Donde duerme el horror: Costa Rican Film Thumbnail

Donde duerme el horror: Costa Rican Film

Posted by Ilse Marie Bussing on July 15, 2010 in Blog tagged with , , , , ,

Enter overview here

Christine Berthin, Haunted Language in the Gothic Thumbnail

Christine Berthin, Haunted Language in the Gothic

Posted by Laura Kremmel on July 11, 2010 in Reviews tagged with , , ,

Unsurprisingly, in her text about the elusive and multi-layered nature of language in Gothic literature...

“It’s Out There, Somewhere…” Thumbnail

“It’s Out There, Somewhere…”

Posted by Stuart Lindsay on June 24, 2010 in Blog tagged with

Racial camouflage, transparency and selection in Predator and Predator 2 As an industry that has become a global influence on issues of race and culture, Hollywood’s stratifying of power relations between American national, immigrant and other through film is significant. The Predator series of action/horror films offer a unique insight into American film’s fixation, fixing and ultimately, its destruction of hybrid national identity. In each Predator film, the titular creature’s hunted prey, usually a group of ethnically diverse targets, is one of emulation: a chameleon act through c

Exploring the Extraordinary Thumbnail

Exploring the Extraordinary

Posted by admin on June 09, 2010 in News tagged with

Conference at University of York, Sept 2010

Jim Jarmusch’s Limits of Control  and Poe’s The Purloined Letter Thumbnail

Jim Jarmusch’s Limits of Control and Poe’s The Purloined Letter

Posted by Aspasia Stephanou on May 15, 2010 in Blog tagged with

Jim Jarmusch is undeniably a great director and I have to admit I am a Jarmusch-partisan. He does not consciously play with gothic tropes and his films, it can be said, are not gothic. From Permanent Vacation (1980), Stranger Than Paradise (1982), to Down By Law (1986) and Mystery Train (1989), Jarmusch’s style evinces the marvellous and surrealistic qualities of characters that carry on dreaming in elusive and impermanent realities. The melancholic urban lives of outcasts who persist in creating fantasies, always literate- reading Lautreamont (Stranger Than Fiction), (Dead Man-William Blake

Diane Arbus Thumbnail

Diane Arbus

Posted by Aspasia Stephanou on May 02, 2010 in Blog tagged with

Gothic Photography

Death and the City Thumbnail

Death and the City

Posted by Monica Germana on April 27, 2010 in Dr Monica Germana, Guest Blog tagged with

      I am just back from attending the Urban Gothic Conference at Liverpool John Moore University on Saturday 24 April. The conference programme promised an interesting debate on a range of Gothic topics in relation to the city as haunted space, uncanny homelessness, postmodern and historical palimpsests and disturbed suburbia, amongst others; under the auspices of a beautiful (if not exactly Gothic), sunny day, the event unravelled as a great interdisciplinary forum, which exceeded my expectations and made the Saturday morning early rise more than worthwhile: accompan

Post-War Disjunctions in Domesticity Thumbnail

Post-War Disjunctions in Domesticity

Posted by Stuart Lindsay on April 19, 2010 in Blog tagged with

Post-War Disjunctions in Domesticity: America, the Family and Gothic in the Bioshock and Fallout Videogame Series The distinctly American notion of Homely Gothic has been the subject of constant revision, adapting to the shift in where and how people live, and the way in which they defend this bastion of safety and symbolism. From Nathaniel Hawthorn to Cormack McCarthy, the American family has always been the subject of assault, invasion and violation, from both without and within. The modern American family, a symbol of the nation’s purity and assured future, has its origins in the

Zombeak: Evil Most Fowl Thumbnail

Zombeak: Evil Most Fowl

Posted by Andrew Sneddon on April 05, 2010 in Blog tagged with

Satan Tastes like Chicken. Apparently.

Reflections on ‘Love Never Dies’ Thumbnail

Reflections on ‘Love Never Dies’

Posted by James Bell on March 29, 2010 in Blog tagged with

What with Dacre Stoker’s Dracula: the Undead and now Andrew Lloyd Webber’s Love Never Dies, there seems to be something of a recent vogue for sequels to Goth classics. The basic problem is that The Phantom of the Opera requires no sequel. This is equally true of both Gaston Leroux’s 1910 novel, which sees the aged Erik die of a grief-induced heart attack, and Lloyd Webber’s musical, first opened in 1986, in which he appears to vanish into thin air. How on earth to follow that? With difficulty, if Lloyd We