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New breed, old blood: Gothic horror ...

Joplin, Benjamin.

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New breed, old blood: Gothic horror in contemporary fiction and film.

Record Type:	Electronic resources : Monograph/item
Title/Author:	New breed, old blood: Gothic horror in contemporary fiction and film./
Author:	Joplin, Benjamin.
Description:	260 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 9450.
Contained By:	Dissertation Abstracts International67-03A.
Subject:	English literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3213630
ISBN:	9780542630019

New breed, old blood: Gothic horror in contemporary fiction and film.
Joplin, Benjamin.

New breed, old blood: Gothic horror in contemporary fiction and film. - 260 p.

Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 9450.

Thesis (Ph.D.)--State University of New York at Buffalo, 2006.

This item must not be sold to any third party vendors.

Whereas most studies treat the "gothic" and "horror" genres as distinct, New Breed, Old Blood uses narrative, feminist, and queer theory, as well as literary and cultural history, to argue that "gothic horror" is a multi-media field in which many (sub)genres arise, and that "new" (sub)genres retain much "old blood" from narratives of the past. Chapter one discusses the various essentializing "turf wars" over such terms as gothic, horror, terror, the uncanny, and the fantastic. Chapter two examines the manner in which haunted house tales, especially Mark Z. Danielewski's House of Leaves, employ the American Nightmare as a political critique of the middle-class nuclear family's American Dream. Chapter three proposes that "ghost therapy" narratives, especially the films of M. Night Shyamalan, privilege the use of melodrama over gothic horror. Chapter four argues that the trend in "love object" narratives, a patchwork of texts as diverse as Frankenstein, Joyce Carol Oates' Zombie, and episodes of Buffy the Vampire Slayer, is increasingly feminist in deconstructing the creator/created binary. Chapter five proposes a theory of the monstrous feminine that uses the perspective of female protagonists and their experience of social prohibitions, and it analyzes Graham Swift's Waterland, the short stories of Angela Carter, and the horror films Ginger Snaps and Blood Moon.

ISBN: 9780542630019Subjects--Topical Terms:

516356
English literature.

New breed, old blood: Gothic horror in contemporary fiction and film.
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245 1 0 $a New breed, old blood: Gothic horror in contemporary fiction and film.
300 $a 260 p.
500 $a Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 9450.
500 $a Adviser: David Schmid.
502 $a Thesis (Ph.D.)--State University of New York at Buffalo, 2006.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Whereas most studies treat the "gothic" and "horror" genres as distinct, New Breed, Old Blood uses narrative, feminist, and queer theory, as well as literary and cultural history, to argue that "gothic horror" is a multi-media field in which many (sub)genres arise, and that "new" (sub)genres retain much "old blood" from narratives of the past. Chapter one discusses the various essentializing "turf wars" over such terms as gothic, horror, terror, the uncanny, and the fantastic. Chapter two examines the manner in which haunted house tales, especially Mark Z. Danielewski's House of Leaves, employ the American Nightmare as a political critique of the middle-class nuclear family's American Dream. Chapter three proposes that "ghost therapy" narratives, especially the films of M. Night Shyamalan, privilege the use of melodrama over gothic horror. Chapter four argues that the trend in "love object" narratives, a patchwork of texts as diverse as Frankenstein, Joyce Carol Oates' Zombie, and episodes of Buffy the Vampire Slayer, is increasingly feminist in deconstructing the creator/created binary. Chapter five proposes a theory of the monstrous feminine that uses the perspective of female protagonists and their experience of social prohibitions, and it analyzes Graham Swift's Waterland, the short stories of Angela Carter, and the horror films Ginger Snaps and Blood Moon.
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