Relevant bibliographies by topics / Gothic thriller

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Gothic thriller'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Gothic thriller"

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Sullivan, Kelly. "Elizabeth Bowen and the Politics of Consent." Irish University Review 51, no. 1 (2021): 24–39. http://dx.doi.org/10.3366/iur.2021.0493.

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As a novelist preoccupied with the sexualized gothic conventions haunting Irish fiction since the eighteenth century, Bowen persistently turns to the fraught concept of British and Irish women's consent during periods of twentieth-century political violence. This article considers Bowen's use of gothic tropes of consent in The Last September (1929) as well as a more sustained engagement with the Irish gothic, citizen-subjecthood, and the political valence of consent in her WWII thriller, The Heat of the Day (1948). It argues that in formulating consent in relation to knowledge, and in articulating the necessarily contractual nature of consent, Bowen seeks to define the ethics of individual rights and responsibility during and after World War Two.
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Momcilovic, Drago. "Music Video Gothic: Fragmentary Form at the Dawn of MTV." Gothic Studies 23, no. 2 (2021): 148–62. http://dx.doi.org/10.3366/gothic.2021.0091.

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This article argues that the modern music video at the dawn of the MTV era embraces a logic of the Gothic fragment. Mobilizing an archive of gothic archetypes of haunting and monstrosity, the music video of the early 1980s confronts anxieties about its unshaped aesthetic character and discursive placelessness and its strained connections to absent textual wholes, performance cultures, and marginalized histories. Through a close reading of four seminal music videos from this time period – The Buggles' Video Killed the Radio Star (1979), David Bowie's Ashes to Ashes (1980), Blondie's Rapture (1981), and Michael Jackson's Thriller (1983) – I argue that the early music video incarnates a tradition of production, circulation, and decoding that I want to call Music Video Gothic. This tradition expresses latent concerns about the music video's aesthetic borders and intertextual relations with cultural and career narratives.
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Avanzas Álvarez, Elena. "Form and Diversity in American Crime Fiction:The Southern Forensic Thriller." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 309–19. http://dx.doi.org/10.7311/pjas.13/2/2019.11.

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The forensic thriller has traditionally been constructed as a mainstream American narrative focused on the stereotypical representation of the country as a metropolis with an incredible amount of resources, and the American capitalist dream. The author Patricia Cornwell (Postmortem, first novel in the Kay Scarpetta series, published in 1990) is considered the founding mother of this crime fiction subgenre native to the US, closely followed by Kathy Reichs (Deja Dead, first novel in the Temperance Brennan series, published in 1997) whose series have been successfully adapted to television in the show Bones (2005-2017). But the 21st century has seen the inclusion of more diverse settings for these stories, the South being the most economically successful and dominated by women authors too. Georgian Karin Slaughter is the author of the “Grant County” series, set in the fictional town of Heartsdale, in rural Georgia, and responsible for the inscription of the South in American forensic thrillers thanks to her own experience as a native. Blindsighted (2001) includes elements from both the grotesque southern gothic and the hard boiled tradition. My analysis of the first novel in the series will examine how the southern environment becomes quintessential to the development of the crimes and the characters from a literary, philosophical and feminist point of view. The issues examined will include, but not be limited to crime, morals, religion, professional ambition, infidelity, divorce, sexual desire, infertility, and family relationships.
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Mukherjee, Dr Aradhana. "Desire as The Harbinger of Good and Evil in Matthew Lewis’s ‘The Monk’." SMART MOVES JOURNAL IJELLH 8, no. 3 (2020): 10. http://dx.doi.org/10.24113/ijellh.v8i3.10472.

