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Jim Thompson’s The Killer Inside Me and the Crooked Game of Post-World War II America
Jamie Brummer

Though presenting itself as pulpy example of hardboiled American fiction, Jim Thompson’s The Killer Inside Me opens up in important and unexpected ways when read as a subversive Gothic novel. Such a reading sheds light on a range of marginalized characters (especially women and rural peoples) who often remain shadowed by more conventional readings. Reading the novel as Gothic also highlights thematic concerns which counter the halcyon image of post-World War II America as a golden age and reveal instead a contemporary landscape fraught with violence, alienation, and mental instability.

Gothic Studies
Vijay Mishra

straightforward appropriation of the Gothic under the sign of Hindu demonic sacralisation or monistic polytheism. It was, instead, yet another compromise, a compromise between the local and the Hollywood global, for the fact remains that the Bollywood Gothic film mode – the Bollywood Gothic noir – is directly indebted to the Hollywood Gothic noir, a cinematic form distinguished by a visual

in The Gothic and death
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Ben McCann

Grande vie [1960], Boulevard [1960]), chamber pieces (Marie-​Octobre [1959], Diaboliquement vôtre [1967]), and Gothic noir (La Chambre ardente [1962]). This period also saw Duvivier re-​imagine the coordinates of French noir and the fantasy film, two genres generally overlooked by most critics at the time. Voici le temps des assassins was not the final highpoint in his career, as most critics make out. Instead, post-​1956, Duvivier continued to push at the rigid boundaries between commercial and auteur projects, working with significant stars (Bardot, Darrieux, Delon

in Julien Duvivier

The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.

The Gothic, death, and modernity
Carol Margaret Davison

questions about the fear of death. The section concludes with Vijay Mishra’s fascinating chapter, ‘Afterdeath and the Bollywood Gothic noir’ ( Chapter 12 ), an examination of a sub-genre of the capricious Indian cinematic melodrama that asks how culturally distinct figurations of death and an afterlife influence cinematic engagements with timeless ‘Gothic’ questions. Mishra

in The Gothic and death
Tim Bergfelder

himself as an artistically ambitious Hollywood director. He had to be content to manufacture adventure and crime films’. 7 In some cases, noir classics were rejected much more forcefully. A case in point was Robert Siodmak’s gothic noir masterpiece The Spiral Staircase (1946), which was condemned upon its German release in 1948 as a ‘typically American invitation to moral corruption’; 8 it was met with calls for boycott from Germany’s two

in European film noir
Popular culture and (non-Whedon) authorship
Matthew Pateman

. Whedon's worlds are many things, but all of them are celebrations of popular culture in its many guises. Most notably, each of his major shows exists as a hybrid concoction of a range of popular genres (gothic, noir, sitcom and so on). In their very form, then, Whedon creates shows that are quintessentially located in popular culture. But while this may be true at a general level, it is also the case

in Joss Whedon