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Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.

Sofia Wijkmark

supernatural and horrific. In addition, as an ironic play with the conventions of vampire fiction, Blackeberg is described as fully secularised: ‘You were beyond the grasp of the mysteries of the past; there wasn't even a church. Nine thousand inhabitants and no church.’  6 In part, Låt den rätte komma in portrays the less fortunate. A parallel plot to the main narrative of the vampire Eli and the boy Oskar depicts a group of drinking buddies, living more or less on the margins of society: the cat hoarder Göran, ‘Karlsson

in Nordic Gothic
Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

towards death, which assumed a heightened level of ambivalence in the wake of the secularising Enlightenment whose driving ideal – rational empiricism – undermined long-established Christian certainties about the existence and nature of a soul and an afterlife. The mixed sentiments of denial, dread, and desire that thereafter took social and cultural root were especially projected

in The Gothic and death
Representations of the past in Clara Reeve’s The Old English Baron (1778)
Jonathan Dent

divine power are not considered fit for historical discussion. For Rapin, history should demonstrate a sharper awareness of historical change by recording long-term developments such as the growing power of Parliament and the rise of political parties. Indeed, it is Rapin’s secularisation of the historical cause that proved so influential for future Enlightenment, philosophical historians such as David

in Sinister histories
Christina Petraglia

reminded of his inevitable mortality in a modern world where ‘tame death’ (Ariès, 1981 : 603–5), which is accompanied by an afterlife, no longer necessarily exists. In his essay ‘The Uncanny’ (1919), Freud emphasises the modern shift in the double’s meaning in relation to death: while in primitive times, the double was ‘an assurance of immortality’, in a secularised world, the

in The Gothic and death
The case of Pier Paolo Pasolini
Michael Mack

specific role. In this way they are allegories. As allegories, the actors purport to represent some form of truth in a symbolic way. Walter Benjamin has established a salient account of allegory which relates the term to the radically secularised world of bourgeois modernity. As a secularised literary device Benjamin’s modern and postmodern allegory may have become stripped of its theological context but it

in Incest in contemporary literature
W. J. McCormack

ascetically within the world itself 8 But instead of echoing the ‘vulgar Marxist’ notion of protestantism as a secularised version of medieval Christianity, with a consequent parallel secularising of conduct in the world, Fredric Jameson in thus paraphrasing Weber endorses the latter’s emphasis on the religion-isation of

in Dissolute characters
Michel Faber’s ‘The Fahrenheit Twins’
Sue Zlosnik

Since its inception in the eighteenth century, gothic has represented anxieties about time, space and mortality in a secularising world. In the dimension of space, gothic can be claustrophobic, as in the dungeons and other enclosed spaces in the fiction of writers such as Lewis and Poe, or, conversely, agoraphobic, as in the sinister wildernesses of American gothic. Time

in Globalgothic
Abstract only
Elisabeth Bronfen

endemic to a general cultural effort to eliminate the impure state of mutibility and decay by replacing it with a pure and immutable wax body double. Sander Gilman argues that this shift from the realm of religious art to the world of anatomical study is typical for a general secularisation of the eighteenth century, as is the privileging of the rational sense of sight. 5

in Over her dead body
The Gothic, death, and modernity
Carol Margaret Davison

female corpse (Bronfen, 1992 : 86) that serves as a grotesque Bakhtinian reminder of one’s origins (birth) and telos (death), a projection registered in the proliferation of the supernatural, uncanny undead in the Gothic. That corpses occupy such a prominent place in the Gothic and the collective consciousness at the advent of a secularising modernity makes sense given the

in The Gothic and death