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Desire is a feeling which gives different shades and hues to a human being’s personality. It transforms him either as good or bad depending upon how much can a person cope up with his or her feelings. Mathew Lewis’s Gothic novel or rather a thriller ‘The Monk’ is a blend of desire with the narrative structure which has been appreciated by both the readers and the critic regarding the skilful handling of the theme by the author. This has been seconded by Theodore, the personal servant of the protagonist, Raymond in the following lines: “Authorship is a mania to conquer which no reasons are sufficiently strong; and you might as easily persuade me not to love, as I persuade you not to write.” [Lewis 204.]
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Yiannitsaros, Christopher. "WomenIn the Cutof Danger: Female Subjectivity, Unregimented Masculinity and the Pleasure/Danger Symbiosis from the Gothic Romance to the Erotic Thriller." Women: A Cultural Review 23, no. 3 (2012): 287–99. http://dx.doi.org/10.1080/09574042.2012.708227.

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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.

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Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.
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PRIHODKO, Ganna, Oleksandra PRYKHODCHENKO, and Kateryna VASYLYNA. "Emotions of Mystery in Gothic Novels and Thrillers." WISDOM 17, no. 1 (2021): 193–203. http://dx.doi.org/10.24234/wisdom.v17i1.430.

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The article is dedicated to the study of the emotions of mystery in Gothic novels and thrillers. For many years, beginning with ancient times and up to modernity, mysteries and secrets were under thorough investigation by scientists. Mysteries, secrets and silence are associated with horror and happiness. That’s why they became the object of the proposed article. According to the linguacultural approach, the concepts were studied as complex phenomena, with composite meaning peculiar to the concepts under analysis. The concepts MYSTERY, SILENCE and SECRET, were considered as the typical situations, the structure of which consists of such spheres: actants, predicates, attributes, quantifiers, space and time. Each of these spheres represents part of the characteristics and makes it possible to create a general understanding of the concepts under analysis as of complex phenomena, which are most vividly revealed in Gothic novels and thrillers. These novels disclose the emotions of mystery as unknown, horrific and tense situations are the main feature of these genres. Mystery has the key role here and is the inseparable part of their understanding. It was demonstrated that the concepts under analysis represent positive and negative features which denote their ambiguous and binary character at the same time.
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Qing, Zhao. "Style and Sense in William Faulkner's A Rose for Emily." IRA International Journal of Education and Multidisciplinary Studies 17, no. 3 (2021): 157. http://dx.doi.org/10.21013/jems.v17.n3.p6.

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<p>A Rose for Emily is a typical Gothic-style novel, intimately associated with the characteristics of Gothic literature: 1. Ghostly and horrible environment; 2. The tone of death; 3. Uncanny character images. Generally speaking, Gothic literature reveals the gloomy, dark, sad and mysterious literary styles, but what fascinates us most is the creation of atmosphere—being horrific, thrilling and intensive, which give people different kinds of sensory touches—Visually, physically and even spiritually. This Gothic style places emphasis on both emotion and a pleasurable kind of terror, thus embodying the senses of a quest for a horrible atmosphere, and an appreciation of the joys of extreme emotion as well as the thrills of fearfulness to readers.</p>
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Приходченко, О. О. "EMOTIONAL PERSEPTION OF THE ATMOSPHERE OF MYSTERY IN GOTHIC NOVELS AND THRILLERS." Writings in Romance-Germanic Philology, no. 1(44) (September 2, 2020): 240–52. http://dx.doi.org/10.18524/2307-4604.2020.1(44).211017.

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Sloan, Casey. "POSSESSING DRESSES: FASHION AND FEMALE COMMUNITY INTHE WOMAN IN WHITE." Victorian Literature and Culture 44, no. 4 (2016): 801–16. http://dx.doi.org/10.1017/s106015031600022x.

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Margaret Oliphant much preferredThe Woman in White(published serially 1859–1860) toGreat Expectations(published serially 1860–1861). This partiality emerges in a comparative treatment of the texts in her oft-quoted 1862 treatise on sensation fiction, and it rests on the desirability of authors producing thrills using “modest and subtle means” (“Sensation Novels” 569) instead of “by fantastic eccentricities” and “high-strained oddity” (“Sensation Novels” 574). While the existence of an argument against the allegedly regrettable excesses of fantastical narratives will not shock any reader familiar with contemporary criticism of sensation fiction, or, for that matter, Romantic-era novels or Gothic works in general, the primary evidence Oliphant uses to argue her case might come as a surprise. In order to discredit Charles Dickens's ghostly accounts of Miss Havisham's bridal tomb in favor of Wilkie Collins's eerie images of Anne Catherick appearing on a moonlit moor, Margaret Oliphant turns to clothing.
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Dissertations / Theses on the topic "Gothic thriller"

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Nävsjö, Dana. "From Threat to Thrill : A Comparative Study of Bram Stoker's Dracula and Stephenie Meyer's Twilight." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-90929.

