An article from the New York Times was recently brough to my attention by Andrea Van Noord, a student currently registered for the MLitt in The Gothic Imagination at Stirling.  It's an insightful account of how the Gothic in contemporary culture has spilled over the limits of 'the literary' in order to enter into the realms of media and journalism.  More specifically, it addresses the extent to which an important aspect of Gothic in our culture is its incarnation in the world of the media, with incessant references to horror, terror and monstrosity in the news alongside the return of fami

My aim with this series is to draw attention to some of the best examples of ‘gothic gaming’ produced over the years. Whilst video games have become a universally recognised academic field, there is still a considerable gap between their current circulation and the cultural space held by other forms of media such as books and films. In the first part of what I hope will be an interesting and informative series, I will be examining Clive Barker’s Undying, arguably one of strongest examples of gothic adaptation yet seen in video gaming. Undying was one of the first games to use the first person perspective to connect players’ experience directly to the world of the game, boasting one of the most immersive and atmospheric representations of ‘period horror’ story-telling yet conceived in a video game.

Elizabeth Effinger, who is a PhD candidate in the Department of English at the University of Western Ontario, has recently posted on Gothic Media Objects at the International Gothic Association website's student blog. It's a really interesting piece of writing and worth checking out - particularly for her take on the  3D image of Kate Moss produced for an Alexander McQueen fashion show. See http://www.iga.stir.ac.uk/blog.php