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Marie Mulvey-Roberts

aesthetic of light, shadow and spectacle’ derived from his work with theatrical producer, Max Reinhardt. 129 As Greta insists to Murnau’s character: ‘A theatrical audience gives me life while that thing [as she points to the camera] merely takes it from me.’ Her eventual demise is, in a sense, death by camera in a process that Merhige, as a film director, would have recognised as intrinsic to the vampiric

in Dangerous bodies
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Elisabeth Bronfen and Beate Neumeier

contemporary culture by writers as well as theatre and film directors of the late twentieth and early twenty-first centuries who return to Shakespeare and his contemporaries in the context of the current proliferation of the Gothic. To re-map Gothic literature onto the literary production of the Renaissance thus does not entail undoing the historical distinction between the two by collapsing two historical

in Gothic Renaissance
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Globalising the supernatural in contemporary Thai horror film
Katarzyna Ancuta

of Thai horror and a bow towards potential Western viewers, generally stereotyped by Thai film directors as more rational and sophisticated than local audiences. The shift from a literal to a metaphorical reading of the film is made easier by the fact that its plot explores the multilayered concept of cinema, from setting the action in a haunted cinema building, to discussing the filmmaking

in Globalgothic
Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

spectator of Greta’s lowly objectified status in comparison with the divine, film-director creator. Echoing the critical reading of Dracula as advanced by Elaine Showalter, both episodes also involve ‘gang rapes’ using ‘impressive phallic instrument[s]’ ( 1990 : 181–2). In Greta’s case, the ‘impressive phallic instrument’ is found in both the terrifying fangs of

in The Gothic and death
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act
Anne Quéma

, Toby’s account disturbs Oedipal boundaries by dislodging the name-of-the-father from its monological meaning. At the onset of his narrative, Toby searches for Roehm’s origins by googling his name on the internet. In this virtual universe, Roehm becomes a shape-shifter, an embodiment of public and historical figures such as a homosexual Nazi chief of staff, a French film director and interpreter of the

in Gothic kinship
Peter Hutchings

these involves the construction of the horror genre as an important part of a national culture, with links to other aspects of British cinema, to literary traditions and also to a distinctive British character: ‘it may be that the themes relate to certain psychopathological aspects of the English temperament’. 10 The second entails bestowing upon Terence Fisher, Hammer’s main film director, the status of auteur, someone with a vision that transcends commercial constraints: ‘Indeed, once one

in Hammer and beyond
Gothic and the perverse father of queer enjoyment
Dale Townshend

monstrosity, queer attraction and repulsion in the relationship between an older Whale, the gracious and sophisticated British film director, and his horticultural rent boy, a young, sexually ambiguous all-American gardener. Bram Stoker’s Dracula (1897), the other seminal Gothic fiction of the nineteenth century, has met with a similar fate. Here too, it is the countless filmic adaptations of this powerful

in Queering the Gothic
Gothic aesthetics and feminine identification in the filmic adaptations of Clive Barker
Brigid Cherry

, and illustration. However, amongst horror film fans, Barker is regarded as a significant figure in horror filmmaking, alongside George Romero, David Cronenberg, John Carpenter, Wes Craven, Sam Raimi, and other more established horror film directors. Although he has directed only three films and two early shorts, many other productions have been based on his characters and

in Clive Barker
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Sorcha Ní Fhlainn

note: Dates on this website are incorrect as published by Variety . Hellbound: Hellraiser II was not released until December 1988 in USA. 9 Alan Smithee (or Allen Smithee) was the official pseudonym used by film directors (from 1968 to 2000) who wished to publicly disown their film project. In order to officially use the

in Clive Barker
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David Annwn Jones

of these images ended up on posters, puzzles, games, wallets, plaques etc.’ (Hammett, 2012 : 131). The Marx organisation also issued movie monster figures in the 1960s. Interestingly enough, Aurora also worked with film director William Castle to produce a line of horror model merchandise, which would not be as frightening as the earlier figurines for children. These figurines had large, cartoonish features

in Gothic effigy