Show Less
Restricted access

Expanding the Gothic Canon

Studies in Literature, Film and New Media


Edited By Anna Kędra-Kardela and Andrzej Sławomir Kowalczyk

This volume offers a survey of analyses of Gothic texts, including literary works, feature films, a TV serial, and video games, with a view to showing the evolution and expansion of the Gothic convention across the ages and the media. The temporal scope of the book is broad: the chapters cover narratives from the early and mid-eighteenth century, predating the birth of the convention in 1764, through Romantic and Victorian novels, to the contemporary manifestations of the Gothic. Primarily designed for graduate and postgraduate students, the book sets out to acquaint them with both the convention and different theoretical approaches. The studies presented here could also prove inspirational for fellow scholars and helpful for university teachers, the book becoming an item on the reading lists in Gothic literature, film and media courses.
Show Summary Details
Restricted access

CHAPTER ELEVEN: Gothic Automata and the Kunstkammer Island: The Piano Tuner of Earthquakes by Quay Brothers


| 231 →


Gothic Automata and the Kunstkammer Island: The Piano Tuner of Earthquakes by Quay Brothers


This article seeks to show how in the film The Piano Tuner of Earthquakes (2005) directed by Stephen and Timothy Quay the (neo)baroque spectacle of the kunst- or wunderkammer intersects with the Gothic convention, and the ways in which the film, situated on the cusp of the Gothic and the (neo)baroque paradigms, explores what can be regarded as the “aesthetic unconscious” (Rancière 2009: 43-45) of modernity; a concept which will be discussed in detail later on.

Set on a remote island, The Piano Tuner of Earthquakes presents the entangled fates of Malvina von Stille, an opera singer with a magnetic personality, and Felisberto, who is a double of Malvina’s true love, Adolfo. Abducted in the middle of her wedding and separated from her fiancée Adolfo by one Dr Emmanuel Droz, Malvina, an opera singer, is pronounced dead by the doctor. Yet, she is resuscitated and put into a necromantic trance on an uncanny island over which he wields power; an island whose landscapes are reminiscent of a cabinet of curiosities, or, kunst- or wunderkammer. He does this in order to imprison her voice in one of his seven ocean-tide-triggered automata. Dr Droz hires Felisberto, a hyper-sensitive piano tuner, who remarks that he “can hear anything between a sneeze and infinity,” to maintain the automata that are so...

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.