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Anatomy of a metaphor
John M. Ganim

local habitation. The city of film noir , that is, is gothicised, acquiring the aura of the castle of the eighteenth- and nineteenth-century Gothic novel, with its labyrinthine rooms, its menacing foreign antagonists and its atmosphere of sexual and racial confusion. Where the threat of Gothic romance, however, seems to emanate from a repressed and resurrected past, symbolised by the Middle Ages

in Medieval film
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Andrew Spicer

But, as with a generic label, this is a retrospective categorisation that bears little relationship to the actual conditions of the production and reception of these films, to the particular and diverse cycles of films (crime thrillers, detective thrillers, gangster films, gothic romances, semi-documentaries, social problem films, horror) to which they belonged. It is also notoriously the case that the film noir ‘canon

in European film noir
Charlotte Brontë’s lyric afterlife
Anna Barton

Italian is the only novel named in Shirley, and, as such, we are invited to consider its intertextual significance. The conversation between Caroline and Rose suggests Brontë’s interest in accommodating the expansiveness of Gothic romance within her domestic fiction. This expansiveness involves not only geographical reach and 156 157 Charlotte Brontë’s lyric afterlife extraordinary incident but also a formal heterogeneity that includes Radcliffe’s own verse compositions and that draws the reader’s attention to the heteroglossic nature of Brontë’s novel, its inclusion

in Charlotte Brontë
Reconfiguring spinsterhood and the Victorian family in inter- war women’s writing
Emma Liggins

also influential on other inter-​war novels such as Daphne du Maurier’s Rebecca (1938). Du Maurier’s celebrated Gothic romance set in Manderley, a country house haunted by the ghost of Maxim de Winter’s glamorous, flirtatious first wife, Rebecca, reveals its debt to Brontë’s plots in the transformation of its self-​effacing, nameless heroine from a nervous paid companion to mistress of Manderley and second wife of the Byronic de Winter. The second wife can only shake off her diffidence and ‘timidity of strangers’ when the husband, like Rochester, suffers from his

in Charlotte Brontë
Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

. Obviously, there is no way to know how much Shelley’s version owes its afterlife to its adaptations, but it is certain that some well-worn and iconic aspects of our cultural consciousness of Frankenstein originate not with Shelley’s novel, but Peake’s Presumption . These include industry concerns, such as the generic shift from a philosophical novel that subverts its Gothic-romance plot to a decidedly non-subversive musical melodrama that centres love and romance plots; textual concerns, which also depend on industry concerns, such as the playwright’s productive

in Adapting Frankenstein
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Miles Leeson and Emma V. Miller

, René (1802), to Shelley’s depiction of father–daughter abuse in his tragedy, The Cenci (1819). Indeed, although often not explicitly depicted, incest has been read in the literature of gothic-romance throughout the Victorian age, in fictions such as Emily Brontë’s Wuthering Heights (1847) and Bram Stoker’s Dracula (1897). 5 As Paul A. Cantor asserts ‘incest epitomizes the transgressive force of the Gothic, its implacable

in Incest in contemporary literature
The Gothic imperative in The Castle of Otranto and ‘For the Man Who Has Everything’
Brad Ricca

.mania.com/alan-moore-reflects-marvelman_article_117413.html ; quoted in Gary Spencer Millidge, Alan Moore: Storyteller (Lewes: ILEX, 2011 ), p. 120. 48 Millidge, Storyteller , p. 120. 49 Robert Miles, ‘Introduction: Gothic Romance as Visual Technology

in Alan Moore and the Gothic Tradition
Neil Cornwell

the Gothic romances of Radcliffe and Mary Shelley’s Frankenstein – in addition to drawing on elements from both Radcliffe and Lewis, is at least equally close to de Sade in its depiction of a heroine with a fully conscious commitment to vice and in its weighing, albeit at a less sophisticated level, of the attractions of criminality and the insidious progression of depravity

in European Gothic
Robert Miles

simplest, the plot of Gothic romance is threat to primogeniture, the arranged marriage gone wrong through the advent of a desire that proves literally unruly. Moreover, monks and priests serve as métonymie reminders of the need to confess desires at odds with the strictures of alliance, their very mendacity, cruelty or hypocrisy itself a sign that these strictures are no longer legitimate or adequate, that ‘sexuality

in Gothic writing 1750–1820
Robert Miles

the nagging loose ends of our social destiny are tucked in, or snipped off: everything having a place, is correctly placed (Jameson 1981 : 68-74). If this quasi-Hegelian teleology is endemic in romance then Gothic declares its significance by its failure to achieve this vision, to translate anagogic impulses into literary form. Ends persist in dangling. Or perhaps more precisely, Gothic romances either resist closure, or if

in Gothic writing 1750–1820