The journey North is a recurrent motif throughout the Gothic literary tradition, often representing a journey back in time to a more primitive location where conventional rules do not apply. Within the context of contemporary Scottish Gothic this journey continues to involve a temporal regression. The North of Scotland, and specifically the Highlands, is still a Gothic location, allowing for an interrogation of the homogenising notion of ‘national identity’. In this article the journey North is explored in the work of contemporary writers and film directors including Iain Banks, Alan Warner, David Mackenzie, and Neil Marshall.
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.
Clive Barker found joy in
painting at the age of 45, two years after the release of Lord of
Illusions ( 1995 ), his third and last
feature as a filmdirector. 1 Speaking in the
documentary Clive Barker: The Man Behind the Myth ( 2007 ), the artist described his encounter
with the medium in a wistful voice: ‘It was like opening a
Representing the supernatural in film adaptations of A Midsummer
A Midsummer Night’s Dream is one of the most often-performed Shakespeare plays, and one of his most popular comedies.
It is also a favourite of filmdirectors, with a number of adaptations made since its first known appearance on the silver screen in 1909.
The play's popularity is due in no small part to the supernatural elements in the play, and more particularly the supernatural beings that populate it – the
Although the preoccupation of Gothic storytelling with the family has often been observed, it invites a more systematic exploration. Gothic Kinship brings together case studies of Gothic kinship ties in film and literature and offers a synthesis and theoretical exploration of the different appearances of the Gothic family. The volume explores the cultural mediation of the shifting relations of kinship and power in gothic fictionfrom the eighteenth century up to the present day. Writers discussed include early British Gothic writers such as Eleanor Sleath and Louisa Sidney Stanhope as well as a range of later authors writing in English, including Elizabeth Gaskell, William March, Stephen King, Poppy Z. Brite, Patricia Duncker, J. K. Rowling and Audrey Niffenegger. There are also essays on Dutch authors (Louis Couperus and Renate Dorrestein) and on the film directors Wes Craven and Steven Sheil. Arranged chronologically, the various contributions show that both early and contemporary Gothic display very diverse kinship ties, ranging from metaphorical to triangular, from queer to nuclear-patriarchal. Gothic proves to be a rich source of expressing both subversive and conservative notions of the family.
This chapter provides a historical survey of the rise of the Gothic in Nordic literature, film, TV series and video games. Going back to the first generation of Gothic texts, the chapter notes that German, British and French novels around 1800 were quickly translated into the Scandinavian languages, and that they inspired Nordic writers – and, later, film directors – to emulate this tradition but also to adapt the genre to Nordic audiences. The chapter then discusses the evolution of Nordic Gothic during the nineteenth and twentieth century, noting the most important writers and their work. Finally, the chapter describes the emerging scholarship that shows how Nordic canonical authors and filmmakers have been influenced by the Gothic, and addresses what can be termed the Nordic Gothic boom that can be said to begin in 2004 with John Ajvide Lindqvist’s Låt den rätte komma in.
Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.
Maria Holmgren Troy, Johan Höglund, Yvonne Leffler, and Sofia Wijkmark
combine critical social realism with supernatural Gothic.
Arthouse filmdirector Lars von Trier's turn to the TV medium and the creation of a Gothic TV series about a haunted hospital proved to be surprisingly popular with TV viewers in Denmark and Sweden, as well as with critics.
Riget was also successfully presented as a four-hour film at national and international film festivals. In 1995, it won the national Bodil Awards for the best Danish film, best actor, best actress
political response to a life lived in a country that had remained homophobic and inhospitable through every period of his life. As a famous filmdirector, he had a platform and an audience. By naming the realities of one queer life in many ways, from different angles, he added his voice to those which had previously been silenced. The ways he shares his life are often confrontational, engaging with contentious and perhaps challenging areas of queer experience. Brophy comments on the ‘shifting dynamics of mourning and memory, blend[ed] […] with a good deal of polemic’ in
Noni Jabavu, an unconventional South African in London
During her pregnancy, she was among the evacuees from London to the Lake District, ‘away from the Blitz’, as she recalls in a letter (22 August 1995, Amazwi South African Museum of Literature). After the war, she remained in London, working as a journalist and a presenter and producer for the BBC, and it was during this period that she interacted with Abrahams on the Third Programme. Her marriage to filmdirector Michael Cadbury Crosfield in 1951 set in motion what she was to call ‘the peripatetic print of