The Horror Of The Gothic Genre

Who is the Gothic Villain? Is he a villain/hero? Is he a dangerous lover? The villain is usually dark and handsome, though he might have some tell-tell sign that warns he is wicked. The villains ranged from dark priests to mysterious bandits. Some start out as heroes but turn into villains. The Gothic villain has several identifying characteristics. They are shifty, cunning and can mold their behavior to match the need of the circumstance. Villains will utilize intimidation, deception, and even flattery to attain their objective.

Horror, what is it, according to literary historian J.A. Cuddon, it is “a piece of fiction in prose of variable length…which shocks or even frightens the reader, or perhaps induces a feeling of repulsion or loathing.” This sets the guidelines for how the generic horror piece is written, as long as it can scare the reader in one sense or the other, or cause them to loath a certain part or character, then it can be called horror. The horror today has roots stemming from old folklore and religious traditions which had elements that dealt with death, the afterlife, and the demonic, along with the things or thing that embody a person. Horror during the 18th century was called gothic horror and this particular type of horror was invented in the

People develop multiple reasons to why they like to receive these odd and fear emotions, which now in society we call insanity. In the “Why We Crave Horror Movies” by Stephen King, whose main argument is that we watch horror movies to satisfy our curiosity. In the “How Tabloid Train Wrecks Reinventing Gothic Literature” by Carina Chocano, whose main argument is to prove how gothic literature is very similar to gossip; for example, gossiping makes people turn into ghosts, unnatural. It’s tempting to see Gothic tales as escapism, but these stories will sum up during times of trouble. Fascination with fear or Gothic stories satisfies some emotional need of individuals and of society by making people feed on their inner childhood that is inconstantly needed of satisfaction. People can do that by watching horror movies or reading tabloids and that is why they enjoy scaring themselves.

The story of Dracula is well documented and has stood the test of time since it’s Victorian age creation. More times than not, literature writings are a reflection of the era from which they are produced. In the case of Dracula, Vampire literature expresses the fears of a society. Which leads me to the topic I chose to review: sexuality. The Victorian Era was viewed as a period diluted in intense sexual repression and I believe that Dracula effectively exploited this as the fear of sexuality was commonplace in the society. In this paper I will examine Bram Stoker’s Dracula and highlight his use of sexuality. I will analysis the female sexuality that is prevalent throughout the book, the complexities are at work within the text, and the

him or her involved in the film - how often have you been watching a

In Bowen’s article, he discusses the different gothic motifs that make up gothic literature such as power and restraint, clashing time periods, strange places, terror versus horror, and a world of doubt. “Edward Scissorhands” has always been considered a strange film while We Have Always Lived in a Castle has always been considered a gothic novel. According to Bowen’s list of gothic motifs, “Edward Scissorhands” would be considered more gothic than the novel We Have Always Lived in the Castle because it fits more of the gothic conventions.

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.

In every society, people tend to segregate groups that break with what’s seen as socially right. In Anne Sexton’s poem “The Touch,” and in Samuel Delaney’s story “Aye and Gomorrah” perversions are represented with people’s abnormal sexual preferences, which often appear to be isolated by desiring homosexuality. Although the isolation occurs differently in both texts, the presence of homosexuality defines that objects labeled as perversions undergo emotional and physical separation in an attempt to adjust to the social stigma.

The three most important gothic motifs that occur within the novel Dracula are a supernatural antagonist, dark settings such as castles and cemeteries, and unreliable narrators. The supernatural antagonist is the most important park of Dracula, it is so important the antagonist’s name is the title of the novel. The dark and eerie setting occur very frequently throughout the novel and have a profound impact on how the science will be perceived by the reader. Finally the unreliable narrators are important because, it makes the readers feel important by letting them connect the dots before the main characters.

The king of the gothic-horror genre, Edgar Allan Poe, is well-known for intriguing short stories, especially “The Cask of Amontillado”. In cinematic art, Alfred Hitchcock, “The Master of Suspense”, uses similar techniques in his film such as foreshadowing, and suspense to give the audience a sense of an adrenaline overdose. Fear, terror and suspense are the most vivid emotions created by Poe’s stories and by Hitchcock’s films have paved the road for future horror entertainment. Both artistic pieces of entertainment orbit themes of revenge and how it is a major source of destruction of humanity. Acknowledging the madness in the world can be seen clearly through the lenses of both Poe and Hitchcock by using

Since the beginning of literature, there have been certain elements that cause readers to feel unsettled. These elements are what evolved into the horror of contemporary times. Horror is unique in the literature genre due to the forms that fear can take. Fear in the horror genre comes from all sources, whether it is the way the story is approached, the way the story is told, the way the story is shown, or countless others. Above all other aspects of horror, though, the most iconic form that fear takes in the horror genre is the villain.

This essay examines the use of the Gothic when connecting writings to ideas of the past. Specifically, it analyses how writers develop these ideas, cultivated out of specific elements through the text. Northanger Abbey by Jane Austen and Frankenstein by Mary Shelley both show strong gothic themes, however, Northanger Abbey is a satire of the genre. The latter section of Austen’s novel draws heavily on Gothic elements whereas the former has a small reference to Ann Radcliffe’s book The Mysteries of Udolpho. Specifically, the ideas of the past that will be explored throughout will be those surrounding gender.

on the aid of Hell itself, and to find things familiar in the world of

It’s strange trying to think about these original film properties—Frankenstein and Dracula, respectively—as serious pictures, void of camp and cheese. However, most of this comes from age. It’s interesting then, watching the Hammond-era films, and trying to view them as anything remotely serious. They aren’t. However, they do, at times, manage to disguise themselves as such. In reality, these movies are no Rosemary’s Baby, but rather the birth of a new brand of gothic horror—the gore filled, B-movie, spin-off franchise films; a weird series of twisted exploitation reboots, upping the ante and upping the ridiculous names. The two things that immediately came to mind when watching these films is the obvious influence they had on the work of Mexican director Guillermo Del Toro, and Kate Bush’s song “Hammer Horror” — I admire both artists greatly, so I went in the Hammerverse with my eyes wide open.

The term gothic serves as the ideal backdrop for a literary era of suspense, mystery, and terror. A haunted mansion bursting with secrets, a naïve helpless heroine, and the male hero that saves the day are all quintessentially gothic. When Ellen Moers first coined the term “Female Gothic” in her 1976 book, Literary Women, she defined it as “the work that women writers have done in the literary mode that, since the eighteenth century have been termed Gothic” (Moers). Her argument that Female Gothic literature is a code for women’s fear of domestic entrapment, especially within their own bodies as was mainly experienced in childbirth and motherhood, was quite influential. Anne Williams, in her book The Art of Darkness: A Poetics of Gothic, argues that Female Gothic can be further dissected to include its intention to criticize the patriarchy while educating and socializing its female readers with an affirmation of absolute independence and strength. The Female Gothic is often pursued and haunted by a villainous patriarchal figure, but finds salvation on her own accord and more importantly, within herself. Another element of Female gothic is madness and monstrosity as an explanation for why the female would deviate from the conventional norm.