Pub Date : 2021-07-01DOI: 10.3366/gothic.2021.0097
Taylor D. Duckett
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Pub Date : 2021-07-01DOI: 10.3366/gothic.2021.0095
Helena Bacon, Adam Whybray
East Anglia is an evasive region; with its stretches of grey shingle that give way to silt and water, isolated marshes and great, flat panoramas that are literally falling into the sea. This article will show that East Anglia is a broader and more cohesive site of Gothic tradition and possibility than has previously been recognized, even if that possibility is found both textually and topographically in the incohesive, the ephemeral and the immaterial. We will also suggest that the short form is how this has so far been achieved – most famously in the short ghostly tales of M. R. James; more recently in Matthew Holness's unsettling short story ‘Possum’ (2013) and his 2018 film of the same name – and is, in fact, the most appropriate form for this act of textual production.
{"title":"The Lies of the Land: The Alluvial Formalities of Gothic East Anglia","authors":"Helena Bacon, Adam Whybray","doi":"10.3366/gothic.2021.0095","DOIUrl":"https://doi.org/10.3366/gothic.2021.0095","url":null,"abstract":"East Anglia is an evasive region; with its stretches of grey shingle that give way to silt and water, isolated marshes and great, flat panoramas that are literally falling into the sea. This article will show that East Anglia is a broader and more cohesive site of Gothic tradition and possibility than has previously been recognized, even if that possibility is found both textually and topographically in the incohesive, the ephemeral and the immaterial. We will also suggest that the short form is how this has so far been achieved – most famously in the short ghostly tales of M. R. James; more recently in Matthew Holness's unsettling short story ‘Possum’ (2013) and his 2018 film of the same name – and is, in fact, the most appropriate form for this act of textual production.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44263843","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 : 2021-07-01DOI: 10.3366/gothic.2021.0093
M. Vuohelainen
Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.
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Pub Date : 2021-07-01DOI: 10.3366/gothic.2021.0089
J. Baker
{"title":"Introduction: Gothic and the Short Form","authors":"J. Baker","doi":"10.3366/gothic.2021.0089","DOIUrl":"https://doi.org/10.3366/gothic.2021.0089","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45928743","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 : 2021-07-01DOI: 10.3366/gothic.2021.0096
Alissa Burger
{"title":"The Monster Theory Reader. Edited by Jeffrey Andrew Weinstock","authors":"Alissa Burger","doi":"10.3366/gothic.2021.0096","DOIUrl":"https://doi.org/10.3366/gothic.2021.0096","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44185858","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 : 2021-07-01DOI: 10.3366/gothic.2021.0091
Drago Momcilovic
This article argues that the modern music video at the dawn of the MTV era embraces a logic of the Gothic fragment. Mobilizing an archive of gothic archetypes of haunting and monstrosity, the music video of the early 1980s confronts anxieties about its unshaped aesthetic character and discursive placelessness and its strained connections to absent textual wholes, performance cultures, and marginalized histories. Through a close reading of four seminal music videos from this time period – The Buggles' Video Killed the Radio Star (1979), David Bowie's Ashes to Ashes (1980), Blondie's Rapture (1981), and Michael Jackson's Thriller (1983) – I argue that the early music video incarnates a tradition of production, circulation, and decoding that I want to call Music Video Gothic. This tradition expresses latent concerns about the music video's aesthetic borders and intertextual relations with cultural and career narratives.
本文认为，MTV时代初期的现代音乐录像包含了一种哥特片段的逻辑。20世纪80年代早期的音乐视频动员了哥特风格的令人难以忘怀和怪异的原型档案，直面了人们对其未成形的美学特征、话语的无场所性以及与缺失的文本整体、表演文化和边缘化历史的紧张联系的焦虑。通过仔细阅读这一时期的四部影响深远的音乐录影带——巴格斯乐队的《杀死广播之星》(1979)，大卫·鲍伊的《Ashes to Ashes》(1980)，Blondie乐队的《Rapture》(1981)和迈克尔·杰克逊的《Thriller》(1983)——我认为早期的音乐录影带体现了一种制作、传播和解码的传统，我想把这种传统称为“哥特式音乐录影带”。这一传统表达了对音乐视频的审美边界以及与文化和职业叙事的互文关系的潜在关注。
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Pub Date : 2021-07-01DOI: 10.3366/gothic.2021.0092
J. Round
This article uses a critical framework that draws on the Gothic carnival, children’s Gothic, and Female Gothic to analyse the understudied spooky stories of British comics. It begins by surveying the emergence of short-form horror in American and British comics from the 1950s onwards, which evolved into a particular type of girls’ weekly tale: the ‘Strange Story.’ It then examines the way that the British mystery title Misty (IPC, 1978–80) developed this template in its single stories. This focuses on four key attributes: the directive role of a host character, an oral tone, content that includes two-dimensional characters and an ironic or unexpected plot reversal, and a narrative structure that drives exclusively towards this final point. The article argues that the repetition of this formula and the tales’ short format draw attention to their combination of subversion/conservatism and horror/humour: foregrounding a central paradox of Gothic.
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