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Richard Matheson’s I Am Legend and Hammer’s The Night Creatures
Peter Hutchings

Originally published in Dan North (ed.), Sights Unseen: Unfinished British Films (Newcastle upon Tyne: Cambridge Scholars Publishing, 2008), 53–69. I Am Legend : on (and off) screen ‘Begone! Van Helsing and Mina and Jonathan and blood-eyed Count and all.’ ( The Night Creatures ) The story of the relation between the vampire novel I Am Legend (1954) and horror cinema is, to put it mildly, convoluted. It begins in

in Hammer and beyond
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Manliness and Mesmerism in Richard Marsh‘s The Beetle
Natasha Rebry

Through an analysis of Richard Marsh‘s The Beetle (1897), this article explores a link between the practice of mesmerism and Victorian insecurities about the state of masculinity. It argues that The Beetle attempts– through the characterisation of mesmeric power as a dangerous virile energy and suggestibility to trance as effeminate and degenerate– to make a clear but highly unstable distinction between ideal and deviant forms of masculinity. In the process, Marsh‘s novel illuminates a complex relationship between the permeability of mind, body, and nation that paradoxically serves to both uphold and undermine the virility of the British male subject.

Gothic Studies
History, industry, style
Amy Harris

, the post-2000 British horror boom has allowed women’s voices to be heard for the first time, thanks to emergent funding opportunities, independent distribution channels, dedicated film festivals and scholarship on the changing dynamics of the industry (Harris 2022 ). Despite exciting developments in women’s horror filmmaking and the developments in the pertaining scholarship, approaches to women’s British

in Folk horror on film
Exploring Nineteenth-Century Polar Gothic Space
Katherine Bowers

This article considers a unified polar Gothic as a way of examining texts set in Arctic and Antarctic space. Through analysis of Coleridge‘s The Rime of the Ancient Mariner, Shelleys Frankenstein, and Poe‘s The Narrative of Arthur Gordon Pym of Nantucket , the author creates a framework for understanding polar Gothic, which includes liminal space, the supernatural, the Gothic sublime, ghosts and apparitions, and imperial Gothic anxieties about the degradation of civilisation. Analysing Verne‘s scientific-adventure novel The Adventures of Captain Hatteras (1866) with this framework, the author contextualises the continued public interest in the lost Franklin expedition and reflects on nineteenth-century polar Gothic anxieties in the present day. Polar space creates an uncanny potential for seeing ones own self and examining what lies beneath the surface of ones own rational mind.

Gothic Studies
Michael B. Riordan

controversial. This chapter is concerned with a third type of prophecy: sayings attributed to figures from Europe’s past, enlisted to make claims about Europe’s future. Most scholars have reserved the term ‘political prophecy’ for these pronouncements, following Rupert Taylor in his 1911 catalogue of them. 2 Several collections of these prophecies circulated in early modern Britain. Attributed to seers like Robert Nixon and Mother Shipton, they exhorted people to embrace political causes. 3 Scotland had the most famous compilation. Constructed in the sixteenth century

in The supernatural in early modern Scotland
George Combe and the rise of British phrenology
William Hughes

proffered his letter of introduction. The subsequent meeting between the two is then appropriately structured as a righteous rebuff to the Scot's hubris as much as to his dismissive intolerance. Customarily, Gordon is humiliated, vanquished in his own lecture theatre, and formally stripped of his anonymity as Spurzheim refutes, point by point, the allegations made in Edinburgh Review . Spurzheim, victorious, goes on to influence and inspire the impressionable George Combe, who in turn becomes the indigenous savant of choice for the further promulgation of British

in The dome of thought
Peter Hutchings

what appears to be an inhospitable terrain, with their work taking on an accordingly defensive tone. Nowhere is this unease more evident than in the various critical responses provoked by British horror cinema over the years. From the outraged to the laudatory, these responses are part of the baggage which British horror inevitably brings with it to any critical discussion. If we are to move beyond some of the less helpful long-standing assumptions about horror and towards a more systematic understanding of this

in Hammer and beyond
Angela Wright

Concerns of linguistic, cultural and military incursion from France emerge more frequently in the wake of the Seven Years’ War. In the literary arena, one of the ways in which these concerns are marked is through the highly-contested national stakes of chivalry. This essay argues that these national stakes of chivalry are negotiated in the realm of the Gothic romance in a particularly fluid and dynamic manner. Addressing recent critical assumptions about the conservatism inherent in prose treatments of medieval chivalry, the essay explores the possibility that Gothic romance recuperates a more positive version of chivalry in the wake of the famous Burke/Wollstonecraft revolutionary debate of 1790.

Gothic Studies
Kristen J. Davis

The following considers Richard Marsh’s 1897 gothic novel The Beetle in relation to fin-de-siècle anxieties, specifically sexual deviancy, empire, and venereal disease. While the domestic Contagious Diseases Acts had been revealed in the 1880s, continued high rates of VD amongst British soldiers in particular continued the debate as to who was responsible for spreading diseases such as syphilis both at home and abroad. At a time of ‘colonial syphiliphobia’, to extend Showalter’s term, The Beetle suggests the necessity of regulating venereal disease in the Empire to protect Britain’s ‘racial superiority’ and conservatively warns against the potential consequences of dabbling with the sexually ‘deviant’ and dangerous Orient.

Gothic Studies
Joel T. Terranova

Published in 1795, John Palmer, Jun.’s The Haunted Cavern: A Caledonian Tale is a historical Gothic romance that expresses certain unease with the growth of British imperialism at the end of the eighteenth century. In this text, Palmer explores the impact of empire on the colonialized other as well as demonstrating the hypocrisy and abuse of certain imperial practices. With the plot set during the end of the War of the Roses, The Haunted Cavern juxtaposes medieval England as the imperial power with France and Scotland illustrated as the colonialized victims. This article examines the tension towards empire found in The Haunted Cavern which helps clarify the commercialized Gothic romance’s function as a subversive medium towards colonialism.

Gothic Studies