understandings of female sexuality. 4 More generally, Barbara Creed has argued that the monstrous-feminine in horror cinema invokes notions of the biological – not least menstrual and other processes associated with female reproductivity – in a manner that invites both fascination and disgust. 5 Approaches of this kind align broadly with an ideological-analytical method that is prevalent in horror criticism. Put
This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.
and its reliance on automata and the mechanical reproduction of life – some of the most brilliant examples being ‘August Eschenburg’ ( 1999 ), ‘The New Automaton Theater’ ( 1999 ), ‘The Invention of Robert Herendeen’ ( 2007b ) or, closer to our theme, ‘A Precursor of the Cinema’ ( 2008 ). By choosing to adapt Millhauser’s 1990 short story ‘Eisenheim The Illusionist’ as The
The aim of this article is twofold. On the one hand, it offers a survey of found footage horror since the turn of the millennium that begins with The Blair Witch Project (1999) and ends with Devils Due (2014). It identifies notable thematic strands and common formal characteristics in order to show that there is some sense of coherence in the finished look and feel of the films generally discussed under this rubric. On the other hand, the article seeks to reassess the popular misunderstanding that found footage constitutes a distinctive subgenre by repositioning it as a framing technique with specific narrative and stylistic effects.
the film industry, this chapter will then discuss the role of theme parks and Barker's mazes within broader industrial trends for branding, horror cinema and the aesthetics of his films. Finally, the article will identify how Barker's experimentation with theme park mazes informs ongoing trends for his success as a brand-name auteur and producer across different media forms
The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.
In his analysis of the evolution of sexuality in society in Making Sexual History, Jeffrey Weeks comments that, following a series of major challenges throughout the twentieth century (ranging from Freud‘s work to the challenges of feminism and queer politics), ‘sexuality becomes a source of meaning, of social and political placing, and of individual sense of self ’. This special issue of Gothic Studies intends to foster further research on the topic of queer sexuality. This is research which has already been underway for some time but it has not always been interdisciplinary in nature, as is the case for these five articles, in their discussion of theatre, cinema, and literature or literary conventions borrowed from Gothic novels.
Since 2005 Tim Burton’s imagination has frequently turned to Victorian-related subjects. Focusing primarily on Corpse Bride (2005), Sweeney Todd (2007) and Alice in Wonderland (2010), this article argues that Burton’s response to (neo-) Victorian culture is a distinctly Gothic one. Unlike other more literary and canonical types of neo-Victorianism it engages with the popular and strongly Gothicised conceptions of the Victorian that emerged through the horror cinema of the twentieth century. It is also Gothic in the way that it self-consciously blends the Victorian with other cultural trends. As a result, rather than offering a strongly theorised, academic view of the Victorians, Burton remediates them for his own aesthetic purposes.
This tenth anniversary issue of Gothic Studies reconsiders how the study of the Gothic mode in many venues (from fiction and drama to cinema and video) has been deeply affected by a wide range of psychoanalytical, historicist, cultural, and literary theories that have been, and can still be, employed to interpret and explain the Gothic phenomenon. This collection builds on the most fruitful of existing theoretical perspectives on the Gothic, sometimes to transform them, or by suggesting new alliances between theory and the study of Gothic that will enrich both domains and advance the mission of Gothic Studies, as well as Gothic scholarship in general, to provide the best arena for understanding the Gothic in all its forms.
Twentieth century cinema involving monster conflict featured solitary monsters in combat (Frankenstein Meets the Wolf Man, for example). The writing of Anne Rice and the RPG Vampire: The Masquerade by White Wolf Games introduced the idea of Gothic communities and civilisations in conflict. It was not until after the terror attacks of 11 September that the idea of a clash of civilisations between supernatural societies fully emerged into the mainstream of popular culture. This essay explores the construction of a clash of civilisations between supernatural communities as a form of using the Gothic as a metaphor for contemporary terrorism in film and television series such as Underworld, Twilight, True Blood and The Vampire Diaries. Inevitably, it is the lycanthropes that are the disempowered and disenfranchised society and are alternately exploited by and rebel against the dominant vampire civilisation grown decadent and on the verge of collapse. Post-9/11 Gothic posits a world in which vampire society is the new normal, and werewolves represent a hidden danger within. Lycanthropes must be controlled, profiled and/or fought and defeated. Through close readings of the cinematic and televisual texts, I explore the vampire/werewolf clash as metaphor and metonym for the war on terror.