When the moving image is invented and early film turned from the simple recording of everyday scenes to telling stories in the beginning of the twentieth century, these early films frequently turned to classic Gothic texts such as Frankenstein and Dracula . In this way, Gothic is multimodal and intermedial from its earliest beginnings and it invades virtually all new forms of artistic communication as these are invented. When computers and digital communication enabled what has been termed ‘newmedia’, Gothic moved with it, taking the form of hypertexts, or what
This book is a defence of narrative in an age of information. Stressing interpretation and experience alongside affect and sensation, it argues that narrative is key to contemporary forms of cultural production and to the practice of contemporary life. Re-appraising the prospects for narrative in the digital age, the book insists on the centrality of narrative to informational culture and provokes a critical re-appraisal of how innovations in information technology as a material cultural form can be understood and assessed. It offers a careful exploration of narrative theory, a critique of techno-cultural writing, and a series of tightly focused case studies. All of which point the way to a restoration of a critical — rather than celebratory — approach to new media.
Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV series and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. The book creates an understanding of a ubiquitous but hitherto under-researched cultural phenomenon by showing how the Gothic narratives make visible cultural anxieties haunting the Nordic countries and their welfare systems, and how central these anxieties are for the understanding of identities and ideologies in the Nordic region. It examines how figures from Nordic folklore and mythology function as metaphorical expressions of Gothic themes, and also how universal Gothic figures such as vampires and witches are used in the Nordic context. The Nordic settings, and especially the Nordic wilderness, are explored from perspectives such as ecocriticism and postcolonialism and subcategories such as Gothic crime, Gothic humour, troll Gothic and geriatric Gothic are defined and discussed. Furthermore, the phenomenon of transcultural adaptation is investigated, using the cases of Lars von Trier’s Riget and John Ajvide Lindqvist’s Låt den rätte komma in, two seminal works of contemporary Nordic Gothic.
While Goths tend to be neglected in more mainstream media, they are thriving as part of online communities as part of the phenomenon of net.Goths. This paper considers some of the recent manifestations of such subcultural activities online, especially in relation to the practice of demarcating the boundaries of participation through displays of cultural capital (such as music and fashion), and aspects of communication that have emerged on the Internet such as ‘trolling’. The overarching concern of this paper is to explore some of the ways in which defining a subculture virtually may reinforce activities of the group in other environments.
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.
Mary Shelley’s Frankenstein is one of the most popular novels in western literature. It has been adapted and re-assembled in countless forms, from Hammer Horror films to young-adult books and bandes dessinées. Beginning with the idea of the ‘Frankenstein Complex’, this edited collection provides a series of creative readings that explore the elaborate intertextual networks that make up the novel’s remarkable afterlife. It broadens the scope of research on Frankenstein while deepening our understanding of a text that, 200 years after its original publication, continues to intrigue and terrify us in new and unexpected ways.
Technologies and the Biomedicalisation of Everyday Activities: The Case of
Walking and Cycling’ , Sociology
Compass , 8 : 4 ,
Couldry , N.
Mejias , U.
A. ( 2019 ), ‘ Data Colonialism:
Rethinking Big Data’s Relation to the Contemporary
Subject’ , Television & NewMedia , 20 : 4
Mega-events and mediatisation: between old
The social history of mega-events such as Olympic Games and Expos over the
course of the modern period reveals how much they have been altered by and
have adapted to changing social contexts during the last century or more (Roche
2000). However social change ‘does not sleep’. It is evidently dynamically present
in the social world of our current late modern period, and it will influence the
nature and production of mega-events as we move forward in the twenty-first
century. To approach an understanding
A S THE OTHER CHAPTERS in this collection attest, the chilling tale which Mary Shelley concocted on a dark night in Switzerland in 1816 has maintained a narrative urgency through the intervening centuries, its afterlife sustained through adaptation and transformation via the dominant and/or cutting-edge technologies of each era. This long history of adaptation has continued into newmedia platforms, creating opportunities to consider how the themes of the novel interact with notions of hybrid
up within itself,
matter. They are a part of what gets symbolized, and how. To explore
changing narrative formations developing in relation to newmedia might
thus offer insights into the cultural significance of contemporary processes
of automation transforming the temporal and spatial dimensions of
What previously was a representational culture of narrative, discourse and
the image which the reader, viewer or audience encountered in a dualistic
relation, now becomes a technological culture. Culture is comprised no