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projection technologies like magic lanterns and, subsequently, film and TV. I have mentioned (above) David Kunzle’s highlighting of Gothic motifs in Rodolphe Töpfler’s comic strips and in Chapter 5 , I discuss caricatures, silhouettes, lithographs, moving on to examine adorned and ‘moving’ books and, latterly, calendars. Chapter 6 deals with Gothic photography from Daguerreotypes onwards, with particular

in Gothic effigy
Open Access (free)
Memory and identity in Marie Redonnet’s fiction of the 1990s

, or, at the very least, of elaborating a fuller, more cohesive and enduring sense of self than that which originally exists. This, as will be seen, is because of its ability to preserve, and even to produce memory. Memory and identity in Redonnet’s fiction  The range and diversity of creative acts carried out by the characters is, at times, bewildering, but certain forms crop up again and again. In Candy story and Villa Rosa, (self-)portraiture is a common pursuit, whilst photography, and its correlative of film-making, feature in the texts Rose Mélie Rose, Candy

in Women’s writing in contemporary France
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Fur, fashion and species transvestism

human form’. 10 The loss of clothes in werewolf stories may be terrifying or liberating, but either way it marks an ontological boundary crossed. This ‘conceptualization of lycanthropic metamorphosis as a process of dressing and undressing’, as Hannah Priest puts it in another article, persists into modern film. 11 In a classic werewolf movie such as John Landis's An American Werewolf in London ( 1981 ), the transition ritual enables the

in In the company of wolves
Imaging gothic from the nineteenth century to the present

Monstrous Media/Spectral Subjects explores Gothic, monstrosity, spectrality and media forms and technologies (music, fiction's engagements with photography/ cinema, film, magic practice and new media) from the later nineteenth century to the present day. Placing Gothic forms and productions in an explicitly interdisciplinary context, it investigates how the engagement with technologies drives the dissemination of Gothic across diverse media through the twentieth and twenty-first centuries, while conjuring all kinds of haunting and spectral presences that trouble cultural narratives of progress and technological advancement.

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A guide to dark visibilities

Gothic as a genre has become more amorphous and difficult to contain. This book brings together for the first time many of the multifarious visual motifs and media associated with Gothic together with areas that have never received serious study or mention in this regard before. It draws attention to an array of dark artefacts such as Goth and Gothic jewellery, dolls, posters and food, which, though part of popular mass marketing, have often been marginalised and largely omitted from the mainstream of Gothic Studies publishing. The book moves from the earliest Gothic architecture to décor and visual aspects of theatrical design, masquerade and dance. It focuses on paintings in two historical spans from Jan Van Eyck to Henry Fuseli and from Goya to H. R. Giger to consider Clovis Trouille's works influenced by horror films and Vincent Castiglia's paintings in blood. Gothic engravings, motifs of spectral portraits, posters and signs are covered. The book then uses early visual devices like Eidophusikon and the long-lived entertainment of peepshows to introduce a discussion of projection technologies like magic lanterns and, subsequently, film and TV. Gothic photography from Daguerreotypes onwards; and Gothic font, scripts and calligraphy are then discussed. Finally, the book presents a survey of the development of newer Gothic media, such as video gaming, virtual reality (VR) games and survival horror apps.

Film theory’s foundation in medievalism

Western painting. It was redeemed from sin by Niepce and Lumière. In achieving the aims of baroque art, photography has freed the plastic arts from their obsession with likeness. 13 Medieval art here appears as radically different from modern art, and film as radically different yet again. The invention of photography by

in Medieval film
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Anatomy of a metaphor

and destructive spirals. Visually, the stark black-and-white photography seemed to glamorise the blonde hero and heroine in such a way that the film was condemned for a pro-Nazi bias during the Occupation. Other film critics have also found noir elements in other genres. For instance, Raymond Durgnat offered a map of the way in which noir elements could be found across the spectrum of film genres

in Medieval film
Representing the supernatural in film adaptations of A Midsummer Night’s Dream

keeping with the material instability of the fairies and the supernatural. Yet stage performances are limited by the bodies on the stage who perform in real time and can only do so within the confines of what is humanly possible. Even though cinema appears to represent reality, time is not contiguous when making the film. This gives film the ability to create special effects with editing, which in turn offers exciting potential for representing the supernatural in Shakespeare's plays. André Bazin originally thought that, because photography was a vestige of a past

in Shakespeare and the supernatural
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Globalising the supernatural in contemporary Thai horror film

media technologies, thanks to which they become units of digitalised information and part of the scientific and economic order to which modern civilisations subscribe. The ghost in Coming Soon merges with the medium of film. Other Thai global ghosts have been known to explore video, The House ( Baan phii sing ); television, Ghost Game ( Laa thaa phii ); photography

in Globalgothic
The rise of the cinematic vampire

You have only to freeze a film image and then set it in motion again to appreciate the difference. A photograph embalms the ghosts of the past; film brings them back to life. 1 Photography is an uncanny medium, capturing and freezing moments in time. We change

in Open Graves, Open Minds