Gothic Features Of Coraline By Neil Gaiman

Coraline gives many instances where the main character believed that the grass was greener on the other side, only to find out she was exceedingly misguided. This is shown throughout the movie using much symbolism. Monsters come in all shapes and forms, and sometimes lure people in with their vast appeal. This is demonstrated in the children’s film Coraline. Many people struggle with jealousy and lustful thinking over what they wish they could have instead of real life.

The setting in “The Landlady” is unorthodox to the horror and mystery genre. The outside of the bed and breakfast has a

Michael Gow’s play “Away” presents Coral as a character that is in urgent need to undergo profound change. At the introduction of the play, Coral is introduced to the audience as an emotionally unstable and isolated character. Through the use of stage directions, “Coral doesn’t respond”, it is clear that Coral is in her own distinctive world and alienated from society unable to deal with the real world. However, at the conclusion of the play, Coral is presented to be no longer absorbed in her own grief by being able to finally accept her son’s death and express her emotions with her husband,

The spooky outdoor setting is made to prepare the reader for the appearance of a cozy indoors, whereas the landlady’s scary features on the inside are covered up by her warm but deceitful personality. She tricks unsuspecting young men with her generous and very motherly personality.

The gothic elements presented in the novel constitute the idea that the novel could be about vampires. The embedded idea of the supernatural in her novel aids her in displaying her message regarding how love never stops. The vampire motif begins when Catherine becomes ill. In How to Read Literature Like a Professor (Foster) it is evident that diseases and sicknesses are an efficacious literary tool in a novel. According to Foster, one of the factors that constitute a “prime literary disease” is that it should be picturesque. For if someone had tuberculosis for example, “the skin becomes almost translucent, they eye sockets dark, so that the sufferer take on the appearance of a martyr in medieval paintings” (Foster 216). This bizarre beauty-

Gothic literature uses wide ranging themes and gothic elements to convey its story. Gothic literature short stories can range from romance to horror to supernatural occurrences. Horacio Quiroga’s “The Feather Pillow,” Richard Matheson’s “Prey,” and Edgar Allan Poe’s “The Black Cat” all incorporate the following gothic elements: violence, revenge, hallucinations, nightmares, and psychological issues.

Gothic Literature is characterized by elements such as fear, horror, death, and gloom. Most in which is portrayed in “The Picture of Dorian Gray.” How do we know gothic is ‘gothic’ though? Sometimes it is characterized by the setting other times by the supernatural manifestations. There are many ways to discover wether it gothic literature or not, taking “The Picture of Dorian Gray,” for example.

However, as the narrator prepares to visit the bazaar, a shift takes place. His light begins to turn to darkness as reality sinks in. While waiting for his uncle to come home so he can leave himself, the narrator looks over at the “dark house” where the girl lives. He then stands there merely visualizing the “lamplight at the curved neck”. There is darkness at

It becomes part of the characters daily routine to examine the wallpaper, noticing things she perhaps has not noticed before “There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down”, gaining the attention of the reader with language like this “There are things in that paper that nobody knows but me..” encouraging them to discover the secret of the story. Gilman then goes on to explain how the narrator starts see things behind the wallpaper “The faint figure behind seems to shake the pattern, just as if she wanted to get out” again highlighting the sense of imprisonment. The bars that appear in the wallpaper continue to show a connection between the narrator and the figure trapped behind the pattern – earlier in the story, the character notices the barred windows of the nursery were possibly there to protect the children from falling out of the windows, yet the woman behind the wallpaper is also imprisoned behind bars revealing that the narrator is as well supposed to be imprisoned in the same way. This then conjures up the idea that perhaps the bars did not even belong to the nursery, but were installed particularly for the narrator’s visit therefore giving the explanation as to why her husband won’t allow her to change

Both Coraline and Peter and Wendy contain strong protagonists, equally balanced out by very strong antagonists. The villains of these stories, the Other Mother and Captain Hook respectively, both have a lasting impact on those who hear their stories. When I was four years old, I had a Captain Hook costume, complete with a plastic hook to fit over my hand. I wore that costume endlessly, especially when I was just playing around the house. Even at such a young age, I knew what I was supposed to be representing. Captain Hook was a coward, but a diabolical coward at that. And while I did not understand the depth of his character then, he was a key figure in my imaginative play. Though I did not read Coraline as a child, her experience finding the door immediately stirred up memories from

Countless works of literature have sentimentalized the house as a space of sanctuary; however, in time the house came to incorporate the mysterious also, as haunted houses allowed the supernatural to dwell alongside the living. Fictional narratives have long since utilized the house as a venue for character and situation to develop, dispersing opportunities for authors to bring symbolism and metaphor to their works. Julio Cortázar drew upon the house setting in his short stories “Bestiary” and “House Taken Over”, not just as a venue for his tales to play out, but as places that echoed the themes, character, and structure for the unusual could enter and abide. Cortázar’s treatment of the bizarre as a part of the natural family life of the house,

Coraline, not Caroline is an animated film that was released in 2009. Directed by Henry Selick, it is the story of a girl, Coraline (Dakota Fanning), who just moved into the Pink Palace. Throughout the story, viewers see how Coraline's behavior and values alter as the Pink Palace reveals a new, seemingly perfect world. Along Coraline’s journey, she encounters new friends and learns many lessons. Coraline is a movie sure to put truth to the saying, "Everything is not what it seems."

Coraline Jonas, the young heroine, discovers a mysterious door in her new home. Coraline's neighbors warn her to not go through the door, but her curiosity takes over and she goes through. In the door, Coraline sees an alternate version of her life. She meets her other mother, her other father, other Miss.Spink & Miss.Forcible, other Mr. Bobo, the Ghost Children, and the Black Cat. Coraline witnesses, the unrealistic and oddness of the other world, and she goes back to the real world. When she and the Black Cat get back home, she finds her parents in a mirror. She knows that the other mother took them, so she goes back to the other world to save her them. Coraline's trapped in the other world, and her only way out is a challenge to find souls

Based on the novel written by Neil Gaiman, Coraline tells the story of a little girl who, upon moving to Oregon, feels bored and alone missing her friends from home and feeling neglected by her parents. Seems like the start of a simple story right? Wrong. Coraline is anything but simple. With beautiful and dramatic cinematic claymation and a plot that, although quite disturbing, keeps your mind locked into the story that unfolds, Coraline is an unexpected masterpiece.

The look and feel of characters and environment, simple yet distinctive, tells more story than any dialogue ever could. The moon-like face and bird-like body combined into a nightmarish Sandman who walks the night (Willig). Angular and lined face depicts an old mother, gently encouraging her child to sleep. A big, round face makes up a young boy, the protagonist, so innocent and so hesitant to walk through a dark hallway. A simple and crooked but beautifully crafted set created a minimalistic background, allowing audience to engage with the intensely bleak story while taking in the eerie atmosphere. The cleverly designed and distinctive style augmented the story with the subtle information presented in the form of simple shapes and