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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.

The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.

The Gothic, death, and modernity
Carol Margaret Davison

examines a number of classic Bollywood Gothic film noirs, paying specific attention to the ways in which the idea of eternal recurrence enters into the Indian demotic of ghosts and spirits to interrupt the logic of reincarnation. This collection’s concluding section, Part V , ‘Twenty-first-century Gothic and death’, explores how the advent of contemporary advancements in technology in such areas as media

in The Gothic and death
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Glennis Byron

increasing evidence of the emergence of cross-cultural and transnational gothics that called out for attention and which suggested that, despite the emergence of so many national and regional forms, in the late twentieth and early twenty-first centuries gothic was actually progressing far beyond being fixed in terms of any one geographically circumscribed mode. Most importantly, perhaps, it was clear that these

in Globalgothic
Female werewolves in Werewolf: The Apocalypse
Jay Cate

, Shared Fantasy: Role Playing Games as Social Worlds (Chicago: University of Chicago Press, 1983). 5 See, for example, Rachel Mizsei Ward, ‘Copyright, Association and Gothic Sensibilities: Underworld and World of Darkness ’, in Brigid Cherry, Peter Howell and Caroline Ruddell (eds), Twenty-First-Century

in She-wolf
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Tattoos, transgenics, and tech-noir in Dark angel
Will Slocombe

). McConnell, Kathleen (2002), ‘ Dark angel : A recombinant Pygmalion for the twenty-first century’, Gothic studies , 4:2, 178–90. McKnight, Brent (2012), ‘Dark angel’s sexuality made Jessica Alba uncomfortable’, Giant freakin robot [blog] (16 May) Available: www.giantfreakinrobot.com/scifi/dark-angels-sexuality-jessica-alba-uncomfortable.html [accessed 28 June 2017]. Negrin, Llewelyn (2008), Appearance and identity: Fashioning the body in postmodernity (New York: Palgrave Macmillan

in Tattoos in crime and detective narratives