Horror Studies is a peer-reviewed academic journal devoted to the rigorous study of horror in all of its cultural and historical forms, from film and literature, music and dance, to fine art, photography and beyond. Seeking to advance the academic study of horror in theoretically and historically informed ways, Horror Studies is devoted to publishing high-quality articles and reviews relevant to its focus. With a strong commitment to interdisciplinarity, the journal seeks to foster fruitful dialogue on horror between a wide range of different critical and scholarly traditions.
Goth culture emerged from the punk scene in the 1980s, developing its own music and fashion. The festival in Whitby, chosen because of its connections with Dracula, has been running for more than twenty years and attracts around 10,000 people
In Gothic fiction, it never pays to be the first wife. The things these women go through are awful, and are made worse by the fact they usually end up as the backdrop of someone else’s story. Here’s our ranking of the 10 Gothic first wives who suffered the most -- and what you can learn from them.
And while he was going back along the road heard a terrifying voice yelling far behind him, as if it were on a mountain. A moment later it yelled again but this time nearer. A third time he heard the voice shouting at the crossroads ahead of him, and then he saw a pale horse.
Although occultists like the antiquarian Montague Summers would like to claim that the belief in vampires is global and transhistorical (and therefore probably true), the vampire is a thoroughly modern being. Like the Gothic genre itself, stories of vampires emerge in the Age of Enlightenment, as instances of primitive superstition that help define the rational scepticism of northern, Protestant Europe.
The purpose of this website is to communicate and facilitate the fascinating elements about Gothic conventions and the Gothic Novel. The home page provides a background on the "Gothic' and it's conventions. The main novels discussed throughout this site are: Wuthering Heights, Dracula and The Castle of Otranto. Please join in the conversation by posting to The Castle of Otranto blog on the tab above.
While death is self-evidently a primary theme of Gothic in all its iterations, mourning is no less so. Ann Radcliffe’s The Mysteries of Udolpho, for instance, ends with the following curious formulation: ‘And, if the weak hand, that has recorded this tale, has, by its scenes, beguiled the mourner of one hour of sorrow, or, by its moral, taught him to sustain it – the effort, however humble, has not been vain, nor is the writer unrewarded’ (p. 672). Reading a Gothic novel may be useful diversion, but it may just as much provide a model for mourning. Gothic teaches us something about our own mourning: it has the potential to give us our deaths back to us. For Radcliffe the relation between text and reader, both within and without the given narrative, becomes primary. As I’ve tried to suggest in the previous posts on Michel Faber and John Burnside, this desire to investigate the nature of presentation remains central to contemporary Scottish Gothic; the question is not only how a text presents the world, but how in presenting itself it changes its own relation to the world.
The first issue of the new series Providence, by Alan Moore and Jacen Burrows, arrives on May 27th, and we’ve run an interview on the site previously, as well as an advance review of the first issue. But this week, you can also find an interview with Alan Moore in Bleeding Cool Magazine #16, on... Read more »
There were many books on vampires before Bram Stoker's Dracula. Early anthropologists wrote accounts of the folkloric vampire -- a stumbling, bloated peasant, never venturing far from home, and easily neutralized with a sexton’s spade and a box of matches. The literary vampire became a highly mobile, svelte aristocratic rake with the appearance of the short tale The Vampyre in 1819.
What do Dracula and Godzilla have in common? What sounds like the beginning of a bad joke or a guiltily pleasurable “B movie” portraying the serendipitous encounter between two iconic monsters, is actually just a strange series of connections facilitated by two recent movies involving the characters: Godzilla (2014) by Gareth Edwards and Dracula Untold (2014) by Gary Shore. The two films are not thematically similar, neither through characters nor through plot; nevertheless, a potential point of contact is forged in regards to both the re-telling nature of the films (the two films posit themselves as new approximations to old stories and characters) as well as in the apparent interest of portraying a true or unseen side to the story of these characters.
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