An introduction to Gothic fashion
Catherine Spooner

of political liberation, as in much ‘femaleGothic. 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

in Fashioning Gothic bodies
Gothic mansions, ghosts and particular friendships
Paulina Palmer

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 female Gothic in particular as is illustrated by critical readings of the

in Queering the Gothic
Adapting Villette
Benjamin Poore

Gothic grotesque’, in Diana Wallace and Andrew Smith (eds), The Female Gothic: 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. 195 196 Textual legacies 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

in Charlotte Brontë
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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 female gothic, with its emphasis on

in Neoliberal Gothic
Peter Hutchings

as well. 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 ‘female gothic’ 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

in She-wolf
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Agnes Andeweg and Sue Zlosnik

, Patricia and Wim Staat, Shooting the Family. Transnational Media and Intercultural Values (Amsterdam: Amsterdam University Press, 2005). Richter, David, Review of The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology by Kate Ferguson Ellis; Dead Secrets: Wilkie Collins and the Female Gothic by Tamar Heller; In the Name of Love: Women

in Gothic kinship
The female ghost story
Andrew Smith

subsequent references are to this edition and are given in the text. 3 Diana Wallace, ‘Uncanny Stories: The Ghost Story as Female Gothic’, Gothic Studies , 6.1 (May 2004 ), special issue on the ‘Female Gothic’, ed. Andrew Smith and Diana Wallace, 57–68, 57

in The ghost story, 1840–1920
Sherlock Holmes, Count Dracula and London
Andrew Smith

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 Female Gothic. 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

in Victorian demons
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Gothic television – texts and contexts
Helen Wheatley

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 female Gothic novel). Gothic television is

in Gothic television
Rebecca Munford

always Gothic. 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 female Gothic ( 1985 : 336). 3 Such maternal ‘haunting’ is exemplified by Radcliffe’s A Sicilian

in Decadent Daughters and Monstrous Mothers