Screening the Gothic / / Lisa Hopkins.
Filmmakers have long been drawn to the Gothic with its eerie settings and promise of horror lurking beneath the surface. Moreover, the Gothic allows filmmakers to hold a mirror up to their own age and reveal society's deepest fears. Franco Zeffirelli's Jane Eyre, Francis Ford Coppola'...
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Place / Publishing House: | Austin : : University of Texas Press, , [2021] ©2005 |
Year of Publication: | 2021 |
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Hopkins, Lisa, author. aut http://id.loc.gov/vocabulary/relators/aut Screening the Gothic / Lisa Hopkins. Austin : University of Texas Press, [2021] ©2005 1 online resource (188 p.) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file PDF rda Frontmatter -- Contents -- Acknowledgments -- Introduction. The gothic Towards a Definition -- Chapter One. Gothic revenants: A Tale of Three Hamlets -- Chapter Two. Putting the gothic in: Clarissa, Sense and Sensibility, Mansfield Park, and TheTime Machine -- Chapter Three. Taking the gothic out: ’Tis Pity She’s a Whore, Mary Shelley’s Frankenstein, TheWoman in White, and Lady Audley’s Secret -- Chapter Four. Fragmenting the gothic: Jane Eyre and Dracula -- Chapter Five. Gothic and the family: The Mummy Returns, Harry Potter and the Philosopher’s Stone, andThe Lord of the Rings: The Fellowship of the Ring -- Conclusion -- Notes -- Works cited -- Index restricted access http://purl.org/coar/access_right/c_16ec online access with authorization star Filmmakers have long been drawn to the Gothic with its eerie settings and promise of horror lurking beneath the surface. Moreover, the Gothic allows filmmakers to hold a mirror up to their own age and reveal society's deepest fears. Franco Zeffirelli's Jane Eyre, Francis Ford Coppola's Bram Stoker's Dracula, and Kenneth Branagh's Hamlet are just a few examples of film adaptations of literary Gothic texts. In this ground-breaking study, Lisa Hopkins explores how the Gothic has been deployed in these and other contemporary films and comes to some surprising conclusions. For instance, in a brilliant chapter on films geared to children, Hopkins finds that horror resides not in the trolls, wizards, and goblins that abound in Harry Potter, but in the heart of the family. Screening the Gothic offers a radical new way of understanding the relationship between film and the Gothic as it surveys a wide range of films, many of which have received scant critical attention. Its central claim is that, paradoxically, those texts whose affiliations with the Gothic were the clearest became the least Gothic when filmed. Thus, Hopkins surprises readers by revealing Gothic elements in films such as Sense and Sensibility and Mansfield Park, as well as exploring more obviously Gothic films like The Mummy and The Fellowship of the Ring. Written in an accessible and engaging manner, Screening the Gothic will be of interest to film lovers as well as students and scholars. Mode of access: Internet via World Wide Web. In English. Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022) English literature Adaptations History and criticism. English literature Film adaptations. English literature History and criticism. Film adaptations. Gothic revival (Literature) Great Britain. Horror films History and criticism. Horror tales, English Film adaptations. PERFORMING ARTS / General. bisacsh Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 9783110745344 https://doi.org/10.7560/706453 https://www.degruyter.com/isbn/9780292796980 Cover https://www.degruyter.com/document/cover/isbn/9780292796980/original |
language |
English |
format |
eBook |
author |
Hopkins, Lisa, Hopkins, Lisa, |
spellingShingle |
Hopkins, Lisa, Hopkins, Lisa, Screening the Gothic / Frontmatter -- Contents -- Acknowledgments -- Introduction. The gothic Towards a Definition -- Chapter One. Gothic revenants: A Tale of Three Hamlets -- Chapter Two. Putting the gothic in: Clarissa, Sense and Sensibility, Mansfield Park, and TheTime Machine -- Chapter Three. Taking the gothic out: ’Tis Pity She’s a Whore, Mary Shelley’s Frankenstein, TheWoman in White, and Lady Audley’s Secret -- Chapter Four. Fragmenting the gothic: Jane Eyre and Dracula -- Chapter Five. Gothic and the family: The Mummy Returns, Harry Potter and the Philosopher’s Stone, andThe Lord of the Rings: The Fellowship of the Ring -- Conclusion -- Notes -- Works cited -- Index |
author_facet |
Hopkins, Lisa, Hopkins, Lisa, |
author_variant |
l h lh l h lh |
author_role |
VerfasserIn VerfasserIn |
author_sort |
Hopkins, Lisa, |
title |
Screening the Gothic / |
title_full |
Screening the Gothic / Lisa Hopkins. |
title_fullStr |
Screening the Gothic / Lisa Hopkins. |
title_full_unstemmed |
Screening the Gothic / Lisa Hopkins. |
title_auth |
Screening the Gothic / |
title_alt |
Frontmatter -- Contents -- Acknowledgments -- Introduction. The gothic Towards a Definition -- Chapter One. Gothic revenants: A Tale of Three Hamlets -- Chapter Two. Putting the gothic in: Clarissa, Sense and Sensibility, Mansfield Park, and TheTime Machine -- Chapter Three. Taking the gothic out: ’Tis Pity She’s a Whore, Mary Shelley’s Frankenstein, TheWoman in White, and Lady Audley’s Secret -- Chapter Four. Fragmenting the gothic: Jane Eyre and Dracula -- Chapter Five. Gothic and the family: The Mummy Returns, Harry Potter and the Philosopher’s Stone, andThe Lord of the Rings: The Fellowship of the Ring -- Conclusion -- Notes -- Works cited -- Index |
title_new |
Screening the Gothic / |
title_sort |
screening the gothic / |
publisher |
University of Texas Press, |
publishDate |
2021 |
physical |
1 online resource (188 p.) |
contents |
Frontmatter -- Contents -- Acknowledgments -- Introduction. The gothic Towards a Definition -- Chapter One. Gothic revenants: A Tale of Three Hamlets -- Chapter Two. Putting the gothic in: Clarissa, Sense and Sensibility, Mansfield Park, and TheTime Machine -- Chapter Three. Taking the gothic out: ’Tis Pity She’s a Whore, Mary Shelley’s Frankenstein, TheWoman in White, and Lady Audley’s Secret -- Chapter Four. Fragmenting the gothic: Jane Eyre and Dracula -- Chapter Five. Gothic and the family: The Mummy Returns, Harry Potter and the Philosopher’s Stone, andThe Lord of the Rings: The Fellowship of the Ring -- Conclusion -- Notes -- Works cited -- Index |
isbn |
9780292796980 9783110745344 |
genre_facet |
Adaptations |
geographic_facet |
Great Britain. |
url |
https://doi.org/10.7560/706453 https://www.degruyter.com/isbn/9780292796980 https://www.degruyter.com/document/cover/isbn/9780292796980/original |
illustrated |
Not Illustrated |
dewey-hundreds |
800 - Literature |
dewey-tens |
820 - English & Old English literatures |
dewey-ones |
820 - English & Old English literatures |
dewey-full |
820.9/11 |
dewey-sort |
3820.9 211 |
dewey-raw |
820.9/11 |
dewey-search |
820.9/11 |
doi_str_mv |
10.7560/706453 |
oclc_num |
1280942808 |
work_keys_str_mv |
AT hopkinslisa screeningthegothic |
status_str |
n |
ids_txt_mv |
(DE-B1597)587576 (OCoLC)1280942808 |
carrierType_str_mv |
cr |
hierarchy_parent_title |
Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
is_hierarchy_title |
Screening the Gothic / |
container_title |
Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
_version_ |
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