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Editor: Glennis Byron

The late twentieth century saw growing number of articles and books appearing on new national gothic; however, the wider context for this had not really been addressed. This collection of essays explores an emerging globalgothic useful for all students and academics interested in the gothic, in international literature, cinema, and cyberspace, presenting examples of globalgothic in the 21st-century forms. It analyses a global dance practice first performed in Japan, Ankoku butoh, and surveys the ways in which Indigenous cultures have been appropriated for gothic screen fictions. To do this, it looks at the New Zealand television series on Maori mythologies, Mataku. The unlocated 'vagabonds' of Michel Faber's "The Fahrenheit Twins" are doubles (twins) of a gothic trajectory as well as globalgothic figures of environmental change. The book considers the degree to which the online vampire communities reveal cultural homogenisation and the imposition of Western forms. Global culture has created a signature phantasmagoric spatial experience which is uncanny. Funny Games U.S. (2008) reproduces this process on the material level of production, distribution and reception. The difference between the supposedly 'primitive' local associated with China and a progressive global city associated with Hong Kong is brought out through an analysis of cannibal culture. In contemporary Thai horror films, the figure of horror produced is neither local nor global but simultaneously both. The book also traces the development, rise and decline of American gothic, and looks at one of the central gothic figures of the twenty-first century: the zombie.

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Michael Haneke’s Funny Games and globalisation’s new uncanny
Barry Murnane

Since its release in 1997 critics have interpreted Michael Haneke’s Funny Games in terms of European counter-cinema’s deconstruction of Hollywood genre film. Such accounts have drawn on a range of provocative statements by the Austrian director, who has gone on record to state that his intention in making the film was to ‘rape the viewer into independence’ and thus

in Globalgothic
Michael Haneke’s disarming visions
Libby Saxton

intimate insights into alterity that elude its protagonists precisely by acknowledging the impossibility of perceiving the irreducible reality of the other in its totality. Apocalypse now: La Pianiste and Le Temps du loup Haneke’s next two films revisit territory familiar from the ‘Vergletscherungs-Trilogie’ and Funny Games (1997), depicting characters isolated and viewing

in Five directors
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Glennis Byron

’s Funny Games (1997) and his remake Funny Games U.S. (2008), to ask where the uncanny may be located today. In the first film the space of the home/the local, the Alpine setting, is overwritten with foreign cultural signification: the signifiers of Hollywood slashers. Global culture, as Murnane puts it, ‘has created a signature phantasmagoric spatial experience which is uncanny’ (114). The remake, as

in Globalgothic
Rowland Atkinson and Sarah Blandy

homes where occupants are not all they seem. The home has provided a staple theme for myths, legends, fairy stories and novels (in diverse treatments like Jane Eyre, The Turn of the Screw, Rebecca, Straw Dogs) through the ages. In many horror films, the haunted house trope plays on such deep-seated fears. Variants on these themes can be found in many examples from modern fiction and film. A key example that plays with such themes is the film Funny Games (France, 1997; remade in the USA in 2007) in which a family are tortured, ostensibly for the amusement of two men

in Domestic fortress
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Gemma King

Austrian-born Haneke also directs films which are considered to be Austrian, such as Das weiße Band – Eine deutsche Kindergeschichte (2009) and the original Germanlanguage Funny Games (1997). Indeed, Haneke won the Palme d’or in 2009 for Das weiße Band, an Austrian project, three years before receiving the same award for France for Amour. Haneke’s 2001 La Pianiste is even set in Vienna, yet filmed entirely in French and starring the French actor Isabelle Huppert as a Viennese musician. Haneke and his films cross back and forth between nationalities, flirting with

in Decentring France
Barry Jordan

horror meisters such as Michael Haneke (e.g. Benny’s Video , 1992, and Funny Games , 1997) (Rodríguez Marchante 2002 : 86–7 and 167; Berthier 2007: 180). As regards Spanish sources, apart from the early Berlanga, Amenábar has always been particularly effusive concerning the importance of El espíritu de la colmena (The Spirit of the Beehive, 1973), which he regards as an ‘obra maestra’ (masterpiece

in Alejandro Amenábar