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The purpose of this essay was to compare the classic vampire narrative, Bram Stoker's Dracula, to a more contemporary vampire narrative using the first book, Twilight, in Stephenie Meyer's Twilight series as a prime example.  By looking at the world of the vampire, the figure of the vampire and the interaction between the vampire and the main female characters in each respective story, the goal was to see how much the vampire narrative has evolved.  The argument was that the movement from Dracula to Twilight was from an archetypical, terrifying vampire to a more modern, sexually alluring and romantic vampire, where several aspects of terror have been removed.  What has been shown is that there are many aspects that have changed once terror is not the focal point. In addition, this essay also argued that in a classroom setting one could use a modern vampire narrative, such as Twilight, to activate pupils’ interest in vampires which would naturally segue into meaningful discussions, comparisons and analyses of the prototypical vampire narrative found in Dracula. As a result, this activity would also encourage students to read literature and explore new worlds
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Books on the topic "Gothic thriller"

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Abbot, Rick. The bride of Brackenloch!: A ghastly Gothic thriller? S. French, 1987.

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Instruments of Darkness: A Novel. The Penguin Group, 2009.

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Stuart, Anne. Winter's Edge: Dangerous Men (Intrigue) - 7, Harlequin Intrigue - 329, Safe Haven (reissues) - 12. Harlequin, 1995.

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Eden, Dorothy. The sleeping bride. Severn House, 1995.

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Here I stay. Tom Doherty Associates, 1985.

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Pearsall, Tim. Raven: A Modern Gothic Thriller. Independently Published, 2018.

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Bravo of Venice: A Gothic Thriller. Sparkling Books, 2009.

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Gannett, Lewis. The Living One: A Gothic Thriller. Plume, 1994.

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Guerrero, Marciano. The Poison Pill: A Business (Gothic) Thriller. iUniverse, Inc., 2006.

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Fanu, Joseph Sheridan Le. Uncle Silas . By : Sheridan Le Fanu: Is a Victorian Gothic mystery-thriller. CreateSpace Independent Publishing Platform, 2018.

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Book chapters on the topic "Gothic thriller"

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Biesen, Sheri Chinen. "Haunting Landscapes in “Female Gothic” Thriller Films: From Alfred Hitchcock to Orson Welles." In Gothic Landscapes. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33165-2_3.

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Curti, Roberto, and Roberto Curti. "Under the Sign of the Giallo." In Blood and Black Lace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.003.0003.

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This chapter explores the significance of German participation in the film Blood and Black Lace. It discusses how Italy had signed a co-production agreement with West Germany in 1962 that started the passage from period Gothic to a thriller set in the present day. It also explains the Italian film makers' intention of joining the successful thread of the German so-called “krimis,” the murder mysteries inspired by the works of Edgar Wallace and produced by Preben Philipsen's Rialto film company in 1959. The chapter focuses on the distinct and well-defined tradition of mystery in Italy. It describes the genre known as “giallo,” which had been very popular since 1929 when the Italian publishing house, Mondadori launched a new editorial series called the Yellow Books (I Libri Gialli).
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Curti, Roberto, and Roberto Curti. "Bava Goes Fashion." In Blood and Black Lace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.003.0002.

