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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.

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David Annwn Jones

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
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David Annwn Jones

, attention and reverence extended towards the pictured bodies, for a modern observer it is difficult to disentangle such morbid and extravagant visual tableaux from a myriad of horror films, Indiana Jones movies (Koudounaris has been nick-named ‘Indiana Bones’), the underground mortuary of Rob Zombie’s House of 1,000 Corpses (2003), and arthouse versions of these. Another and starker strain of Gothic

in Gothic effigy