding schools. Georgina Lightning’s Older than America (2008) and Kevin Willmott’s The Only Good Indian (2009) make use of Gothic conventions and the figures of the ghost and the vampire to visually relate the history and horrors of Indian boarding schools. Each of these Native-centered films displays a cinematic desire to decenter Eurocentric histories and to counter mainstream American genres with histories and forms of importance to Native North American peoples. Willmott’s film critiques mythologies of the West and frontier heroism, and Lightning attempts to sensitize non-Native viewers to contemporary Native North American concerns while also asserting visual sovereignty and affirming spiritual values.

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23

Pisarska, Katarzyna. "Darwin’s Monsters: Evolution, Science, and the Gothic in Christian Alvart’s ”Pandorum”." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 157. http://dx.doi.org/10.17951/lsmll.2019.43.2.157-166.

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<p>This article analyses Gothic tropes in the science fiction film <em>Pandorum</em> (2009, dir. Christian Alvart), through the lens of such concepts as evolution and science, which are presented in the film as inherently monstrous. Key to the analysis is the notion of the return of the repressed (or abjected) past which invades the future, disrupting biological, social, and moral borders of the human. This Gothic return, facilitated by advanced science and technology, turns the future into a site of humanity’s confrontation with their animal instincts, highlighting the fragility of our civilisation and proving our subjection to evolutionary processes.</p>

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Wagner, Sandra Aline. "Phases of the Moon: A Cultural History of the Werewolf Film. By Craig Ian Mann." Gothic Studies 23, no. 2 (July 2021): 241–43. http://dx.doi.org/10.3366/gothic.2021.0099.

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25

Hanson, Helen. "From Suspicion (1941) to Deceived (1991): Gothic Continuities, Feminism and Postfeminism in the Neo-Gothic Film." Gothic Studies 9, no. 2 (November 2007): 20–32. http://dx.doi.org/10.7227/gs.9.2.4.

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26

Richards, Stuart. "Reawakening in Yoorana: Glitch and the Australian Gothic film." New Review of Film and Television Studies 16, no. 3 (May 31, 2018): 221–37. http://dx.doi.org/10.1080/17400309.2018.1479182.

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27

Kolbuszewska, Zofia. "From a Gothic Text to a Neobaroque Cinema: Wojciech Jerzy Has’s Adaptation of James Hogg’s ”The Private Memoirs and Confessions of a Justified Sinner”." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 145. http://dx.doi.org/10.17951/lsmll.2019.43.2.145-156.

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<p>The article discusses the journey of the gothic novel <em>The Private Memoirs and Confessions of a Justified Sinner </em>(1824)<em> </em>by James Hogg (1770-1835) from the repertoire of Scottish Romanticism to the neobaroque film adaptation <em>Osobisty pamiętnik grzesznika przez niego samego spisany </em>(1986)<em> </em>by the Polish filmmaker Wojciech Jerzy Has (1925-2000). The film demonstrates Has’s anamorphic position and emphasizes the crucial role of the gothic text’s neobaroque aesthetics in illuminating Polish cultural and political conflicts in 1986. Has rearticulates contradictions structuring the puritan-provincial mind depicted by Hogg and launches a critique of factional fanaticism.</p>

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Briefel, Aviva. "Mickey Horror." Film Quarterly 68, no. 4 (2015): 36–43. http://dx.doi.org/10.1525/fq.2015.68.4.36.

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Randy Moore's horror film Escape from Tomorrow (2013) was shot at Disneyland, Epcot, and Disney World, without either the authorization or knowledge of the Disney corporation. The result is a fascinating example of guerrilla filmmaking that makes use of gothic conventions to craft a new narrative of corporate horror. Both the film and its promotional materials narrate the vicissitudes of countering a mass-culture corporation that has become synonymous with American fantasies and imaginaries. And yet, however revolutionary his methods and overall narrative, Moore relies on long-familiar images of monstrous femininity to convey the circumstances of mass-culture seduction. The end result is less an attack on the institution of Disney itself than a gothic account of the parks' co-option by a dangerous female consumerism that nullifies male resistance or escape.

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Bastos da Silva, Jorge. "Living in the Sunken Place: Notes on Jordan Peele’s ”Get Out” as Gothic Fiction." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 125. http://dx.doi.org/10.17951/lsmll.2019.43.2.125-133.

