All that Gothic
Series:
Agnieszka Lowczanin and Dorota Wisniewska
Book (EPUB)
- ISBN:
- 978-3-653-99701-9
- Availability:
- Available
- Subjects:
Prices
Currency depends on your shipping address
- Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2014. 286 pp.
- Cover
- Title
- Copyright
- About the Author
- About the Book
- This eBook can be cited
- Contents
- Introduction
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction
- Haunting as a discourse
- The Narrative of Melancholia
- The Yellow Wallpaper
- Conclusion
- Works Cited:
- 1. Introduction
- 2.1. Cognitive Poetics and narratology
- 3. The classical, the romantic, and the gothic
- 4.1. The gothic cityscapes
- 4.2. Harry as an outsider and a gothic flâneur
- 4.3. Harry and the Doppelgänger
- 4.4. The Steppenwolf’s evolution
- 5. Conclusions
- Works cited:
- The topofocal tradition
- The hostile landscape
- Time and place
- The wilderness as “the other”
- Works Cited:
- Works Cited:
- Introduction
- Carmilla – a gothic monstrous woman and her predecessors
- Who is afraid of Carmilla? And why?
- Conclusion
- Works Cited:
- Works Cited
- Introduction: Gothic Transformations
- (Dis)locating Lesbian Bodies
- Pushing the Limits in Skin
- Conclusion: Alternatives and Restrictions
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction: Hammer Film Productions and the New Monster
- 1. Setting
- 2. Time
- 3. Costumes and Props
- 4. Supernatural Elements
- 5. Damsel in Distress
- 6. Horror and Terror
- 7. Kitsch
- Conclusion
- Works Cited:
- Works Cited:
- Works Cited
- I. Introduction
- II. Shadow of the Vampire – A Gothic Film.
- III. Shadow of the Vampire on the Gothic Nature of Film
- IV. Conclusion
- Works Cited:
- Works Cited:
- Contributors
- Series index
- Cover
- Title
- Copyright
- About the Author
- About the Book
- This eBook can be cited
- Contents
- Introduction
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction
- Haunting as a discourse
- The Narrative of Melancholia
- The Yellow Wallpaper
- Conclusion
- Works Cited:
- 1. Introduction
- 2.1. Cognitive Poetics and narratology
- 3. The classical, the romantic, and the gothic
- 4.1. The gothic cityscapes
- 4.2. Harry as an outsider and a gothic flâneur
- 4.3. Harry and the Doppelgänger
- 4.4. The Steppenwolf’s evolution
- 5. Conclusions
- Works cited:
- The topofocal tradition
- The hostile landscape
- Time and place
- The wilderness as “the other”
- Works Cited:
- Works Cited:
- Introduction
- Carmilla – a gothic monstrous woman and her predecessors
- Who is afraid of Carmilla? And why?
- Conclusion
- Works Cited:
- Works Cited
- Introduction: Gothic Transformations
- (Dis)locating Lesbian Bodies
- Pushing the Limits in Skin
- Conclusion: Alternatives and Restrictions
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction: Hammer Film Productions and the New Monster
- 1. Setting
- 2. Time
- 3. Costumes and Props
- 4. Supernatural Elements
- 5. Damsel in Distress
- 6. Horror and Terror
- 7. Kitsch
- Conclusion
- Works Cited:
- Works Cited:
- Works Cited
- I. Introduction
- II. Shadow of the Vampire – A Gothic Film.
