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Lissette Lopez Szwydky

most obvious legacy to contemporary afterlives of nineteenth-century novels like Frankenstein . As Hoeveler explains, ‘There is no question that contemporary viewers of the horror film … owe a visual and cultural debt to the many advances and experiments made by the Victorian Gothic drama’ (69). The proliferation of adaptation in the age of film and digital media is an extension of the nineteenth-century’s fascination with emerging technologies and commercial popular culture. Much of the existing Frankenstein- focused scholarship has

in Adapting Frankenstein
Ambrose Bierce and wilderness Gothic at the end of the frontier
Kevin Corstorphine

ancient history that it knew of, no classical ruins, no romantic medieval monuments, and not even a proper aristocracy. 31 This takes us back to the question of the Gothic, and what inspiration might be found in this new land. ‘The Damned Thing’ would suggest that one source might be in emerging technology, what it reveals, and what it has yet to reveal

in Ecogothic