Pub Date : 2022-11-01DOI: 10.1093/nq/s3-iii.64.227b
D. Seed
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Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0139
Maisha L. Wester
‘The Gothic Origins of Anti-Blackness’ considers the intersections between Gothic texts and moral panics, a sociopolitical mechanism first theorized by Stanley Cohen in Folk Devils and Moral Panics (1972). I revise Cohen's theory to clarify the peculiar eruptions of exponentially violent anti-Black discourses across various eras, noting that the folk devils targeted by moral panics are invariably abject figures upon which society projects a gothic visage. I reveal how the era of the (Anti-)Slavery debates exemplifies the reduction of Black populations to abject folk devils demonized amid white, western moral panics. The essay then explores Matthew ‘Monk’ Lewis's Isle of Devils to expose how the moral panic over socioeconomic shifts, white cultural degeneration and slavery manifests in Gothic texts. Lastly the essay reveals how societies re-articulate the tropes and characteristics of such fictional Black ‘devils’ in their discussions of real populations, and the consequences of such renderings.
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Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0145
Ashley Kniss
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Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0143
Madelyn Marie Schoonover
This interview with Black and Ohkay Owingeh Pueblo author Rebecca Roanhorse explores the innovations she has brought to horror and science-fiction genres by speaking from the colonial difference and centring Indigenous histories, cosmologies, and spirituality in her works. The influence of Grace Dillon’s concept of Indigenous Futurisms on Roanhorse’s oeuvre is explored, as is the importance of Indigenous representation in white-dominated literary fields and how such representation can resist colonial repression while empowering Indigenous people in real life. Finally, Roanhorse speaks to the ways in which corporations such as Lucasfilm and Marvel are increasingly acknowledging a historic lack of diversity – or a historic offensive stereotyping of marginalised groups – and actively working to undo this harm by producing series entirely created by Indigenous writers that expand opportunities and give them the license to create stories from their unique cultural perspective.
{"title":"Indigenous Futurisms and Decolonial Horror: An Interview with Rebecca Roanhorse","authors":"Madelyn Marie Schoonover","doi":"10.3366/gothic.2022.0143","DOIUrl":"https://doi.org/10.3366/gothic.2022.0143","url":null,"abstract":"This interview with Black and Ohkay Owingeh Pueblo author Rebecca Roanhorse explores the innovations she has brought to horror and science-fiction genres by speaking from the colonial difference and centring Indigenous histories, cosmologies, and spirituality in her works. The influence of Grace Dillon’s concept of Indigenous Futurisms on Roanhorse’s oeuvre is explored, as is the importance of Indigenous representation in white-dominated literary fields and how such representation can resist colonial repression while empowering Indigenous people in real life. Finally, Roanhorse speaks to the ways in which corporations such as Lucasfilm and Marvel are increasingly acknowledging a historic lack of diversity – or a historic offensive stereotyping of marginalised groups – and actively working to undo this harm by producing series entirely created by Indigenous writers that expand opportunities and give them the license to create stories from their unique cultural perspective.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43026445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0144
Rebecca Duncan
This article theorises decolonial Gothic as a novel approach to Gothic fiction from formerly colonised regions and communities. It responds to an emerging body of Gothic production, which situates itself in a world shaped by persistently racialised distributions of social and environmental precarity, and where colonial power is thus an enduring material reality. To address such fiction, the article proposes, requires a reassessment of the hauntological frameworks through which Gothic and the (post)colonial have hitherto been brought into contact. Forged in the cultural climate of late-twentieth-century postmodernity, these hinge on the assumption of an epochal break, which renders colonial history a thing of the past; thus, they fall short of narratives that engage with active formations of colonial power. Accordingly, the article outlines an alternative approach, positioning Gothic fiction in the context of the capitalist world-system, which – into the present – is structured by colonial categories of race, heteropatriarchal categories of gender, and instrumentalising discourses of nature as plunderable resource.
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Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0142
Giulia Champion
This article argues that gothic tropes are central to depictions of the ocean across different genres and forms, but there is a colonial and decolonial trend in the use of horror in portrayal of the sea. This article identifies how gothic depictions of the deep-sea form part of a specific tradition of ecophobic representations of the deep in western narratives aiming to control and commodify. These depictions are profoundly marked by colonial legacies, as this paper shows by analysing briefly Rudyard Kipling’s poem ‘The Deep-Sea Cables’ (1896) and William Eubank’s film Underwater (2020). The article then considers how gothic tropes persisting in post-colonial and decolonial cultural productions serve to identify, first, structural colonial violence still present today; and second, an anxiety about our ecosystem in a time of climate crisis in Rita Indiana’s novel La Mucama de Omicunlé (2015) and works emerging from the Caribbean and Latin America.
