Gothic Mash-Ups

Natalie Neill

doi:10.5771/9781793636584

Summary

Gothic Mash-Ups explores the role of intertextuality in Gothic storytelling through the analysis of texts from diverse periods and media. Drawing on recent scholarship on Gothic remix and adaptation, the contributors examine crossover fictions, multi-source film and comic book adaptations, neo-Victorian pastiches, performance magic, monster mashes, and intertextual Gothic works of various kinds. Their chapters investigate many critical issues related to Gothic mash-up, including authorship, originality, intellectual property, fandom, commercialization, and canonicity. Although varied in approach, the chapters all explore how Gothic storytellers make new stories out of older ones, relying on a mix of appropriation and innovation. Covering many examples of mash-up, from nineteenth-century Gothic novels to twenty-first-century video games and interactive fiction, this collection builds from the premise that the Gothic is a fundamentally hybrid genre.

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Bibliographic data

Copyright year: 2022
ISBN-Print: 978-1-7936-3657-7
ISBN-Online: 978-1-7936-3658-4
Publisher: Lexington, Lanham
Language: English
Pages: 264
Product type: Edited Book

1. Dedication No access
2. Contents No access
3. Acknowledgments No access
4. 1. Gothic Mash-Ups, Now and Then No access
  2. Approaches to Mash-Up No access
  3. References No access
1. 1. From Adaptation to Transmedia: Variations on Sameness (1931–1956) No access
  2. One (More) for the Money: The Early Conglomerate Era (1962–1990) No access
  3. The “Big Four”: Industrial Horror (1990–2017) No access
  4. Revisiting the Dark Universe No access
  5. References No access
2. 1. Lisztomania and Vampiric Transference No access
  2. Litsztomania and Frankenstein No access
  3. Gothic, Frankenstein, and Gothic Mash-Up No access
  4. Lord Byron, Vampire No access
  5. Conclusion No access
  6. References No access
3. 1. Monstrous Imitation and Innovation No access
  2. Generic Hybridization and Eroticism No access
  3. Conclusion: A Familiar Difference No access
  4. Notes No access
  5. References No access
4. 1. Detached (in)Difference: Dorian Gray No access
  2. A Woman of Queer Vision(s): Vanessa, the Cut-Wife, and Dr. Seward No access
  3. References No access
5. 1. Mashing Up Horror, Humor, and Race No access
  2. Jordan Peele, Race, and Horror Mash-Ups No access
  3. Get Out: Intertextual Mash-Up No access
  4. Conclusion No access
  5. Note No access
  6. References No access
1. 1. The Gothic Mash-Up No access
  2. Gothic Annes No access
  3. Anne Boleyn: Undead Avenger No access
  4. Anne Boleyn: Evil Bitch Monster of Death No access
  5. Elizabeth Tudor: Vampire Slayer No access
  6. References No access
2. 1. A Question of Terms No access
  2. The Mash-Ups No access
  3. Critical Possibilities No access
  4. Conclusion No access
  5. References No access
3. 1. Composite Composition in The Picture of Dorian Gray No access
  2. The Different Hands of Teleny No access
  3. References No access
4. 1. Monkey Beach as Indigenous Gothic No access
  2. Do the Monster Mash(up): Haisla B’gwus and Settler Sasquatch No access
  3. A Reclamation of the Monstrous No access
  4. Rewriting the Gothic in Canada: Conclusions No access
  5. References No access
1. 1. Affective Forms: Reading the Graphic, Reading the Gothic No access
  2. I, Werewolf: The Multiplicity and Abjection of the Gothic Superhero No access
  3. Patriarchal Ruins: Identity, Masculinity, and Hollywood Heroism No access
  4. Identity Recovered and Effaced: The Death of the Gothic Superhero No access
  5. References No access
2. 1. Critical Framework No access
  2. British Comics and Adaptation No access
  3. Mash-Ups in Misty No access
  4. Conclusion No access
  5. References No access
3. 1. Magic as Mash-Up and the Fuzzy Gothic No access
  2. Bizarre Magick: Origins and Continuum No access
  3. Bizarre Magick as Mashed-Up Gothic Storytelling No access
  4. Conclusion No access
  5. References No access
4. 1. Video Games and the Gothic No access
  2. Video Games as Queer Mash-Ups No access
  3. Gone Home as Ghost Story No access
  4. Conclusion No access
  5. References No access
5. 1. Poe and Hypertext: Creating Unity from Fragments No access
  2. Hypertextual Characteristics in Poe No access
  3. Poe’s Work as Proto-Hypertext No access
  4. Evermore as Exemplar of Poe as Hypertext No access
  5. Falling Fragments of a Hypertextual House of Usher No access
  6. Poe-st Script No access
  7. References No access
Index No access Pages 241 - 258
About the Contributors No access Pages 259 - 264