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Trembling rocks in sensation fiction and empire Gothic

Railways (1851), and at one of his early novels, Basil (1852). Like the folklore collections by Robert Hunt and William Bottrell, discussed in the previous chapter , these texts illustrate Collins’s interest in Cornwall as both part of England but also a remote and distinctive, even somewhat foreign region, with its ‘primitive’ people and sublime rock formations, along with its mines and other

in Rocks of nation
Savage vibrations in ghost stories and D. H. Lawrence’s Kangaroo

eardrum and awake sympathetic resonance in the house. After seeing the picture-like view from the railway carriage, the two travellers arrive at the station and make their way by road to the house, where sound begins to take on its important role, as they hear ‘the eternal voice of the Cornish coast; the endlessly recurring thud and surge of the waves against the cliffs of Trevarthen’. 24 At night the sound of

in Rocks of nation

Maddin’s My Winnipeg (2007) – to mention but a few landmark titles. Thus it is no coincidence that the last sequence of Neil Burger’s film, which does not correspond to anything in the original literary material, takes place in a railway station. Chief Inspector Uhl, who suspects he has been tricked by Eisenheim, stands on a platform as the train, in which the Illusionist is

in Monstrous media/spectral subjects
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short, the yet unfinished and unopened Railway was in progress; and, from the very core of all this dire disorder, trailed smoothly away, upon its mighty course of civilisation and improvement’ ( Dickens, 1982 : 120-1). The ironic juxtaposition of the calmer, more factual paragraph describing the arrival of the railway system in Camden Town offers little sense of comfort in the

in Limits of horror
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Amnesia: Justine (2016) are the most intense of the series so far, especially in their lingering explorations of the monstrous depredations of Brennenburg Castle and the dangerously lapsing sanity of the protagonist, Daniel. At present the future of VR (virtual reality) headsets such as the Occulus Rift and Play Station VR looks bright and most games produced for this media are horror/jump scare games

in Gothic effigy
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Gregory Nava’s Bordertown and the dark side of NAFTA

are told to leave quickly because the next shift begins in ten minutes. At several points throughout the sequence the camera pans up and above the factory floor to reveal an enormous mechanised space of hundreds of work stations – uncanny and infernal in its density and repetitiveness. From the camera’s elevated perspective, workers no longer resemble cogs in a machine so much

in Neoliberal Gothic
Couperus and colonial Gothic

the novel it becomes apparent that the political and ethical conflict is inextricably intertwined with Van Oudijck losing patriarchal control in the private sphere. One day after this exchange with the sea, the resident’s wife Leonie returns from her mundane outings and Van Oudijck together with his son goes and picks her up from the railway station. The narrator lets no

in Gothic kinship
The American Gothic journeys of Jack Kerouac, Cormac McCarthy and Jim Crace

for the frontier, whereas the East (Sal’s home) represents a tamed civilization that is associated with a confining domesticity. However, the presence of this ‘poor lost sometimeboy, now broken ghost of the penniless wilds’ (95) leads Sal to the view that ‘there is a wilderness in the East’ (95). Sal falls asleep at the local railway station and when he awakens he mulls over the

in Ecogothic

in everyday life delivered by science and technology, beginning with the railway revolution: the origins of which Wallace recalled autobiographically, travelling (1837–38) in third-class supreme discomfort from Leighton Buzzard to Watford ( 1899 : 4). Wallace also recorded the effects of labour-saving machinery on everyday life: the domestic sewing machine for making clothes ( 1899 : 12); and the typewriter for producing, with great mechanical ingenuity, a ‘clear impression’ of thought on paper. Wallace was struck by

in Interventions
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the room, they bore the appearance of simple monstrosities; but upon a farther advance, this appearance gradually departed; and, step by step, as the visitor moved his station in the chamber, he saw himself surrounded by an endless succession of the ghastly forms […]. The phantasmagoric effect was vastly heightened by the artificial introduction of a

in Gothic effigy