political liberation, as in much ‘female’ Gothic. The
diverse strands of thought that have been collectively labelled
Romanticism emerged at a similar period to Sontag’s Camp, and
Gothic texts often seem situated uneasily between the two. Gothic shares
many of the (often conflicting) recurrent themes of Romantic discourses:
the evocation of feeling, particularly of terror and the sublime
Gothic mansions, ghosts and particular friendships
form. To convey the sense of claustrophobia
that pervades the Convent, she describes it, sometimes seriously and on
other occasions with a note of humorous parody, in terms of the classic Gothic
castle or haunted house, while assigning to Nanda the conventional role
of entrapped heroine. A key theme in Gothic narrative, works of femaleGothic in particular as is illustrated by critical readings of the
Gothic grotesque’, in Diana Wallace and Andrew Smith (eds), The FemaleGothic: New
Directions, Basingstoke: Palgrave Macmillan, pp. 76–97.
Miller, Lucasta (2002) The Brontë Myth, London: Vintage.
Mulvey, Laura (1975) ‘Visual pleasure and narrative cinema’, Screen, 16.3, 6–18.
O’Neill, Judith (ed.) (1968) Critics on Charlotte and Emily Brontë, London: George
Allen & Unwin.
Pascal, Julia (2000) Charlotte Brontë Goes to Europe, British Library, London.
Events collection, recorded 10 January, recording no. 1CDR0004534.
Poore, Benjamin (2012
Gregory Nava’s Bordertown and the dark side of NAFTA
Agnieszka Soltysik Monnet
Jennifer Lopez and Antonio Banderas, and
based on the real circumstances of the murders and their failed
investigations, is a relatively high-profile attempt to expose this
situation. The film draws heavily on gothic imagery and conventions,
such as live burial, forgotten crimes, aristocratic villains and
dismembered bodies, and especially the femalegothic, with its
It is interesting in this regard how enervated
She-Wolf of London’s narrative turns out to be.
Although it has some of the qualities of the 1940s ‘femalegothic’ cycle of films discussed by Helen Hanson in both its
predominantly domestic settings and its focus on female characters, it
is entirely lacking in the investigative drive associated with that
Patricia and Wim Staat, Shooting the Family. Transnational Media and
Intercultural Values (Amsterdam: Amsterdam University Press,
David, Review of The Contested Castle: Gothic Novels and the
Subversion of Domestic Ideology by Kate Ferguson Ellis; Dead
Secrets: Wilkie Collins and the FemaleGothic by Tamar Heller;
In the Name of Love: Women
are to this edition and are given in the text.
Diana Wallace, ‘Uncanny Stories: The Ghost
Story as FemaleGothic’, Gothic Studies , 6.1 (May 2004 ), special issue
on the ‘FemaleGothic’, ed. Andrew Smith and Diana
Wallace, 57–68, 57
influencing the work of Dickens and
Collins. Following the work of Ellen Moers, she argues that Dickens in
Bleak House relocates Radcliffe’s development of a
specifically FemaleGothic. 9 This is manifested in the central dynamic
concerning the gradual revelation of the relationship between Esther and
Lady Dedlock. Esther is also associated with a world of domesticity in
ways which, familiar from the
is visually dark,
with a mise-en-scène dominated by drab and dismal colours,
shadows and closed-in spaces. Programmes of this genre are also inclined
towards camerawork and sound recording taken from a subjective
perspective (from the ‘spirit’s-eye-view’ of ghosts
and supernatural beings, to the point of view of the victimised heroine
in adaptations of the femaleGothic novel). Gothic television is
The mother’s body is also an uncanny presence in
Gothic writing by women. Claire Kahane, for examples, famously
identifies the Gothic heroine’s confrontation with the
‘spectral presence of a dead-undead mother, archaic and
all-encompassing’ as a key trope of the femaleGothic ( 1985 : 336). 3 Such maternal ‘haunting’ is
exemplified by Radcliffe’s A Sicilian