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<p>The gothic imagination often expresses a sense of the instability and/or vulnerability of human identity, bearing either on specific individuals or on the species as a whole. The present article examines the 2017 film <em>Get Out</em>, written and directed by Jordan Peele,<strong> </strong>in order to highlight the ways in which its exploration of the abovementioned topic relates to the tradition of the gothic as it is recognisable in literary texts dating from as far back as the eighteenth century. Relevant titles include Walter Scott’s <em>Count Robert of Paris</em> and Robert Louis Stevenson’s <em>Strange Case of Dr Jekyll and Mr Hyde</em>, as well as examples from film.</p>

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Bacon, Helena, and Adam Whybray. "The Lies of the Land: The Alluvial Formalities of Gothic East Anglia." Gothic Studies 23, no. 2 (July 2021): 217–32. http://dx.doi.org/10.3366/gothic.2021.0095.

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East Anglia is an evasive region; with its stretches of grey shingle that give way to silt and water, isolated marshes and great, flat panoramas that are literally falling into the sea. This article will show that East Anglia is a broader and more cohesive site of Gothic tradition and possibility than has previously been recognized, even if that possibility is found both textually and topographically in the incohesive, the ephemeral and the immaterial. We will also suggest that the short form is how this has so far been achieved – most famously in the short ghostly tales of M. R. James; more recently in Matthew Holness's unsettling short story ‘Possum’ (2013) and his 2018 film of the same name – and is, in fact, the most appropriate form for this act of textual production.

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31

Stępień, Justyna. "Transgression of Postindustrial Dissonance and Excess: (Re)valuation of Gothicism in Jim Jarmusch’s Only Lovers Left Alive." Text Matters, no. 6 (November 23, 2016): 213–26. http://dx.doi.org/10.1515/texmat-2016-0013.

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The paper gives insight into the revaluation of popular Gothic aesthetics in Jim Jarmusch’s 2014 production Only Lovers Left Alive. Drawing on critical theory and the postmodern theoretical framework, the article suggests that the film transgresses contemporary culture immersed in a “culture of death” that has produced a vast amount of cultural texts under the rubric of “Gothicism.” By considering Jean Baudrillard’s concept of transaesthetics and Judith Halberstam’s writings on contemporary monstrosity, the paper shows that a commodified Gothic mode has lost its older deconstructive functions that operated on the margins of the mainstream. Now entirely focused on the duplication of the same aesthetic codes and signs, Gothic productions conform to the rules of postindustrial culture, enriching entertainment imagery with the neutralized concept of “otherness.” Hence, the article engages primarily with Jarmusch’s indie aesthetics that goes beyond easily recognizable patterns and generic conventions and allows the director to emphasize that the arts are rejuvenating forces, the antidote to a commoditized environment. Then, the focus is on the construction of main characters—Adam and Eve, ageless vampires and spouses—who thanks to nostalgic theatricality and performance reconfigure the mainstream monstrosity. Ultimately, the article emphasizes that Jarmusch’s film, to a large extent, becomes a warning against the inevitable results of advanced capitalism practiced on a global scale.

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32

Grabias, Magdalena. "Droga, podróż, wędrówka w Tylko kochankowie przeżyją Jima Jarmuscha." Humaniora. Czasopismo Internetowe 30, no. 2 (June 15, 2020): 91–100. http://dx.doi.org/10.14746/h.2020.2.7.

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Two first decades of the 21st century have revealed an increasing popularity of the horror genre. In particular, we have been witnessing the renaissance of Gothic cinema, especially the vampire sub-genre. It is conspicuous that the original vampire story formula has lately undergone numerous significant alterations. Vampires have evolved from cold and soulless monsters to humanised romantic heroes. In the new millennium, a static Gothic diegesis gets frequently replaced by a dynamic reality, in which movement is a predominant feature. This article is devoted to the motifs of the road, journey and travels in Jim Jarmusch’ film Only Lovers Left Alive.

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33

Corrêa, Graça P. "The Gothic Uncanny: Selected Mind-Images in Literature and Film." Kairos. Journal of Philosophy & Science 22, no. 1 (December 1, 2019): 179–204. http://dx.doi.org/10.2478/kjps-2019-0014.

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34

Brodski, Michael. "The Cinematic Representation of the Wild Child: Considering L'enfant sauvage (1970)." Gothic Studies 21, no. 1 (May 2019): 100–113. http://dx.doi.org/10.3366/gothic.2019.0010.

