This chapter discusses two hybrid forms of Gothic drama in the 1960s, firstly the Gothic family sitcoms The Munsters and The Addams Family, and secondly the Gothic soap opera Dark Shadows. In a sense, both The Addams Family and The Munsters 'worried at' the home lives of their viewers, albeit in a humorous way, thus acting as classic American Gothic texts. An examination of the formation of Gothic television in the US shows that, as with early British television drama, the Gothic anthology series on American television was prefigured by the genre's popularity on the radio. This highlights the relationship between the domestic reception context and the Gothic text. Dark Shadows' particular brand of the 'fantastic-marvellous', the blending of stock characters and narrative events from the soap opera and the Gothic genre, therefore bringing into congruence the ordinary and the supernatural, might be seen to render viewer identification somewhat mystifying.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.