Gothic Heroines On Screen

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.

This collection brings together scholars from various disciplines to ask fundamental questions concerning how women handle the manifold impediments placed before them as they simply attempt to live full human lives. The collection explores narratives of women – real and fictional – who fight against these barriers, who succumb to them, who remain unaware of them, or choose to ignore them. It explores the ways we read women in cultural production, and how women are read in society. We assert the obstacles constructed into the very fabric of societies against fifty percent of the population are unfair, be they hindrances for women to attain their goals, encumbrances that limit women’s speech and societal participation – communal and artistic – or hindrances that prohibit specific behaviors and images of women.

Drawing from social theory and the anthropology of religion, this book explores popular media's fascination with dreams, vampires, demons, ghosts and spirits. Dreams, Vampires and Ghosts does so in the light of contemporary animist studies of societies in which other-than-human persons are not merely a source of entertainment, but a lived social reality. Films and television programs explored include Buffy the Vampire Slayer, Twin Peaks, Bram Stoker's Dracula, Truly Madly Deeply and the films of Hitchcock. Louise Child draws attention to how they both depict and challenge ideas and practices rooted in psychology, while quality television has also facilitated a wave of programming that can explore the interaction of characters in complex social worlds over time. In addition to drawing on theories of film from Freudian psychology and feminist theory, Dreams, Vampires and Ghosts uses approaches derived from a combination of Jungian film studies and anthropology that offer fresh insights for exploring film and television. This book draws attention to explicit and subtle ways in which cinematic narratives engage with myth and religion while at the same time exploring collective dimensions to social and personal life. It advances new developments in genre studies and gender as well as contributing to the growing field of implicit religion using in-depth analyses of communicative dreaming, the shadow, and mystical lovers in film and television.

The 1979 film Alien has left an indelible mark on popular culture. Directed by Ridley Scott, at the time known primarily for making advertisements, and starring then-unknown actor Sigourney Weaver in the lead role, it transcended its humble origins to shock and disturb audiences upon its initial release. Its success has led to three direct sequels, two prequels, one "mashup" franchise, a series of comic books, graphic novels, novelizations, games, and an enormous and devoted fanbase. For forty years, Alien and its progeny have animated debate and discussion among critics and academics from a wide variety of fields and methodological perspectives. This book brings together scholars from diverse disciplinary backgrounds to explore Alien through a contemporary lens. The chapters here demonstrate the extent to which its effects and reception are deeply multifaceted, with the Alien franchise straddling the lines between "high" and "low" culture, playing with generic categories, crossing media boundaries, and animating theoretical, critical, and political debates. Chapters touch on female agency and motherhood, the influence of H.R. Giger, the viscerality of Alien's body horror, the narrative tradition of the Female Gothic, the patriarchal gaze in the Alien video games, and the rise of in-universe online marketing campaigns. In so doing, the volume aims to debate Alien's legacy, consider its current position within visual culture, and establish what the series means--and why it still matters--forty years since its birth.

Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema.

The endangered and dangerous female figures of "Rebecca", of "Jagged Edge" and "What Lies Beneath" have a deserved and endures fascination. Helen Hanson re-examines these gothic heroines of Hollywood and their meanings, in two of Hollywood's key generic cycles, film noir and the female gothic film. Starting at the beginning, with the origin of these cycles and the ways in which they represented women in the American film industry and culture of the 1940s, she traces their revival in neo-noir and neo-gothic films from the 1980s to the present. She also places the female figures of the femme fatale, female investigator and gothic heroine within the shifting contexts of the film industry and debates in feminist film criticism. Hanson examines a wide range of films from both periods, including 'Suspicion', 'Gaslight' and 'Pacific Heights', and gives particular attention to their presentation of female stories, actions and perspectives. She reveals a diversity of female figures, representations and actions in film noir and the female gothic film, and argues that these women are part of a negotiation of female identities, desires and roles across a long historical period. "Hollywood Heroines" therefore offers us new ways of thinking about classic and contemporary Hollywood heroines, and about the interrelationships of gender and genre.

In Smart Chicks on Screen: Representing Women's Intellect in Film and Television, Laura Mattoon D’Amore brings together a collection of essays that examine the disparate portrayals of beauty and brains in film and television. This text will be of interest to scholars of film and television, communications, and women’s studies, to name a few.

In One Shot Hitchcock, some of the best writers and thinkers in film studies have taken up the challenge of writing about a single shot from an Alfred Hitchcock film. Fifteen of Hitchcock's most engaging, horrifying, beautiful, sexual, and bizarre shots are interrogated and loved. Single shots are looked at from multiple angles, considering its importance for the film in question, and for other ways we can think about the cinema. This book is not only for people who enjoy watching and discussing Hitchcock's films, but for those who wish to discover new ways of writing about the films they love.