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In examining François Truffaut's L'enfant sauvage (1970), I will consider the feral child Victor (Jean-Pierre Cargol) with regard to the film's cinematic portrayal as typifying the cultural construction of a child. Following James R. Kincaid, the figure of the child can be seen as a ‘hollow category’, seemingly featureless in its alleged innocence. As a result, it functions as an adult ‘repository of cultural needs or fears’. For this reason, the child, and especially the feral child, can serve as a projection screen for a variety of different and even opposed questions and symbolic constructions. The film effects this subliminally through the portrayal of Victor. This is mainly achieved by constantly shifting between a Romantic discourse of the noble savage and child of nature and the Lockean empiricist view, with the infant's mind as a tabula rasa condition and the doctor Jean Itard's (played by Truffaut himself) consequent need to educate Victor.

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Prosser, Ashleigh. "Gothic Afterlives: Reincarnations of Horror in Film and Popular Media, Lorna Piatti-Farnell (ed.) (2019)." Australasian Journal of Popular Culture 9, no. 2 (September 1, 2020): 277–79. http://dx.doi.org/10.1386/ajpc_00032_5.

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Review of: Gothic Afterlives: Reincarnations of Horror in Film and Popular Media, Lorna Piatti-Farnell (ed.) (2019) London: Lexington Books, 248 pp., ISBN 978-1-4985-7822-6 (cloth: alk. paper), p/bk, AUD 95 ISBN 978-1-4985-7823-3 (electronic), p/bk, AUD 90

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Tay, Sharon. "Constructing a Feminist Cinematic Genealogy: The Gothic Woman's Film beyond Psychoanalysis." Women: A Cultural Review 14, no. 3 (January 2003): 263–80. http://dx.doi.org/10.1080/0957404032000140380.

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Piatti-Farnell, Lorna. "Gothic reflections: Mirrors, mysticism and cultural hauntings in contemporary horror film." Australasian Journal of Popular Culture 6, no. 2 (September 1, 2017): 179–89. http://dx.doi.org/10.1386/ajpc.6.2.179_1.

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Sawczuk, Tomasz. "Taking Horror as You Find It: From Found Manuscripts to Found Footage Aesthetics." Text Matters, no. 10 (November 24, 2020): 223–35. http://dx.doi.org/10.18778/2083-2931.10.14.

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An authenticator of the story and a well-tested enhancer of immersion, the trope of the found manuscript has been a persistent presence in Gothic writing since the birth of the genre. The narrative frame offered by purported textual artifacts has always aligned well with the genre’s preoccupation with questions of literary integrity, veracity, authorial originality, ontological anxiety and agency. However, for some time now the application of the found manuscript convention to Gothic fiction has been reduced to a mere token of the genre, failing to gain impact or credibility. A revival of the convention appears to have taken place with the remediation and appropriation of the principally literary trope by the language of film, more specifically, the found footage horror subgenre. The article wishes to survey the common modes and purposes of the found manuscript device (by referring mostly to works of classical Gothic literature, such as The Castle of Otranto, Dracula and Frankenstein) to further utilize Dirk Delabastita’s theories on intersemiotic translation and investigate the gains and losses coming with transfiguring the device into the visual form. Found footage horrors have remained both exceptionally popular with audiences and successful at prolonging the convention by inventing a number of strategies related to performing authenticity. The three films considered for analysis, The Blair Witch Project (1999), Paranormal Activity (2007) and REC (2007), exhibit clear literary provenance, yet they also enhance purporting credibility respectively by rendering visual rawness, appealing to voyeuristic tastes, and exploiting susceptibility to conspiratorial thinking.

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Poore, Benjamin. "The Transformed Beast:Penny Dreadful, Adaptation, and the Gothic." Victoriographies 6, no. 1 (March 2016): 62–81. http://dx.doi.org/10.3366/vic.2016.0211.

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After only one eight-part season, the television series Penny Dreadful, a Showtime/Sky Atlantic co-production, had already become an international success with an active and vocal fanbase. Yet the relationship of the show (which was created and written by John Logan) to the Victorian serial fiction genre, penny dreadfuls, is an oblique one, and worth unpicking. The first part of this article focuses on the task of teasing out the connections between Penny Dreadful and the penny dreadful genre, arguing that the show's title performs significant cultural work in positioning itself in relation to Victorian fiction and in relation to modern television. In the second part of the essay, I explore how Penny Dreadful works as an adaptation, using Kamilla Elliott's insights into the contradictory and overlapping concepts of adaptation in Rethinking the Novel/Film Debate. Finally, the essay considers Penny Dreadful as a reflection – and, it is argued, an appropriation – of contemporary media fandom.

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Matthews, Nicole. "Learning to listen: epistemic injustice and gothic film in dementia care education." Feminist Media Studies 16, no. 6 (October 3, 2016): 1078–92. http://dx.doi.org/10.1080/14680777.2016.1234498.