本文认为，哥特修辞是不同类型和形式的海洋描绘的核心，但在对海洋的描绘中使用恐怖有一种殖民和非殖民的趋势。本文确定了哥特对深海的描绘是如何形成西方叙事中旨在控制和商品化的深层生态恐惧症表现的特定传统的一部分。正如本文通过简要分析拉迪亚德·吉卜林的诗歌《深海电缆》(1896)和威廉·尤班克的电影《水下》(2020)所显示的那样，这些描绘深深地打上了殖民遗产的烙印。然后，文章考虑了后殖民和非殖民文化产品中持续存在的哥特式修辞如何有助于识别，首先，今天仍然存在的结构性殖民暴力;其次，在丽塔·印第安纳(Rita Indiana)的小说《La Mucama de omicunl》(2015)以及加勒比和拉丁美洲涌现的作品中，人们对气候危机时期生态系统的焦虑。
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Pub Date : 2022-07-01DOI: 10.3366/gothic.2022.0132
Sarah Cleary
The 1980s were a time of big hair, big cars, big phones, and big panics. Yet no panic has ever come close to the hysteria generated by the ‘Satanic Panic’. It was an episode which encompassed an entire decade, spilling into the 1990s as well as into further child-centric narratives of harm such as the 1980s video nasty controversy in the UK. Beginning with the McMartin preschool trial in California in 1983, the satanic panic was a fear that America, or at the very least its white suburban middle class, was under a subversive form of attack from satanic forces. In a perfect storm of disparate cultural elements, satanic panic gained momentum in the wake of the McMartin ritual abuse allegations. Not unsurprisingly, all claims were unfounded and eventually quashed, but not before the ritual abuse cases and their alleged victims were paraded in the news media. This was indeed a real-life horror story and throughout this article, by reading the panic as a Gothic tale of excess, I wish to introduce a liminal narrative composed of hysteria, lies and media sensationalism henceforth known as ‘the myth of harm’. A complex composite of various social narratives, the myth of harm functions as both a vehicle for the articulation of our fears, while simultaneously capable of mobilising and often weaponising them, especially when those fears are directed towards children.
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Pub Date : 2022-07-01DOI: 10.3366/gothic.2022.0129
Harvey O'Brien
This article argues that amid the slasher carnage, three 1980s gothic films representing the literary imagination of Frankenstein attempted to proffer a vision of horror rooted in creation rather than death. In so doing they reinvigorate the radical roots of horror as a challenge to the status quo: a reconfiguration of life into forms which awaken fears as characters face precarious destinies haunted by their past. Ken Russell’s Gothic (1986), Ivan Passer’s Haunted Summer (1988), and Gonzalo Suárez’s Remando al viento / Rowing with the Wind (1988) all depict Mary Shelley facing personal and social challenges from her (male) peers including Percy Shelley, Lord Byron, and John Polidori. Arguably it is Mary who will in time emerge as an even more enduring literary voice, evinced by the fact of her being the protagonist of these films. During the Summer at Villa Diodati on the shores of Lake Geneva where each of these authors sought to create stories of horror, the films imagine the psychosexual power games and intellectual debates which surrounded these literary conjurations. All three films also depict an intrusion of the supernatural as Mary’s monster actually manifests in the liminal space between waking and dreaming. Though wildly different in tone and affect, all three films represent a Gothicism (or an adjacent Gothic allusion) distinct from either the nostalgic or the dismissive deployment of its tropes in other genre films at the time and in so doing raise questions about 1980s cinema and culture more broadly.
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Pub Date : 2022-07-01DOI: 10.3366/gothic.2022.0131
Leslie McMurtry
Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.
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Pub Date : 2022-07-01DOI: 10.3366/gothic.2022.0128
S. N. Fhlainn
{"title":"Introduction: A Decade of Dreams and Nightmares: Popular Gothic in the 1980s","authors":"S. N. Fhlainn","doi":"10.3366/gothic.2022.0128","DOIUrl":"https://doi.org/10.3366/gothic.2022.0128","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48961291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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