Gothic Heroines on Screen
Representation, Interpretation, and Feminist Inquiry
1st Edition
Published on 14. May 2019
Book
Hardback
212 pages
978-1-138-71099-3 (ISBN)
Description
Gothic Heroines on Screen explores the translation of the literary Gothic heroine on screen, the potential consequences of these adaptations, and contemporary interpretations of the form.
Each chapter illuminates the significance of this moving image mediation, relating its screen topics to their various historical, social, and geographical moments of production, while maintaining a focus on the key figure of the investigating woman. Many chapters - perhaps inescapably - delve into the point of adaptation: the Bluebeard story and du Maurier's Rebecca as two key examples. Moving beyond the Old Dark House that frequently forms both the Gothic heroine's backdrop and her area of investigation, some chapters examine alternative locations and their impact on the Gothic heroine, some leave behind the marital thriller to explore what happens when the Gothic meets other genres, such as comedy, while others travel away from the usual Anglo-American contexts to European ones.
Throughout the collection, the Gothic heroine's representation is explored within the medium, which brings together image, movement, and sound, and this technological fact takes on varied significance. What does remain constant, however, is the emphasis on the longevity, significance, and distinctiveness of the Gothic heroine in screen culture.
Each chapter illuminates the significance of this moving image mediation, relating its screen topics to their various historical, social, and geographical moments of production, while maintaining a focus on the key figure of the investigating woman. Many chapters - perhaps inescapably - delve into the point of adaptation: the Bluebeard story and du Maurier's Rebecca as two key examples. Moving beyond the Old Dark House that frequently forms both the Gothic heroine's backdrop and her area of investigation, some chapters examine alternative locations and their impact on the Gothic heroine, some leave behind the marital thriller to explore what happens when the Gothic meets other genres, such as comedy, while others travel away from the usual Anglo-American contexts to European ones.
Throughout the collection, the Gothic heroine's representation is explored within the medium, which brings together image, movement, and sound, and this technological fact takes on varied significance. What does remain constant, however, is the emphasis on the longevity, significance, and distinctiveness of the Gothic heroine in screen culture.
More details
Language
English
Place of publication
London
United Kingdom
Publishing group
Taylor & Francis Ltd
Target group
College/higher education
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 17 mm
Weight
508 gr
ISBN-13
978-1-138-71099-3 (9781138710993)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Tamar Jeffers McDonald | Frances A. Kamm
Gothic Heroines on Screen
Representation, Interpretation, and Feminist Inquiry
Book
05/2019
1st Edition
Routledge
€61.10
Shipment within 10-20 days
Tamar Jeffers McDonald | Frances A. Kamm
Gothic Heroines on Screen
Representation, Interpretation, and Feminist Inquiry
E-Book
04/2019
Routledge
€53.99
Available for download
Tamar Jeffers McDonald | Frances A. Kamm
Gothic Heroines on Screen
Representation, Interpretation, and Feminist Inquiry
E-Book
04/2019
1st Edition
Routledge
€53.99
Available for download
Persons
Tamar Jeffers McDonald is Reader in Film at the University of Kent and co-organiser of the Gothic Feminism research group. She has published on issues of film genre, film costume, stardom, performance, and movie magazines.
Frances A. Kamm is an early career researcher and Associate Lecturer at the University of Kent, and co-organiser of the Gothic Feminism research project. She was awarded her PhD in Film Studies with the thesis entitled 'The Technological Uncanny and the Representation of the Body in Early and Digital Cinema'.
Frances A. Kamm is an early career researcher and Associate Lecturer at the University of Kent, and co-organiser of the Gothic Feminism research project. She was awarded her PhD in Film Studies with the thesis entitled 'The Technological Uncanny and the Representation of the Body in Early and Digital Cinema'.
Content
Introduction
Frances A. Kamm and Tamar Jeffers McDonald
Part I: Bluebeard's Ghost
Bluebeard's Women Fight Back: the Gothic heroine in contemporary film and Heidi Lee Douglas's Little Lamb (2014)
Gisele Baxter
Bluebeard in the Cities: The Use of an Urban Setting in Two 21st Century Films
Lawrence Jackson
Blueprints from Bluebeard: Charting the Gothic in contemporary film
Tamar Jeffers McDonald
Part II: Returning to Manderley
Impossible Spaces: Gothic Special Effects and Feminine Subjectivity
Christina G. Petersen
The Certified Accountant Gothic Heroine: Paranoia and The Second Woman (1951)
Guy Barefoot
"But it's happening to you, Eleanor": The Haunting as a Buildingsroman
Johanna Wagner
Part III: The Gothic and Genre Forms
The Gothic in Space: Genre, Motherhood and Aliens (1986)
Frances A. Kamm
The Gothic heroine out West: A Town Called Bastard (1971)
Lee Broughton
Laughing at Periods: Gothic Parody in Julia Davis' Hunderby
Sarah McLellan
There's a secret behind the door. And that secret is me. The Gothic Reimagining of Agatha Christie's And Then There Were None.
Katerina Flint Nicol
Part IV: National Cinema and the Gothic
East German Gothic: Kurt Maetzig's The Rabbit Is Me (1965)
Dana Weber
'I See, I See...': Goodnight Mommy as Austrian Gothic
Lies Lanckman
The Babadook, maternal gothic and the 'woman's horror film'
Paula Quigley
Frances A. Kamm and Tamar Jeffers McDonald
Part I: Bluebeard's Ghost
Bluebeard's Women Fight Back: the Gothic heroine in contemporary film and Heidi Lee Douglas's Little Lamb (2014)
Gisele Baxter
Bluebeard in the Cities: The Use of an Urban Setting in Two 21st Century Films
Lawrence Jackson
Blueprints from Bluebeard: Charting the Gothic in contemporary film
Tamar Jeffers McDonald
Part II: Returning to Manderley
Impossible Spaces: Gothic Special Effects and Feminine Subjectivity
Christina G. Petersen
The Certified Accountant Gothic Heroine: Paranoia and The Second Woman (1951)
Guy Barefoot
"But it's happening to you, Eleanor": The Haunting as a Buildingsroman
Johanna Wagner
Part III: The Gothic and Genre Forms
The Gothic in Space: Genre, Motherhood and Aliens (1986)
Frances A. Kamm
The Gothic heroine out West: A Town Called Bastard (1971)
Lee Broughton
Laughing at Periods: Gothic Parody in Julia Davis' Hunderby
Sarah McLellan
There's a secret behind the door. And that secret is me. The Gothic Reimagining of Agatha Christie's And Then There Were None.
Katerina Flint Nicol
Part IV: National Cinema and the Gothic
East German Gothic: Kurt Maetzig's The Rabbit Is Me (1965)
Dana Weber
'I See, I See...': Goodnight Mommy as Austrian Gothic
Lies Lanckman
The Babadook, maternal gothic and the 'woman's horror film'
Paula Quigley