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.
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.
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'.
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Introduction Frances A. Kamm and Tamar Jeffers McDonald Part I: Bluebeard's Ghost 1. Bluebeard's Women Fight Back: the Gothic heroine in contemporary film and Heidi Lee Douglas's Little Lamb (2014) Gisèle Baxter 2. Bluebeard in the Cities: The Use of an Urban Setting in Two 21st Century Films Lawrence Jackson 3. Blueprints from Bluebeard: Charting the Gothic in contemporary film Tamar Jeffers McDonald Part II: Returning to Manderley 4. Impossible Spaces: Gothic Special Effects and Feminine Subjectivity Christina G. Petersen 5. The Certified Accountant Gothic Heroine: Paranoia and The Second Woman (1951) Guy Barefoot 6. "But it's happening to you, Eleanor": The Haunting as a Buildingsroman Johanna Wagner Part III: The Gothic and Genre Forms 7. The Gothic in Space: Genre, Motherhood and Aliens (1986) Frances A. Kamm 8. The Gothic heroine out West: A Town Called Bastard (1971) Lee Broughton 9. Laughing at Periods: Gothic Parody in Julia Davis' Hunderby Sarah McLellan 10. 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 11. East German Gothic: Kurt Maetzig's The Rabbit Is Me (1965) Dana Weber 12. 'I See, I See...': Goodnight Mommy as Austrian Gothic Lies Lanckman 13. The Babadook, maternal gothic and the 'woman's horror film' Paula Quigley
Introduction Frances A. Kamm and Tamar Jeffers McDonald Part I: Bluebeard's Ghost 1. Bluebeard's Women Fight Back: the Gothic heroine in contemporary film and Heidi Lee Douglas's Little Lamb (2014) Gisèle Baxter 2. Bluebeard in the Cities: The Use of an Urban Setting in Two 21st Century Films Lawrence Jackson 3. Blueprints from Bluebeard: Charting the Gothic in contemporary film Tamar Jeffers McDonald Part II: Returning to Manderley 4. Impossible Spaces: Gothic Special Effects and Feminine Subjectivity Christina G. Petersen 5. The Certified Accountant Gothic Heroine: Paranoia and The Second Woman (1951) Guy Barefoot 6. "But it's happening to you, Eleanor": The Haunting as a Buildingsroman Johanna Wagner Part III: The Gothic and Genre Forms 7. The Gothic in Space: Genre, Motherhood and Aliens (1986) Frances A. Kamm 8. The Gothic heroine out West: A Town Called Bastard (1971) Lee Broughton 9. Laughing at Periods: Gothic Parody in Julia Davis' Hunderby Sarah McLellan 10. 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 11. East German Gothic: Kurt Maetzig's The Rabbit Is Me (1965) Dana Weber 12. 'I See, I See...': Goodnight Mommy as Austrian Gothic Lies Lanckman 13. The Babadook, maternal gothic and the 'woman's horror film' Paula Quigley
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