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This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and, finally, the zombie film. In recent years, the concept of transnationalism has ‘trans’-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself.
“This is a stimulating exploration of the ways in which Gothic conventions and tropes are not simply features of classical horror, but are to be found in so many corners of the modern horror film. Nor do they just belong in the familiar narratives of ghosts and vampires, but also in the less obviously Gothic movie worlds of folk horror, ‘cosmic horror, and zombie horror. A worthy addition to the horror movie literature.” —Andrew Tudor, Professor Emeritus, University of York, UK.
Acknowledgements; Introduction; 1. The Gothic Tradition Illuminated on Screen; 2. Grief Encounters: Ghost Narratives; 3. Folk in Hell: Rurality in Transition; 4. Vampire Gothic as Post- Exotic Gloom; 5. Shock and Awe: Cosmic Horror as Existential Crisis; 6. De-composmolitanism: Zombie Horror as Apocalypse; Coda; Bibliography; Index.