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Don DeLillo‘s Underworld and the End of the Cold War Gothic
Brian McDonald

Gothic Studies
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry

and Forbidden Planet provides a good example of the how the Frankenstein Complex can expose unexpected affinities between texts to reveal unrecognised adaptations. While the source texts suggested by Buchanan and others are plausible lenses through which to read Forbidden Planet , none takes account of the film’s Cold War context. It is this anxious post-war period, combining fear of a nuclear holocaust with unprecedented economic bounty (Worland and Slayden 140, 143), that sets the stage for seeing the film as a contemporary

in Adapting Frankenstein
Facing the apocalypse in Watchmen
Christian W. Schneider

have become unavoidable, since the danger of a nuclear war between the USA and the USSR becomes increasingly certain. In Watchmen ’s 1980s mindset, the logic of the Cold War’s nuclear arms race is re-created within the context of superhero comics; Judgement Day could happen at any moment, as every character, superhero or not, realises. This is the prevalent trait of

in Alan Moore and the Gothic Tradition
Nordic Gothic and transcultural adaptation
Maria Holmgren Troy

his discussion about the uncanny ( das Unheimliche ): ‘what is concealed and kept out of sight’, 78 as opposed to heimlich in the sense of what is familiar or homelike. John Beck suggests that Los Alamos, as a setting in novels, ‘has come to represent the concealment of power in its most deadly military form, a power folded into the deep time of the Southwestern landscape’. 79 In his book on the Manhattan Project in post-Cold War New Mexico, anthropologist Joseph

in Nordic Gothic
The demonic adoptee in The Bad Seed (1954)
Elisabeth Wesseling

unimportant. Christian Americanism tied in with a larger cultural imaginary that Christina Klein has dubbed ‘Cold War Orientalism’. 14 Contrary to old-school European Orientalism, this body of images and ideas about ethnic difference emphasized the possibilities of bridging otherness by de-essentializing and de-biologizing race. Certainly, we tend to associate the Cold War period with the policy of

in Gothic kinship
Abstract only
Beyond the mid-century
Lisa Mullen

infiltrating and intervening in the human realm contained a warning against the creeping interchangeability of people and the consumer goods which offered to define and placate them, then this warning was often drowned out by the normative bellow of advertising and mass culture. As the 1950s progressed, and the Cold War made great geopolitical struggles a question of abstract, bureaucratic concern rather than a ‘personal matter’, a new appetite for distracting pleasures took hold. The heroes (and, more rarely, heroines) of literature’s Angry Young Men movement and cinema

in Mid-century gothic
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Fear, the law and liquid modernity
Avril Horner

environmental disaster precipitated by global projects). Globalgothic thus frequently overlaps with the dystopian and the apocalyptic. Just as the Second World War and the Cold War each resulted in a spate of apocalypse writing, so the post-millennial surge of interest in apocalyptic fictions testifies to the level of fear resulting from globalisation. Such texts often carry a strong gothic dimension through

in Globalgothic
The painful nearness of things
Lisa Mullen

threatening the integrity of the human subject: the atomic bomb. This new technology redefined deadly intimacy; after the first blast had obliterated the area surrounding its point of impact, the bomb continued to kill insidiously, via radiation which could invisibly penetrate and poison the body. At the same time, despite its ubiquity in the political discourse of the Cold War, this was a bomb with which few were intimately acquainted, since its power lay in its abstract potential for devastation rather than its immediate physical presence in everyday life. This retention

in Mid-century gothic
Adapting Mary Shelley’s monster in superhero comic books
Joe Darowski

most of the underground cities. Grotesk, who was known as Prince Gor-Tok at the time, tried to rally the survivors of his people, but a mysterious illness brought on by radiation following the disaster killed them all, including his wife, and Gor-Tok was left alone. Grotesk now believes the disaster and subsequent radiation sickness were brought on by humans from the outer world. In a Cold War-era comic book, the idea of radiation wiping out a civilisation bent on conquering another part of the world would resonate with readers who lived in fear of nuclear war

in Adapting Frankenstein
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From Dead of Night to The Quatermass Experiment
Peter Hutchings

problematics to do with gender definition that would subsequently occupy much of colour gothic horror. At one point in The Quatermass Experiment , Inspector Lomax (Jack Warner) says to Quatermass (Brian Donlevy), ‘No one wins a Cold War.’ Certainly one way of approaching these three Hammer SF/horror films is to view them as ‘Cold War’ thrillers (as David Pirie does in discussing X – The Unknown ), 30 close paranoid cousins to the American invasion fantasy. However, it does seem that the

in Hammer and beyond