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David Annwn Jones

career of Black Sabbath, the first posters for Goth rock groups had a DIY style evolved from Punk fanzine art; the posters were often hand-made with jagged lettering drawn in pen, with xeroxed pictures and split or ripped motifs and sometimes influenced by German Expressionist art and films like Robert Wiene’s The Cabinet of Dr Caligari , as in the case of the group Bauhaus’s early publicity. A good

in Gothic effigy
Isabella van Elferen

mainstream. But the scene’s practical relation to these forces is rather more ambivalent than the ideological rejections of Manson or baby Goths suggest. Goth has relied on its own media and economies since its early distribution of (self-made) fanzines and trade of (vintage) clothing. 2 The rise of the internet facilitates a huge online economy of subcultural goods, and has thereby expanded the

in Globalgothic
Thomas Ligotti and the ‘suicide’ of the human race
Xavier Aldana Reyes and Rachid M'Rabty

appeared in the United States in 1986 in a limited edition of 300 copies, published by Silver Scarab Press. The stories had been published in horror fanzines such as Nyctalops , Fantasy Tales and Fantasy Macabre throughout the 1980s. 2 In interviews throughout the years, Ligotti has spoken, sometimes at length and earnestly, about his various ailments, including panic-anxiety disorder, anhedonia and, more recently, a severe attack of diverticulitis, as well as of the effects these have had on his literary production. Mood stabilisers have

in Suicide and the Gothic
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

exhibition context.17 National film archives and queer minor archives tend to host impressive collections of books, fanzines, press cuttings, flyers and posters, which would provide a historical context for the film footage, embedding it in its (sub)cultural framework. CONCLUSION The archival recognition of LGBTQ pasts leads to an increased queer visibility, but requires an ongoing reflection about the resulting risk of vulnerability. This chapter has examined this ambivalence of visibility faced by national film archives when trying to create a more inclusive heritage in

in The power of vulnerability
Gilli Bush-Bailey

consideration of the shift in attitudes toward Bracegirdle. Anne Bracegirdle’s ‘virtuous’ public identity at the beginning of her career appears to have lost its appeal and here, in a move that is still popular with modern tabloids and fanzines, Bracegirdle’s personal reputation is being publicly and explicitly derided via a fictional kiss-and-tell confession in which the actress admits to the financial deals she strikes with her lovers or keepers: ‘Then he begins to mix his fine Words with fine Presents; he gives, I receive, returning a side Glance for a Diamond Ring; two

in Treading the bawds