- III. Shadow of the Vampire on the Gothic Nature of Film
- IV. Conclusion
- Works Cited:
- Works Cited:
- Contributors
- Series index
“Nature is the Church of Satan.” The Gothic Topography in Contemporary Scandinavian Horror Novels and Films
Chapter
- Subjects:
Prices
Chapter Price
Currency depends on your shipping address
Extract
Yvonne Leffler
John Ajvide Lindqvist’s vampire novel Let the Right One In (Låt den rätte komma in, 2004), Lars von Trier’s psychological drama Anti-Christ (2009), and Tommy Wirkola zombie comedy Dead Snow (Död snö, 2009) are all good examples of the explosion of horror stories that has taken place in Scandinavia in the last decade. Ajvide Lindqvist’s Let the Right One is a bestseller both inside and outside Sweden, and it has been translated into several languages, including English. It has also resulted in two films: a Swedish-language film by the same name, directed by Tomas Alfredson in 2008, and an English-language film, Let Me In, directed by Matt Reeves and released in 2010. Lars von Trier’s film Anti-Christ has won several prizes and attracted much attention as it caused disagreement about gender issues. In several interviews, the Danish director has confirmed that he chose to make a horror film as it could be used for certain images and themes he wanted to communicate. Wirkola’s Dead Snow (2009) is one of many appreciated Norwegian zombie films dealing with certain aspects of Norwegian history. Although contemporary Scandinavian authors and directors, such as Ajvide Lindqvist, Wirkola, and von Trier, are very much part of the worldwide and international production and distribution of horror, their works thrive on a Scandinavian tradition of the genre dating back to the earlynineteenth century. Just as in former works by Scandinavian writers, the mazy architecture of the Gothic medieval castle,...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.
Or login to access all content.- Cover
- Title
- Copyright
- About the Author
- About the Book
- This eBook can be cited
- Contents
- Introduction
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction
- Haunting as a discourse
- The Narrative of Melancholia
- The Yellow Wallpaper
- Conclusion
- Works Cited:
- 1. Introduction
- 2.1. Cognitive Poetics and narratology
- 3. The classical, the romantic, and the gothic
- 4.1. The gothic cityscapes
- 4.2. Harry as an outsider and a gothic flâneur
- 4.3. Harry and the Doppelgänger
- 4.4. The Steppenwolf’s evolution
- 5. Conclusions
- Works cited:
- The topofocal tradition
- The hostile landscape
- Time and place
- The wilderness as “the other”
- Works Cited:
- Works Cited:
- Introduction
- Carmilla – a gothic monstrous woman and her predecessors
- Who is afraid of Carmilla? And why?
- Conclusion
- Works Cited:
- Works Cited
- Introduction: Gothic Transformations
- (Dis)locating Lesbian Bodies
- Pushing the Limits in Skin
- Conclusion: Alternatives and Restrictions
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction: Hammer Film Productions and the New Monster
- 1. Setting
- 2. Time
- 3. Costumes and Props
- 4. Supernatural Elements
- 5. Damsel in Distress
- 6. Horror and Terror
- 7. Kitsch
- Conclusion
- Works Cited:
- Works Cited:
- Works Cited
- I. Introduction
- II. Shadow of the Vampire – A Gothic Film.
- III. Shadow of the Vampire on the Gothic Nature of Film
- IV. Conclusion
- Works Cited:
- Works Cited:
- Contributors
- Series index
- Cover
- Title
- Copyright
- About the Author
- About the Book
- This eBook can be cited
- Contents
- Introduction
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction
- Haunting as a discourse
- The Narrative of Melancholia
- The Yellow Wallpaper
- Conclusion
- Works Cited:
- 1. Introduction
- 2.1. Cognitive Poetics and narratology
- 3. The classical, the romantic, and the gothic
- 4.1. The gothic cityscapes
- 4.2. Harry as an outsider and a gothic flâneur
- 4.3. Harry and the Doppelgänger
- 4.4. The Steppenwolf’s evolution
- 5. Conclusions
- Works cited:
- The topofocal tradition
- The hostile landscape
- Time and place
- The wilderness as “the other”
- Works Cited:
- Works Cited:
- Introduction
- Carmilla – a gothic monstrous woman and her predecessors
- Who is afraid of Carmilla? And why?
- Conclusion
- Works Cited:
- Works Cited
- Introduction: Gothic Transformations
- (Dis)locating Lesbian Bodies
- Pushing the Limits in Skin
- Conclusion: Alternatives and Restrictions
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Works Cited:
- Introduction: Hammer Film Productions and the New Monster
- 1. Setting
- 2. Time
- 3. Costumes and Props
- 4. Supernatural Elements
- 5. Damsel in Distress
- 6. Horror and Terror
- 7. Kitsch
- Conclusion
- Works Cited:
- Works Cited:
- Works Cited
- I. Introduction
- II. Shadow of the Vampire – A Gothic Film.
- III. Shadow of the Vampire on the Gothic Nature of Film
- IV. Conclusion
- Works Cited:
- Works Cited:
- Contributors
- Series index