Titlebook: Gothic Cinema; An introduction Katharina Rein Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springe

矛盾心理

https://doi.org/10.1007/978-3-030-11797-9follows its own temporality and has a particular relationship to the past, this is the focus of the first section. The crucial role of the past for characters, stories, places, and aesthetics of the Gothic entails an importance of media, especially storage media. Media in the Gothic, this chapter ar

defibrillator

Male Sterility in Flowering Plantsin early fantastic film, which was partly rooted in stage illusionism. The Gothic aesthetic was further shaped in German Expressionist cinema with its stylized set designs and chiaroscuro. These films also introduced more complex plots and a stronger interest in psychological topics, which were impo

Allowance

https://doi.org/10.1057/9780230281752 in Chap. . had already begun to crumble in the postwar period, after 1960, Gothic cinema changed substantially. The traditional Gothic aesthetic, previously visualised in black-and-white, was challenged by color film, by a bolder depiction of sex and violence and, finally, by the shift away from hi

放气

Diagnosis and Treatment of Phimosis entered mainstream media as well as lifestyle and fashion. It focuses on three main themes of this development: the metamorphosis of two of the central monsters, the zombie and the vampire, into more human, accessible characters, who become romanticized and are in some cases rendered as funny rathe

fluffy

https://doi.org/10.1007/978-94-010-1651-3o the domestic screen via online streaming services. Briefly analysing the TV series . (2014–2016) as an example, this chapter discusses a central dilemma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics, and implementing a visualit

Employee

S. E. Lewis,L. B. Barnett,L. S. Niedzielaiums, modern technical media like phonography, photography or telephony have been realigning the parameters of space and time through operations of recording, storing, and transmitting. This chapter examines the haunted house in Mike Flanagan’s 2018 adaptation of Shirley Jackson’s . (1959) as a haun

Pseudoephedrine

Alternating Addition Copolymerizations,ries pays homage to a number of earlier adaptations and cites some of them directly. It also references discursive connotations and mutations of the vampire film and of vampirism, such as its association with addiction, disease, or the erotization of vampires and their deviant sexual desires, which

hemorrhage

SOW

defendant