Twenty-First-Century Gothic

Brigid Cherry · Peter Howell · Caroline Ruddell

May 2020 · Cambridge Scholars Publishing

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180

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About this ebook

The essays in this volume reinterpret and contest the Gothic cultural inheritance, each from a specifically twenty-first century perspective. Most are based on papers delivered at a conference held, appropriately, in Horace Walpoleʼs Gothic mansion at Strawberry Hill in West London, which is usually seen as the geographical origin of the first, but not the last, of the many Gothic revivals of the past 300 years. In a contemporary context, the Gothic sensibility could be seen as a mode particularly applicable to the frightening instability of the world in which we find ourselves at the beginning of the twenty-first century.

The truth is probably less epochal: that Gothic never went away (when were we ever without fear?), or at least has persisted since its resurgence in the late nineteenth century. Gothic is at least as modern as it is ancient, and each essay in this collection contributes to current scholarship on the Gothic by exploring a particular aspect of Gothic’s contemporaneity. The volume contains papers on horror novels and cinema, poetry, popular music and fan cultures.

About the author

Brigid Cherry is a Senior Lecturer in Film and Popular Culture at St Mary’s University College, Twickenham. Her teaching focuses on film theory and aesthetics, horror, cult film and television, and youth cultures. She has written Horror for Routledge’s Film Guidebook series, and published widely on the horror film audience, fan cultures, and cult film. She has recently written a monograph on online interactions and viewing practices amongst Doctor Who fans, and is working on a book on Lost.

Peter Howell is a Lecturer in English at St. Mary's University College, Twickenham. His research interests are in eighteenth-century literature, culture and thought, and in the history and culture of East London.

Caroline Ruddell is a Lecturer in Film and Popular Culture at St. Mary's University College, Twickenham. Her teaching includes animation, North American cinema, critical methodologies and gender and representation. Her research interests are in anime and the representation of identity, and spectatorship. She has published on witchraft in television, fractured identity in cinema and on anime. She is reviews editor for the Sage publication animation: an interdisciplinary journal.

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