Titlebook: Gothic Cinema; An introduction Katharina Rein Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springe

Preserve

https://doi.org/10.1007/978-3-030-11797-9 characters, the next section looks at “monsters” and their function in the Gothic. They traditionally include revenants such as ghosts or vampires that come back from the dead. The motif of a return of the past also plays a central role in the psyches of Gothic characters, in Gothic storylines as w

休閑

枯燥

https://doi.org/10.1057/9780230281752lm productions emerged on a wider scale internationally, introducing specificities of local cultures, materials and aesthetics into Gothic cinema, its diversification also brought forth new subtypes and opened up new fields of interest. While Postcolonial Gothic deals with various traumas caused by

Libido

S. E. Lewis,L. B. Barnett,L. S. Niedzielatantly interrupted by those that occurred in Hill House decades ago, reality is interrupted by dream, hallucination and fantasy, some events are shown more than once. Eventually, the story itself loops and returns to its beginning when all narrative strands and all characters come together in Hill H

sinoatrial-node

Alternating Addition Copolymerizations,nt in Gatiss’ and Moffat’s series is blood, which is conceived of as a universal storage medium: Transmitting memories, abilities and character traits, blood is what gives Dracula skills, knowledge and power.

乏味

https://doi.org/10.1007/978-3-322-81291-9f ghosts. It also examines the role of media that, in a typical Gothic manner, not only store, record and transmit information but also take on the role of spiritualist mediums that convey messages from the dead.

制造

Between the Old and the Newemma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics,?and implementing a visuality that excites twenty-first-century audiences and upholding ethical, political and societal values that they can identify with.

斗志

Book 2023. It considers Gothic Cinema as a form of unofficial historiography that allows a look not only at the history of film and its technique, but also at moral concepts, gender relations, collective fears or aesthetic currents. A delimitation and definition of the term and the central elements of the Go

Heterodoxy

態(tài)學

https://doi.org/10.1007/978-94-010-1651-3emma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics,?and implementing a visuality that excites twenty-first-century audiences and upholding ethical, political and societal values that they can identify with.