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Bryer, Theo, Morlette Lindsay, and Rebecca Wilson. "A Take on a Gothic Poem: Tablet Film-making and Literary Texts." Changing English 21, no. 3 (July 3, 2014): 235–51. http://dx.doi.org/10.1080/1358684x.2014.929284.

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Balmain, Colette. "Repetition and difference in East Asian gothic cinema: the Bunshinsaba film series." Transnational Screens 11, no. 3 (September 23, 2020): 187–201. http://dx.doi.org/10.1080/25785273.2020.1823073.

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Risner, Jonathan. "Gothic Imagination in Latin American Fiction and Film by Carmen A. Serrano." Hispanófila 189, no. 1 (2020): 163–65. http://dx.doi.org/10.1353/hsf.2020.0022.

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Ćwiklak, Nina. "Edgar G. Ulmer — Roger Corman — Stuart Gordon. Filmowe adaptacje opowiadania Edgara Allana Poego Czarny kot." Literatura i Kultura Popularna 25 (July 28, 2020): 429–44. http://dx.doi.org/10.19195/0867-7441.25.24.

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The article entitled Edgar G. Ulmer — Roger Corman — Stuart Gordon. Movie adaptations of Edgar Allan Poe’s short story “The Black Cat” is a comparative analysis of three adaptations of a gothic short story. The attempt at finding inspirations from romantic poetics in the works of film directors, created in different decades and answering the question of how is it possible to transfer assumptions of romantic literature into movie language, was made in this text. In the movie from 1934, Edgar G. Ulmer connects gothic poetics with modernism aesthetics. He also adds historical context, referring to events in the First World War. On the other hand, taking classic literature became an opportunity for Roger Corman to play with convention. He expresses it in the adaption from 1962, in which terror gives space to humour. Stuart Gordon in turn, creates a post-modern variation based on a theme of The Black Cat, making Poe himself the main character of the movie from 2005. The important criterion of interpretation includes the motives of the Byronic hero, cat, madness and crime. Analysis of different ways to re-interpret the gothic short story leads to conclusions about filmmakers’ attitude to literary prototype. Also, the cultural context of individual adaptations was pointed out.

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Fisiak, Tomasz. "Stranger Than Fiction: Gothic Intertextuality in Shakespears Sister’s Music Videos." Text Matters, no. 10 (November 24, 2020): 194–208. http://dx.doi.org/10.18778/2083-2931.10.12.

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The following article is going to focus on a selection of music videos by Shakespears Sister, a British indie pop band consisting of Siobhan Fahey and Marcella Detroit, which rose to prominence in the late 1980s. This article scrutinizes five of the band’s music videos: “Goodbye Cruel World” (1991), “I Don’t Care” (1992), “Stay” (1992), “All the Queen’s Horses” (2019) and “When She Finds You” (2019; the last two filmed 26 years after the duo’s turbulent split), all of them displaying a strong affinity with Gothicism. Fahey and Detroit, together with director Sophie Muller, a long-time collaborator of the band, have created a fascinating world that skillfully merges references to their tempestuous personal background, Gothic imagery, Hollywood glamour and borrowings from Grande Dame Guignol, a popular 1960s subgenre of the horror film. Grande Dame Guignol is of major importance here as a genre dissecting female rivalry and, thus, reinterpreting a binary opposition of the damsel in distress and the tyrant, an integral element of Gothic fiction. Therefore, the aim of the article is not only to trace the Gothic references, both literary and cinematic, but also to demonstrate how Shakespears Sister’s music videos reformulate the conventional woman in peril-villain conflict.

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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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47

Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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Ramalho, Joana Rita. "The Uncanny Afterlife of Dolls: Reconfiguring Personhood through Object Vivification in Gothic Film." Studies in Gothic Fiction 6, no. 2 (June 16, 2020): 27. http://dx.doi.org/10.18573/sgf.33.

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Latham, Brandon. "Cobblestones and Doppelgängers: How Gothic Literature Contributed to the Dawn of Film Noir." Film Matters 7, no. 2 (September 1, 2016): 17–21. http://dx.doi.org/10.1386/fm.7.2.17_1.

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Bedford, Josh, and David Schiller. "The Original Music from Dark Shadows, audio compact disc. Composed and directed by Robert Cobert Songs from the Dark Shadows: A Gothic Musical, audio compact disc. Composed and performed by David Leinweber Dark Shadows (A Tim Burton Film), Original Score, audio compact disc. Composed and directed by Danny Elfman." Gothic Studies 21, no. 1 (May 2019): 114–19. http://dx.doi.org/10.3366/gothic.2019.0011.

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