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David Annwn Jones

had an infantilising effect on the arts and literature in particular. The present market for Goth and Gothic toys both for children and adults is prodigiously large, with the influence of the nineteenth-century texts of Frankenstein and Dracula (and all their subsequent spin-offs in terms of films, TV, bowdlerisations and parodies) still being felt in this market. Though I discuss dolls in

in Gothic effigy
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David Annwn Jones

oppression of the air-tight room overcomes them, which death only can relieve. (Anon., 1909 : 23) In J. Searle Dawley’s production of Frankenstein (1910), Shelley’s grotesque creature becomes the first authentically frightening monster of film. In the second scene, set in a dilapidated student’s garret, we see

in Gothic effigy
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Hammer and other horrors
Peter Hutchings

films, The Curse of Frankenstein (Hammer’s first colour horror, produced in 1956 and released in 1957) and The Gorgon (1964): these were, respectively, the first and last of the five Hammer films on which horror stars Peter Cushing and Christopher Lee and principal Hammer director Terence Fisher collaborated. 1 This fact alone marks the 1956–64 period as a distinctive stage in Hammer’s development. Importantly, The Gorgon also represents a key point in a wider shifting of terms within the genre

in Hammer and beyond
Peter Sloane

. This chapter examines a range of novels that explore the scientific creation of posthumans, notably Frankenstein (1818) , Brave New World (1932) and Where Late the Sweet Birds Sang (1976), to provide a continuum within which to situate a more focused discussion of Ishiguro's novel, in turn interrogating whether the presence of affective response in the reader is either a sufficient or necessary condition to confer the nebulous status of ‘human’ on to other entities. Indeed N. Katherine Hayles has suggested that ‘the age of the human has given way to the

in Kazuo Ishiguro
The spectacle of dissection
Stephanie Codsi

Chaplin, ‘The Divine Touch’, p. 226. This declaration has echoes of Frankenstein's ambitious quest of ‘pursu[ing] nature to her hiding places’ (Shelley, Frankenstein , p. 82). 12 Stafford, Body Criticism , p. 115. 13 See Porter

in William Blake's Gothic imagination
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Ana María Sánchez-Arce

lipstick and nail varnish. Her weapon of choice, the pin, and her entrapment of men through dress align her predatory femininity with the spider, an association repeated in La piel que habito (The Skin I Live In, 2011 ). This, together with her black outfit, places her in a tradition that sees female sexuality and reproductive power as threatening. During María’s first killing, her clothes, make-up, and hairstyle are reminiscent of those of Elsa Lanchester in Bride of Frankenstein (Whale, 1935), echoing Frankenstein’s own fears in Mary Shelley’s original novel that

in The cinema of Pedro Almodóvar
The suicide at the heart of Dear Esther
Dawn Stobbart

narrator’s own story. The game reaches a climax with the suicide of the unnamed (male) narrator, where he hopes to be reunited with Esther. Instead, as the walkthrough at the beginning of this chapter shows, he (and the player) is transported back to the stone jetty to begin again. Reaching specific areas in the landscape triggers the recitation of these fragments of the letters (generally one of three or four available, which contain slightly different information). Canonical Gothic narratives such as Dracula and Frankenstein and more recent works such as Max

in Suicide and the Gothic
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Angela Carter and European Gothic
Rebecca Munford

fittingly describes how Carter’s fictions ‘prowl around on the fringes of the proper English novel like dream-monsters – nasty, erotic, brilliant creations that feed off cultural crisis’ ( 1977 : 51). Vampiric, menacing and sly, they are conspicuously Gothic creations, built, like Frankenstein’s creature, from the dusty vestiges of previous literary and cultural forms. The voluptuous textures of Carter

in Decadent Daughters and Monstrous Mothers
Peter Hutchings

The marginalisation of both Count Dracula and Baron Frankenstein in British horror cinema of the 1970s was only one part of a much wider rejection and casting out of those male authority figures who had been so important in earlier Hammer horrors. At the same time the question of the woman’s desire – a troubling element in The Sorcerers (Michael Reeves, 1967) and The Devil Rides Out (Terence Fisher, 1968) – became a more pressing and unavoidable issue in 1970s horror, with this sometimes

in Hammer and beyond
An introduction
Richard J. Hand
Jay McRoy

why horror film narratives remain a consistently successful source for adaptations, be they generic or thematic, in horror cinema, one need consider horror’s relation to the broad concept of myth . In his seminal study In Frankenstein’s Shadow: Myth, Monstrosity, and Nineteenth-Century Writing , Chris Baldick makes use of the concept of ‘myth’ à la Claude Lévi

in Monstrous adaptations