Globalgothic

The late twentieth century saw growing number of articles and books appearing on new national gothic; however, the wider context for this had not really been addressed. This collection of essays explores an emerging globalgothic useful for all students and academics interested in the gothic, in international literature, cinema, and cyberspace, presenting examples of globalgothic in the 21st-century forms. It analyses a global dance practice first performed in Japan, Ankoku butoh, and surveys the ways in which Indigenous cultures have been appropriated for gothic screen fictions. To do this, it looks at the New Zealand television series on Maori mythologies, Mataku. The unlocated 'vagabonds' of Michel Faber's "The Fahrenheit Twins" are doubles (twins) of a gothic trajectory as well as globalgothic figures of environmental change. The book considers the degree to which the online vampire communities reveal cultural homogenisation and the imposition of Western forms. Global culture has created a signature phantasmagoric spatial experience which is uncanny. Funny Games U.S. (2008) reproduces this process on the material level of production, distribution and reception. The difference between the supposedly 'primitive' local associated with China and a progressive global city associated with Hong Kong is brought out through an analysis of cannibal culture. In contemporary Thai horror films, the figure of horror produced is neither local nor global but simultaneously both. The book also traces the development, rise and decline of American gothic, and looks at one of the central gothic figures of the twenty-first century: the zombie. Front matter Contents List of contributors Acknowledgements Introduction Theorising globalgothic Butoh: The dance of global darkness Maori tales of the unexpected: The New Zealand television series Mataku as Indigenous gothic ‘She saw a soucouyant’: Locating the globalgothic Globalgothic at the top of the world: Michel Faber’s ‘The Fahrenheit Twins’ Online vampire communities: Towards a globalised notion of vampire identity Globalgoth? Unlocatedness in the musical home Uncanny games: Michael Haneke’s Funny Games and globalisation’s new uncanny Pan-Asian gothic Cannibal culture: Serving the people in Fruit Chan’s Dumplings Ghost skins: Globalising the supernatural in contemporary Thai horror film From Sleepy Hollow to Silent Hill: American gothic to globalgothic The Dark Knight: Fear, the law and liquid modernity Globalzombie: From White Zombie to World War Z Globalgothic: Unburying Japanese figurality Index {U2018}The dead travel fast and, in our contemporary globalised world, so too does the gothic.{u2019} Examining how gothic has been globalised and globalisation made gothic, this collection of essays explores an emerging globalgothic that is simultaneously a continuation of the western tradition and a wholesale transformation of that tradition which expands the horizons of the gothic in diverse new and exciting ways. Globalgothic contains essays from some of the leading scholars in gothic studies as well as offering insights from new scholars in the field. The contributors consider a wide range of different media, including literary texts, film, dance, music, cyberculture, computer games, and graphic novels. This book will be essential reading for all students and academics interested in the gothic, in international literature, cinema, and cyberspace This collection of essays redefines what gothic has become in the contemporary world, examining the idea of an emerging gothic that is inextricable from the broader global context in which it circulates. Globalgothic expands the horizons of the genre in diverse new and exciting ways.