This article investigates the role of the corridor in Gothic fiction and horror
film from the late eighteenth century to the present day. It seeks to establish
this transitional space as a crucial locus, by tracing the rise of the corridor
as a distinct mode of architectural distribution in domestic and public
buildings since the eighteenth century. The article tracks pivotal appearances
of the corridor in fiction and film, and in the final phase argues that it has
become associated with a specific emotional tenor, less to do with amplified
fear and horror and more with emotions of Angst or dread.
This chapter presents an interview with Suzanne Treister by Roger Luckhurst, Professor of Modern and Contemporary Literature at Birkbeck College, University of London. Treister was a pioneering digital artist, always interested in the science-fictional possibilities of computers and computing, and in 1995, she developed an avatar called Rosalind Brodsky, named after her grandmother. The Brodsky project was HEXEN 2039, which appeared in 2006 as an internet site, a movie, a series of exhibitions, and interventions into places like the Science Museum, London, as well as a book. Since HEXEN, Treister has explored the NATO codification system. In the era of the internet, Treister's combination of interests in the history of technology, the military-industrial complex, and magical thinking about occult interconnectedness makes her work an important reflection on our weird and wired condition of being.