Traditions in World Cinema
Edited by Linda Badley and R. Barton Palmer
B-Movie Gothic: International Perspectives
Edited by Justin D. Edwards & Johan Höglund
'This book takes head-on the complex question of the relationship between Gothic as a Western-origin art form and the rise of indigenous film of the supernatural and the eerie across cultures and continents. Its focus on the B-movie is adeptly handled by a variety of distinguished critics, raising important questions about internationalisation and local development. There are many dark gems revealed here, and expertly and engagingly discussed.'
David Punter, University of Bristol
Following the Second World War, low-budget B-movies that explored and exploited Gothic narratives and aesthetics became a significant cinematic expression of social and cultural anxieties. Influencing new trends in European, Asian and African filmmaking, these films carried on the tradition established by the Gothic novel, and yet they remain part of a largely neglected subject.
B-Movie Gothic: International Perspectives examines the influence of Gothic B-movies on the cinematic traditions of the United States, Britain, Scandinavia, Spain, Turkey, Japan, Hong Kong and India, highlighting their transgressive, transnational and provocative nature. The contributors show how B-movie Gothic is a relentlessly creative form, filled with political tensions and moving from shocking conservatism to profound social critique.
Justin D. Edwards is Professor in the Division of Literature and Languages, University of Stirling. Johan Höglund is Associate Professor of English at Linnaeus University.
Cover image: poster for Them, 1954 © Warner Bros. International
Cover design:
[EUP logo]
edinburghuniversitypress.com
ISBN 978-1-4744-2344-1
Barcode

Professor Justin Edwards is Professor of English Literature at the University of Surrey

Johan Höglund is Associate Professor of English at Linnaeus University. He is also Director of the Linnaeus University Centre for Concurrences in Colonial and Postcolonial Studies, member of the board of the Advanced Cultural Studies Institute of Sweden, and of the editorial board of Transtext(e)s Transcultures. He has published extensively on the relationship between imperialism and popular culture as it manifests in a number of different historical and national settings.

Table of Contents; Acknowledgements; Introduction, Justin D Edwards and Johan Höglund; Section I: America; Chapter One: Its, Blobs and Things: Gothic Beings Out of Time, Justin D Edwards; Chapter Two: Re-Scripting Blaxploitation Horror: Ganja and Hess and the Gothic Mode, Maisha Wester; Chapter Three: Alucardas and Alucardos: Vampiric Obsessions, Gothic, and Mexican Cult Horror Cinema, Enrique Ajuria Ibarra; Chapter Four: Gothic Forests and Mangroves: Ecological Disasters in Zombio and Mangue Negro, Daniel Serravalle de Sá; Section II: Europe; Chapter Five: Mummies, Vampires, and Doppelgangers: Hammer's B-Movies and Classic Gothic Fiction, John Edgar Browning; Chapter Six: Fantaterror: Gothic Monsters in the Golden Age of Spanish B-Movie Horror, 1968-80, Xavier Aldana Reyes; Chapter Seven: Austro-Trash, Class, and the Urban Environment: The Politics of Das Ding aus der Mur and its Prequel, Michael Fuchs; Chapter Eight: Wither the Present, Wither the Past: The Low Budget Gothic Horror of Stockholm Syndrome Films, Johan Höglund; Chapter Nine: Turkish B-movie Gothic: Making the Undead Turkish in Ölüler Konusmaz Ki, Tugçe Biçakçi Syed; Section III: Africa and Asia; Chapter Ten: Filamu ya kutisha: Tanzanian Horror Films as B-Movie Gothic, Claudia Böhme; Chapter Eleven: Psychopaths and Gothic Lolitas: Japanese B-Movie Gothic in Gen Takahashi's Goth: Love and Death and Go Ohara's Gothic & Lolita Psycho, Jimmy D. McRoy; Chapter Twelve: Hong Kong Gothic: Category III Films as Gothic Cinema, Katarzyna Ancuta; Chapter Thirteen: B is for Bhayanak: Past, Present and Pulp in Bollywood Gothic, Tabish Khair; Contributors