Gothic Studies最新文献_第6页

Better the Devil you Know: The Myth of Harm and the Satanic Panic 你知道的魔鬼更好:伤害的神话和撒旦恐慌

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Gothic Studies Pub Date : 2022-07-01 DOI: 10.3366/gothic.2022.0132

Sarah Cleary

{"title":"Better the Devil you Know: The Myth of Harm and the Satanic Panic","authors":"Sarah Cleary","doi":"10.3366/gothic.2022.0132","DOIUrl":"https://doi.org/10.3366/gothic.2022.0132","url":null,"abstract":"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.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47366989","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}

引用次数: 1

Creation Myth: The Imagining of the Gothic Imagination in the Diodati Triptych: Gothic (1986), Haunted Summer (1988), and Remando al viento (1988) 迪奥达蒂三联画中的想象:《哥特》(1986)、《鬼夏》(1988)和《维也纳梦》(1988)

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Gothic Studies Pub Date : 2022-07-01 DOI: 10.3366/gothic.2022.0129

Harvey O'Brien

{"title":"Creation Myth: The Imagining of the Gothic Imagination in the Diodati Triptych: Gothic (1986), Haunted Summer (1988), and Remando al viento (1988)","authors":"Harvey O'Brien","doi":"10.3366/gothic.2022.0129","DOIUrl":"https://doi.org/10.3366/gothic.2022.0129","url":null,"abstract":"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.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48392239","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}

引用次数: 0

Sounds Like Murder: Early 1980s Gothic on North American Radio 听起来像谋杀：北美电台20世纪80年代早期的哥特式

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Gothic Studies Pub Date : 2022-07-01 DOI: 10.3366/gothic.2022.0131

Leslie McMurtry

{"title":"Sounds Like Murder: Early 1980s Gothic on North American Radio","authors":"Leslie McMurtry","doi":"10.3366/gothic.2022.0131","DOIUrl":"https://doi.org/10.3366/gothic.2022.0131","url":null,"abstract":"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.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44735726","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}

引用次数: 0

Introduction: A Decade of Dreams and Nightmares: Popular Gothic in the 1980s 简介:十年的梦想和噩梦:流行的哥特在20世纪80年代

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Gothic Studies Pub Date : 2022-07-01 DOI: 10.3366/gothic.2022.0128

S. N. Fhlainn

引用次数: 0

‘We can believe he does not see her, nor know she’s there’: Erasure and The Woman in Black “我们可以相信他没有看到她，也不知道她在那里”：《橡皮擦》和《黑衣女人》

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Gothic Studies Pub Date : 2022-07-01 DOI: 10.3366/gothic.2022.0130

J. D’Arcy

引用次数: 0

A Rift between Worlds: The Retro-1980s and the Neoliberal Upside Down in Stranger Things 世界之间的裂痕:《怪奇物语》中的复古80年代和新自由主义的颠倒

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Gothic Studies Pub Date : 2022-07-01 DOI: 10.3366/gothic.2022.0134

S. N. Fhlainn

{"title":"A Rift between Worlds: The Retro-1980s and the Neoliberal Upside Down in Stranger Things","authors":"S. N. Fhlainn","doi":"10.3366/gothic.2022.0134","DOIUrl":"https://doi.org/10.3366/gothic.2022.0134","url":null,"abstract":"The Netflix series Stranger Things (2016–) is one of a host of recent 1980s-set texts that returns to the decade through the lens of cultural nostalgia. Recalling and resituating its viewers in the Reagan era, the series presents a contemporary Gothic narrative by returning to the 1980s as a period of profound cultural importance, setting its secondary Gothic space, The Upside Down, as a Gothic neoliberal shadow world that conveys profound implications for a terrifying future. Examining the 1980s as a nexus point for socio-political anxieties and nostalgic recall, which has dominated the economic landscape and many Hollywood films and shows in the twenty-first century, this article argues that Stranger Things situates its characters at the precipice of a wrong turn in history, a period in which its youthful band of heroes, like their 1980s counterparts in its science fiction and fantasy cinema before them, must chase down their own futures to prevent a terrible fate. Through ‘reflective nostalgia’, this rift between the 1980s onscreen and the shadow future of the Upside Down is presented as a diachronic narrative, a return to the past to identify and critique the 1980s as a point of origin for numerous socio-economic anxieties and ills in our contemporary neoliberal Gothic world. Stranger Things, alongside other 1980s retro-texts, articulates our own Gothic terrors in the contemporary moment. Moreover, this article argues how and why the Gothic 1980s is a revisited site of return from which we need to learn, particularly following the post-2008 financial crisis, to overcome the necro-economic consequences of the ‘Upside Down’ neoliberal wasteland of the twenty-first century.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44376703","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}

引用次数: 1

‘Everyone Has Monsters Within’: Neoliberal Release of Monstrous Desire in Stuart Gordon’s Re-Animator (1985) and From Beyond (1986) “每个人内心都有怪物”:斯图尔特·戈登的《重生者》(1985)和《超越》(1986)中对巨大欲望的新自由主义释放

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Gothic Studies Pub Date : 2022-07-01 DOI: 10.3366/gothic.2022.0133

James R. Morgart

引用次数: 0

Scott's Ghost-Seeing 斯科特的鬼影

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Gothic Studies Pub Date : 2022-03-01 DOI: 10.3366/gothic.2022.0120

I. Duncan

引用次数: 1

Impossible Hauntings: Graeme Macrae Burnet and Barry Graham 不可能的闹鬼：格雷姆·麦克雷·伯内特和巴里·格雷厄姆