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 ‘new media’, Gothic moved with it, taking the form of hypertexts, or what
This chapter considers the presence of ‘borderline’ forms of Beckettian adaptation in new media. In particular, it examines the productive but critical engagement of those forms with key tenets of Linda Hutcheon's classic A Theory of Adaptation ( 2006 ), especially the constraints which Hutcheon's theory imposes upon adaptation where scope is concerned. Although Hutcheon's understanding of adaptation is broad, considering video games and interactive art, ‘brief echoes’ of works are excluded because they ‘recontextualise only short fragments
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.
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Officers seem to have kept a better hold on the quick and indeterminate development of new media than other institutions. In this way, they might have much to offer in the wider reflection on the role of visual media in the global communications of the future. Acknowledgements The author would like to thank archivists of the Canadian Network on Humanitarian History, especially Sarah Glassford, Chris Trainor, and Lloyd Keane, for their advice and collaboration; colleagues Doris Buss, James Milner, and Blair Rutherford who introduced their NGO partners; and veteran
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