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.
In a classic werewolf movie such as John Landis's An American Werewolf in London ( 1981 ), the transition ritual enables the
projection technologies like magic lanterns and, subsequently, filmand
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
Aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher
isolation – a figure whose heightened aesthetic experience infects
his psyche and, consequently, his environment – Epstein’s
film links with nineteenth-century Romanticism, Decadence and Symbolism,
as well as Edgar Allan Poe himself. Epstein exteriorises a
disintegrating consciousness through a variety of cinematic techniques,
from slow and reverse motion photography to the superimposition of
The wolf is often depicted in art or photography as howling in the manner described by Marvin, while the snarling image of the wolf is also familiar as a figure of horror, from Disney's animated fairy tale Frozen (Chris Buck and Jennifer Lee, USA, 2013 ) to the horror film of the same name ( Frozen , Adam Green, USA, 2010 ). In both films, wolves stalk and terrorise people trapped alone in the snow, capturing the way in
time when Nordic Gothic and horror film experienced a renaissance. As Tommy Gustavsson has observed, Nordic horror cinema struggled against both economic and systemic obstacles during the latter half of the twentieth century.
The reluctance of the Nordic film institutes, the Swedish in particular, to fund genre film, meant that it was not until the wide availability of low-cost, digital photography that film makers in the Nordic region were able to make Gothic and horror film. When this
means to ‘wear the wolf’. This raises questions about the antinomy of culture and nature, gender, whiteness, and also the representation of indigenous peoples (as in the photography of Jimmy Nelson, which Spooner shows are often homologous with his fashion shoots for Lauren). Spooner examines Victorian female werewolves, then early twentieth-century representations of women with dogs in painting, which share this iconography of fur in fashion. The feral child appears again in this chapter in an analysis of the 1990 film Dances with Wolves , where the representation
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.
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.
Globalising the supernatural in contemporary Thai horror film
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
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