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Notes on the Repertoire
Charles Mueller

The Gothic or “Goth” subculture emerged from Britains punk scene during the early 1980s. The music associated with the movement showed a sophisticated handling of themes and aesthetics associated with Gothicism, proving that the Goth adjective was more than just a fanciful label given to the bands by the music industry and the popular press. In order to gain a greater understanding of what is genuinely Gothic about this body of music, this study investigates Goth from a musicological perspective exploring specific techniques that were used by the artists, and examining the reasons why Gothicism appealed to many British youths during the Thatcher-era.

Gothic Studies
The metafictional meanings of lycanthropic transformations in Doctor Who
Ivan Phillips

At first glance, werewolves seem to be thin on the ground in Doctor Who . In 1981, a year after the vampire tale ‘State of Decay’, and eighteen years after the television series began, the incumbent producer, John Nathan-Turner, reported that he ‘would love to see a werewolf story in the programme’. 1 Even so, it took another seven years for the punk lycanthrope Mags to menace Sylvester McCoy's Doctor in the ring of the Psychic Circus in ‘The Greatest Show in the Galaxy’ (1988–89). And for an

in In the company of wolves
Dean Lockwood

outcome’ (142). Attali’s observations coincided with the emergence of British post-punk music. My focus here is on the band Throbbing Gristle (typically abbreviated as ‘TG’) who created what they called ‘industrial’ music. TG, formed in 1975, originated as the musical incarnation of the performance art group, COUM Transmissions. Initially conceived as a

in Monstrous media/spectral subjects
Véronique Bragard and Catherine Thewissen

Frankenstein’s inability to cope with loss and his resultant wish to recreate life, echoing recent associations between Frankenstein and genetic engineering. 1 Still other adaptations of the novel open the way for new and unexpected associations. Gris Grimly’s Frankenstein: The Modern Prometheus , for instance, makes use of punk Gothic elements, skeletal shapes and Holocaust-related imagery to reinforce issues of injustice and exclusion. Very different from all of these are Frankenstein adaptations in the world of Francophone bande dessinée 2 (BD). Under scrutiny in

in Adapting Frankenstein
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David Annwn Jones

one-of-a-kind poster for the lost horror film London After Midnight (1927), which sold for $478,000. In terms of Goth popular music, the artwork on associated posters was intimately connected with a Punk aesthetic (appearing in the late 1970s), which rejected the lush psychedelic visuals of Rick Griffin, Roger Dean and Alan Aldridge. Whilst acknowledging the graphic art linked to the early

in Gothic effigy
Catherine Spooner

to be so polite? In order to answer this, I want to look at twenty-first-century vampire narratives alongside Goth subculture. Goth, which emerged from the UK’s post-punk underground in the late 1970s, has now become a massive global phenomenon. Thanks to digital communications media, its music, fashions and images can be instantaneously accessed by millions of fans around the world. Goth is

in Open Graves, Open Minds
Female werewolves in Werewolf: The Apocalypse
Jay Cate

the gameplay system, but also introduces the idiosyncratic ‘classic World of Darkness’ in which games are expected to take place: Werewolf is set in a Gothic-Punk world – a World of Darkness. Externally, little differs between our world and this World of Darkness – the established religious, social and political

in She-wolf
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

some respects to that of contemporary alternative comedy, and especially the television sitcom, The Young Ones . Alternative comedy had grown as a reaction against what was seen as the inherent conservatism prevalent on the traditional club circuit for stand-up comics and expressed as a tendency towards racist and sexist jokes. 46 Very much a post-punk phenomenon

in Alan Moore and the Gothic Tradition
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Horror now and then
Fred Botting

reference is Gothic, heavily inflected with an early 1980s Goth chic suturing of punk and metal (but let’s not get too new romantic) in a dark swathe of leather, dye and make-up. Not that there are many Goths on stage: drummer and guitarist have sensible haircuts and the bassist, cropped under a ten-gallon hat, wears a tight bodybuilder’s t-shirt! ‘Sex vampire, cool machine ...’ The audience, despite some

in Limits of horror
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Monstrous media/spectral subjects
Fred Botting and Catherine Spooner

disruptive musical technologies in order to surprise and sometimes disconcert the listener. This disruptive and disrupted listening experience enables Waits to realise in auditory form a tradition of American gothic that identifies with the outsider. In ‘Ghosts of the Gristleized’, Dean Lockwood continues to explore musical disruption, here produced by post-punk industrial band Throbbing Gristle

in Monstrous media/spectral subjects