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This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It also mentions Bava's two other Gothic horror movies released in Italy in the summer of 1963 that were destined primarily for foreign markets, especially in America. It discusses I tre volti della paura starring Boris Karloff and Mark Damon, and La frusta e il corpo with Christopher Lee and Daliah Lavi. The chapter describes Bava's debut film La maschera del demonio in 1960, which distributed overseas by American International Pictures under the title Black Sunday. It points out how the Italian film industry had increasingly been involved in bilateral and multinational co-productions since the first agreement signed with France in 1949.
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Riddle, Nick. "The House of Sci-Fi: Hammer and Science Fiction." In The Damned. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325529.003.0003.

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This chapter examines Hammer and its history with science fiction. Hammer had become, by 1963, an easy studio to pin down: the broader production slate of the 1950s had been narrowed to mainly produce Gothic horror and modern thriller/slasher films, with little interest in cultural 'respectability'. Since Hammer's first feature-length film, however, its slate of releases covered a multitude of subjects and genres such as mysteries, comedies, crime dramas and noirs, and science fiction. A certain amount of commentary on Joseph Losey's The Damned (1963) has identified it as an anomaly in the Hammer catalogue. There is its frequent description as a kind of hybrid, mixing the biker/delinquent movie with the science fiction genre; but Hammer had previous form in this department. The genre mix in The Damned is more ungainly than most because, rather than running concurrently throughout the film, the genres tend to interrupt each other.
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"‘To Thrill the Land with Horror’: Antislavery Discourse and the Gothic Imagination." In Gothic Topographies. Routledge, 2016. http://dx.doi.org/10.4324/9781315585437-12.

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Walden, Victoria Grace. "Hammer Horror as Genre Film." In Studying Hammer Horror. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781906733322.003.0004.

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This chapter evaluates Hammer horror as genre films. Hammer is renowned for its horror films, despite its breadth of productions including comedies, war films, action-adventures, and thrillers. Its specific brand of horror has often been considered to be a particularly English Gothic, Gothicism with its interest in the liminal, transcending traditional genre categories. It is poignant, then, that Hammer's Gothic style can be seen in some of its non-horror productions. One might question the usefulness of genre for understanding a range of the studio's films, despite the label 'Hammer horror'. Hammer brought something incredibly new to the 1950s cinema screen and it was the studio's juxtaposition of traditional fairy-tale storytelling and a return to a primitive cinema of attraction interested in spectacle and experience which has arguably earned the studio such a prominent place in the history of British film.
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Marston, Kendra. "Paranoid Attachments to Suburban Dreams: Reading Pathological Femininity in Gone Girl and The Girl on the Train." In Postfeminist Whiteness. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.003.0005.

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Chapter Four analyses the suburban melancholia evident in the psychological thrillers Gone Girl and The Girl on the Train, arguing that the films are examples of an emerging subgenre in which audiences are tasked with assessing whether the heroine’s melancholia harbours an inner violent pathology. Neoliberal postfeminist ideology, here depicted as inciting middle-class female malaise, lends itself to a new kind of (lucrative) cinematic puzzle in which readers or viewers guess the effects on women of a failed social promise. In these two films, the suburban environment, the gothic genre, and the conventions of other quintessentially postfeminist texts provide clues as to the melancholic heroine’s true state of mind.
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Cooper, Ian. "Amuse-Bouche." In Frenzy. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325369.003.0001.

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This chapter provides a background of Alfred Hitchcock, whose remarkable achievements as a film-maker may be unmatched. As well as the numerous accolades, a number of Hitchcock films have proved unusually influential. Consider the chase thrillers such as The 39 Steps (1935) and North by Northwest (1959), the claustrophobic chamber pieces Rope (1948) and Rear Window (1954), the hallucinogenic romance of Vertigo (1958), the American Gothic of Psycho (1960), and the apocalyptic science fiction of The Birds (1963). While Hitchcock's status as one of the great film artists is unassailable and his reputation increases, there have always been dissenters. Traditionally, the case against Hitchcock is that he is little more than a popular entertainer, an observation he did little to counter, what with his use of genre and big stars as well as his eager adoption of the role of clownish showman. This book focuses on Hitchcock's penultimate film Frenzy (1972).
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