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Peter Hutchings

first have appeared. Another way of establishing Fisher’s work (and particularly the horror films) as significantly British is through locating it in relation to an indigenous gothic tradition. Novels as diverse as Mary Shelley’s Frankenstein , Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde and Bram Stoker’s Dracula stand as the best-known testaments to an apparently innate

in Terence Fisher
To Kill a Mockingbird as neglected intertext
Robin Fiddian

from the Bildungsroman and the Gothic traditions in To Kill a Mockingbird resonates very clearly with the story of Ana in The Spirit of the Beehive. In both films a little girl embarks on a process of growing up and learns about good and evil – symbolised by the poisonous mushroom in Erice’s film and by the figure of Bob Ewell in To Kill a Mockingbird. Taking a cue from one or more references to a monster – Dracula

in Spanish cinema 1973–2010
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National cinema and unstable genres
Valentina Vitali

published, significantly, by Gordon Fraser, a publisher who specialised in offbeat topics. Five years on (in 1978), Roy Armes wrote a damning and dismissing profile of Fisher’s work in his A Critical History of British Cinema: Central to an evaluation of Hammer Films is the status of Terence Fisher … There are, as Pirie points out, links with the Gothic tradition in that the films are ‘peopled with key literary characters of another epoch …’ [(Pirie 1973: 166)]. But the relevance of such figures to the audiences of the twentieth century … is not altogether apparent, since

in Capital and popular cinema
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Chris Beasley and Heather Brook

, elegant, suave, patrician, and almost always dangerously attractive. The movie adaptations of Stephenie Meyer’s Twilight series (2008–12) continue the gothic tradition of erudite, romantic, aristocratic vampires. The always 17-year-old vampire Edward Cullen is anything but indiscriminate: he wants Bella Swan 110 Security and only Bella. ‘You’re my personal brand of heroin’, he tells her.6 Vampires and zombies embody similar religious fears such that both are labelled a kind of scourge; both are associated with threats of conversion to evil, to darkness. However, in

in The cultural politics of contemporary Hollywood film
Reconceptualising British landscapes through the lens of children’s cinema
Suzanne Speidel

cover a lot more of the British Isles, with much of the series shot on location in Scotland and the north of England. This again links the films to Gothic traditions, since the wild inhospitality necessary for the expounding of Gothic themes British landscapes through the lens of children's cinema 141 is not so readily available in the more populated south of the country. Neither the books nor the films specify the exact location of Hogwarts School, a geographical evasion that in itself has Gothic antecedents, as Wright notes in her study of ‘Scottish Gothic

in British rural landscapes on film
The case of Blood on Satan’s Claw
Paul Newland

10 Folk horror and the contemporary cult of British rural landscape: the case of Blood on Satan’s Claw Paul Newland It’s in the trees! It’s coming! The Night of the Demon (1957); ‘Hounds of Love’, Kate Bush (1985) British rural landscapes have long operated as imaginative spaces in which horrific, ghostly or uncanny narratives unfold. One need think no further than the Gothic tradition in literature –​for example, representations of dark, menacing rural landscapes feature from Horace Walpole’s novel The Castle of Otranto (1763) through Mary Shelley

in British rural landscapes on film
La Belle captive
John Phillips

mark of sexualised violence. As in Glissements , the bloodsucking vampire theme and its related motif of the undead can clearly be linked to an unconscious desire to control both death and an ancient fear of the dead who may return to infect us with their deathly condition. 29 La Belle captive is probably the film of Robbe-Grillet’s that draws most explicitly on a Gothic tradition that can be seen to have its roots in ancient

in Alain Robbe-Grillet
Barry Jordan

worldwide; both satisfied dominant critical expectations by working within culturally ‘respectable’ gothic traditions and both have become assimilated into the ranks of ‘serious’ cinema, opening up spaces for other such works to do likewise (2004: 248–9). In other words, Hispanic horror has achieved significant mainstream distribution by going upmarket and appealing to more middlebrow audiences, while also catering to

in Alejandro Amenábar
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Urban hieroglyphics, patternings and tattoos in Edgar Allan Poe’s ‘The tell-tale heart’ and Herman Melville’s Moby-Dick; Or, the whale
Spencer Jordan

), Bleak house [1853] (London: Penguin). Dowling, David (2010), Chasing the white whale: The Moby-Dick marathon; Or, what Melville means today (Iowa: University of Iowa Press). Engel, William E. (2012), Early modern poetics in Melville and Poe: Memory, melancholy, and the emblematic tradition (Farnham: Ashgate). Fisher, Benjamin F. (2002), ‘Poe and the gothic tradition’, in K. J. Hayes (ed.), The Cambridge companion to Edgar Allan Poe (Cambridge: Cambridge University

in Tattoos in crime and detective narratives
John Gibbs

generic boundaries. Michael Walker, in an article ‘Melodrama and the American Cinema’, from 1982, also identifies a broad melodramatic tradition in Hollywood cinema, within which he identifies two categories: melodramas of action (which include Westerns, crime thrillers and adventure films) and melodramas of passion: the woman’s film; romantic melodramas; family and/or small-­town melodramas; melodramas in the gothic tradition.52 All of the writers discussed in this chapter, with the exception of Willemen, make a distinction along these lines and Walker adopts and

in The life of mise-en-scène