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Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.

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Violence and Miscegenation in Jean Toomer‘s ‘Blood- Burning Moon’
Allan Borst

Jean Toomer‘s Cane (1923) has long been considered a signature text of both avant-garde Modernism and the Harlem Renaissance. While Gothic tropes and imagery lurk throughout Toomer‘s collection of poetry and prose, Anglo-American Gothic conventions come to the foreground in the story ‘Blood-Burning Moon’. The story‘s interracial love triangle provides a locus of conflict between the post-Reconstruction American South and the haunting economic logic of slavery. Though the three characters each aspire to new racial, sexual and economic identities, they are terrorized by a society where employer-employee relations cannot escape the violence of the master-slave dialectic. Toomer does not relinquish his aesthetic experimentation and political radicalism to the Anglo-American Gothic, but instead engages the Gothic form in order to critique the violent racism of American capitalism. In this way, Toomer positions the Gothic centrally within African-American literary and cultural history.

Gothic Studies
Aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher
Guy Crucianelli

Introduction Adapted from Edgar Allan Poe’s story, ‘The Fall of the House of Usher’, Jean Epstein’s 1928 film La Chute de la maison Usher incorporates nearly all the major avant-garde trends of the previous one hundred years and interprets them through an early twentieth-century modernist sensibility. In its treatment of the artist in self

in Monstrous adaptations
The Books of Blood and the transformation of the weird
Kevin Corstorphine

particular trend, when he is a resolutely unfashionable author in outlook, even when fashion happens to coincide with this vision. Although he acknowledges the literary Gothic (Poe perhaps foremost), Barker's background is grounded in the theatre, and again the influence of the French avant-garde shows itself in his love of the Parisian Grand Guignol of the early twentieth century

in Clive Barker
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Horror and the avant-garde in the cinema of Ken Jacobs
Marianne Shaneen

words, cinema enacts animal sacrifice to perpetuate the life of the image. Indeed, all film is horror film. American avant-garde filmmakers from Maya Deren to Harry Smith have followed this spectral path, illuminated by magic lanterns, Phantasmagoria spectacles and the magic of Georges Méliès. For Stan Brakhage, light, or lumen , held the status of a supernatural force. The

in Monstrous adaptations
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Costume, performance and power in 1953
Lisa Mullen

with which he seeks to bind and define the abstract object of his desire. This perceptual failure plays out in a crucial scene, in which Jake tracks Anna down to a small avant-garde theatre in Hammersmith, which she has set up with the help of Jake’s erstwhile friend, Hugo. The wealthy Hugo – another lost object, like Anna, whom Jake pursues doggedly and unsuccessfully through the pages of the novel – embodies the conceptual core of Murdoch’s philosophical critique; his enigmatic pronouncements about the impossibility of language, which Jake

in Mid-century gothic
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The uncanny objects of modernity in British literature and culture after World War II
Author: Lisa Mullen

Mid-Century Gothic defines a distinct post-war literary and cultural moment in Britain, lasting ten years from 1945 to 1955. This was a decade haunted by the trauma of fascism and war, but equally uneasy about the new norms of peacetime and the resurgence of commodity culture. As old assumptions about the primacy of the human subject became increasingly uneasy, culture responded with gothic narratives which reflected two troubling qualities of the newly assertive objects of modernity: their uncannily autonomous agency, and their disquieting intimacy with the reified human body.

This book offers original readings of novels, plays, essays and cinema of the period, unearthing neglected texts as well as reassessing canonical works. The post-war decade has often been defined either as the bathetic terminus of high modernism, or as the stiflingly hidebound context from which later countercultural and avant-garde movements erupted. Yet historically, this was an important and resonant cultural turning point, as still-fresh war trauma intersected with new paradigms of modernity. By looking beneath the surface of its literature and culture, it is possible to resurrect a sense of this decade as a moment of urgent cultural crisis, rife with repressed tensions which could only be expressed in a gothic mode.

By bringing these into dialogue with mid-century architecture, exhibitions, technology, and material culture, Mid-Century Gothic provides a new perspective on a notoriously neglected historical moment, and paints a picture of a decade roiling with intellectual and aesthetic upheaval.

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The dance of global darkness
Steven Bruhm

“nativism” … this desired reemergence freely borrowed from the Western avant-garde in order to frame its own investigations and creations, and to articulate its own complex and often conflicting image of itself’ ( 2006 : 83). In what Lunberry calls ‘a knot of enabling complications’ (85) and a ‘reverse migration’ of influences from East to West to East (80), Hijikata’s butoh freely allowed Japanese culture

in Globalgothic
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Angela Carter and European Gothic
Rebecca Munford

specifically Anglo-American, tradition – one that accommodates later avant-garde genres, such as surrealism, in its lineage. Working with the Gothic, Carter argues, gave her a ‘wonderful sense of freedom’ because of ‘the pictorial, expository nature of Gothic imagery, its ambivalence, and the rhetorical, non-naturalistic use of language’ (‘NGM’ 133). European Gothic is formulated as a mode of excess: ornate

in Decadent Daughters and Monstrous Mothers
Towards an American ecofeminist Gothic
Emily Carr

salutary exercise for both reader and writer if we begin to take the rhetoric of the avant-garde literally, to assume that the words on the page mean what the dictionary says they do. When Miss Williams writes, ‘Oh to bring back the days when stars spoke at the mouths of caves’, I feel entitled, perhaps even obliged, to ask, ‘Which days were those?’ When she

in Ecogothic