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The Sad Demise of Nick Cave
Emma McEvoy

This article considers the music of Nick Cave and the Bad Seeds in terms of Gothic aesthetics. The music is Gothic not only in subject matter but also in its very performativity. It is notable for its poly-vocality and multi-genericality. I argue that Gothic music in general is characterised by a conceptual meta-level and demands a certain kind of listening: the auditor must be culturally cognisant, able to spot references to other musics and styles, and to conceive the music in terms of spaces, places and different temporalities. The last section analyses Nick Cave‘s descent into banality after Murder Ballads.

Gothic Studies
Catherine Spooner

This article reviews the exhibition _Gothic: Dark Glamour_, held at the Fashion Institute of Technology, New York, September 5 2008 – February 21 2009. It also considers the eponymous volume published alongside the exhibition by Valerie Steele and Jennifer Park. The exhibition was the first of international significance to identify and explore the influence of Gothic on contemporary fashion by both major label designers and small subcultural producers. The article hails the exhibition as a landmark event and investigates the various Gothic/fashion narratives it,puts forward, including veiling motifs, subcultural style, grotesque and perverse bodies, and the prevalence of British and Japanese design. The article concludes that the exhibition marks a moment in the glamorisation of the Gothic, in which it moves from being a minority to a mainstream interest.

Gothic Studies
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.

The suicide at the heart of Dear Esther
Dawn Stobbart

the perpetual twilight of the island means that the player is invited to leave behind the here-and-now of reality and to allow herself to feel the immersive effect of the soundtrack to Dear Esther . The ambient sounds, the disembodied human noises and the musical score combine with the landscape to raise the player’s awareness of sight and sound – to feel part of the diegesis. Isabella van Elferen, in Gothic Music , considers Gothic ‘game music [to] defy the borders of the screen and envelope game and player alike in its own, sonic version of virtual reality’ with

in Suicide and the Gothic
The sound of the cinematic werewolf
Stacey Abbott

. 3 See Halfyard; Hayward, Terror Tracks ; Lerner, Music in the Horror Film ; van Elferen, Gothic Music . 4 Stoker, Dracula , ed. by Luckhurst. All references to Dracula are to this edition. 5 See Abbott, ‘Dracula on Film and Television, 1960

in In the company of wolves
Tom Waits’s Bone Machine
Steen Christiansen

. Smith, S. (2000), ‘Compositional Strategies of the Hip-Hop Turntablist’, Organised Sound 5.2: 75–9. van Elferen, I. (2012), Gothic Music: Sounds of the Uncanny, Cardiff: University of Wales Press

in Monstrous media/spectral subjects
Abstract only
David Annwn Jones

identities: a collective, a people, a race, a nation, heavy metal, black metal, gothic – all of which celebrate brutality, or in a highly artificial way, the symbolism of death and destruction’ (cited in Tucker, 2014 ). As related above, as well as the link with Gothic music, with its folk and metal variants, and Nordic death metal scene, Gothic lettering, because of its use in early books, is also

in Gothic effigy