Search results

Abstract only
David Annwn Jones

Gothic visibilities. Films such as Dario Argento’s Dracula 3D (2012), Gary Shore’s Dracula Untold (2014), Crimson Peak, A Gothic Romance (2015), I Frankenstein (2014) and Bernard Rose’s Victor Frankenstein (2015) as well as the TV series The Frankenstein Chronicles (2015), Báthory directed by David Eick and Joel Silver and John Logan’s Penny Dreadful (2014) have been screened

in Gothic effigy
Abstract only
David Annwn Jones

is dressed in ‘Silver breast-plate, studded with steel buttons, a plaid kelt cloak, flesh arms and leggings, sandals and gray cloak’ (Norton, 2015 ). Successive writers on fashion have associated Gothic style with different decades of the nineteenth century (Mighall, 1999 : 286). N. J. Stevenson links the fashion of Gothic Romance to the revolt against the freer Classicism of Parisian fashion and

in Gothic effigy
Abstract only
Nineties’ gothica
Susanne Becker

introduction to this study that gothicism in some ways works like pulp – and this, I think, is part of its force to exceed postmodernism. Just as it emerged as a sign of mass culture at the underside of the Enlightenment and the Age of Reason, just as a virtual gothic romance boom paralleled the radical women’s movement of the late 1960s and 1970s, so the gothic now shapes a media

in Gothic Forms of Feminine Fictions
Abstract only
What is 'Gothic'?
Robert Miles

critical sense of being displaced, dystopic representations of ‘wish fulfilments’). Accordingly I have reserved ‘Gothic romance’ for the generality of Gothic writing. Gothic fiction, meanwhile, is unavailable as an alternative as it conflates longer works with Gothic tales, which as Chris Baldick has recently shown (Baldick: 1992 ), is a subgenre of its own, although not one discussed here

in Gothic writing 1750–1820
Abstract only
Queering the Gothic
William Hughes and Andrew Smith

queerness of Gothic will push the genre, in critical terms at least, once more away from the comfortable centre and back towards the uneasy margins of transgression and experimentation – a place where it undoubtedly belongs. In ‘“Love in a convent”: or, Gothic and the perverse father of queer enjoyment’, Dale Townshend (Chapter 2) provides a queer reading of such early Gothic romances as William

in Queering the Gothic
Susanne Becker

perfect opening of a nineteenth-century romance, or of a gothic romance, or even of a Mills & Boon paperback. However, it does not open Possession but marks the very centre of its plot. The travellers are Randolph Henry Ash and Christabel LaMotte, two fictitious Victorian poets, and the quoted scene reveals their illicit romance, despite his marriage and her assumed lesbianism

in Gothic Forms of Feminine Fictions
Stoker, Coppola and the ‘new vampire’ film
Lindsey Scott

explore its transgressive potential, it oddly seems to have much in common with Stoker’s original position. Learning from beasts For some readers and critics, discussing Stephenie Meyer’s Twilight alongside Bram Stoker’s Dracula may seem an ahistorical or obsolete approach. The idea of comparing a twenty-first-century saga of popular Gothic-romance novels written primarily for

in Open Graves, Open Minds
Essence, difference and assimilation in Daniel Waters’s Generation Dead
Bill Hughes

readerships. Fred Botting’s conjunction of Gothic and Romance in Gothic Romanced is a promising approach to these texts. It places it more precisely in a context and it avoids the now all-too broad category of simply ‘Gothic’. On the problems of an all-encompassing, ahistorical use of the term, see Warwick, ‘Feeling Gothicky

in Open Graves, Open Minds
Abstract only
Susanne Becker

‘semanalysis’ between ‘bio-physical processes’ and ‘social constraints’ features a ‘divided subject’ in a way that will, as we shall see, be important to feminine gothic texture: it produces a split subject that works to feminise the gothic romance and to transform it into an ‘interrogative text’. Kristeva’s positioning of the speaking subject – also in

in Gothic Forms of Feminine Fictions
Aritha van Herk and No Fixed Address
Susanne Becker

rescuing motif of the gothic romance with ironic mockery and reversal as it is initiated by Arachne. Consequently, No Fixed Address avoids the subsequent idealised image of stability – of the couple in the home – and thus the restoration of the liberated, travelling female figure into a patriarchal structure. Rather, the indoors and its related domesticity – traditionally the

in Gothic Forms of Feminine Fictions