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
This is a book about the British filmdirector Terence Fisher. A prolific film-maker with fifty titles to his
credit, Fisher’s last film – Frankenstein and the Monster
from Hell – was released in 1974, when I was twelve. I was not old
enough to see any of the horror films upon which Fisher’s reputation
rests when they were first released; for a number of them, I was not even
born. I have been
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.
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.
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
have considerable impact on adaptations. These media have also had varying statuses in different national and regional contexts over time. For instance, Twin Peaks (ABC 1990–1991), which influenced Danish art film writer and director Lars von Trier's foray into that medium, was an unusual instance at the time of an American filmdirector making a TV series.
Although, as Helen Wheatley argues in Gothic Television ( 2006 ), television may be the
This book is about the British film director Terence Fisher. It begins by setting the context by detailing Fisher's directorial debut to Hammer's horror production and the importance of the Hammer horror to Fisher's career. Hammer's horror production represents one of the striking developments in post-war British cinema. The book explains some professional and industrial contexts in which Fisher operated and shows how these relate both to the films he made and the way in which these films have been judged and valued. It presents a detailed account of The Astonished Heart, Fisher's sixth film as director, highlighting the benefits and some of the problems involved in thinking about Fisher's career generally in its pre-horror phase. The successful Hammer film, The Curse of Frankenstein, both inaugurated the British horror boom and established Fisher as a film-maker whose name was known to critics as someone who specialised in the despised horror genre. After The Curse of Frankenstein, Fisher became primarily a horror director. The book presents an account of the highs and lows Fisher faced in his directorial career, highlighting his significant achievements and his box-office failures. It also shows Fisher as a director dependent on and at ease with the industrial and collaborative nature of film-making. In a fundamental sense, what value there is in Terence Fisher's work exists because of the British film industry and the opportunities it afforded Fisher, not despite the industry.
Clive Barker’s Halloween Horror Nights and brand authorship
the 1990s and 2000s, this chapter suggests they demonstrate how
Barker has been more successful as a brand-name auteur across media,
rather than as a feature filmdirector. Moreover, it can be argued
that the design of the mazes and the philosophy behind them reflect
a broader sense of Barker as an artist and producer experimenting
with the cinematic horror genre as an immersive form beyond