Titlebook: Gothic Cinema; An introduction Katharina Rein Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springe

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書(shū)目名稱Gothic Cinema影響因子(影響力)




書(shū)目名稱Gothic Cinema影響因子(影響力)學(xué)科排名




書(shū)目名稱Gothic Cinema網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱Gothic Cinema網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱Gothic Cinema被引頻次




書(shū)目名稱Gothic Cinema被引頻次學(xué)科排名




書(shū)目名稱Gothic Cinema年度引用




書(shū)目名稱Gothic Cinema年度引用學(xué)科排名




書(shū)目名稱Gothic Cinema讀者反饋




書(shū)目名稱Gothic Cinema讀者反饋學(xué)科排名

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Gothic Cinema After 1960 in Chap. . had already begun to crumble in the postwar period, after 1960, Gothic cinema changed substantially. The traditional Gothic aesthetic, previously visualised in black-and-white, was challenged by color film, by a bolder depiction of sex and violence and, finally, by the shift away from hi

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Between the Old and the Newo the domestic screen via online streaming services. Briefly analysing the TV series . (2014–2016) as an example, this chapter discusses a central dilemma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics,?and implementing a visualit

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The Haunting of Hill House (2018)iums, modern technical media like phonography, photography or telephony have been realigning the parameters of space and time through operations of recording, storing, and transmitting. This chapter examines the haunted house in Mike Flanagan’s 2018 adaptation of Shirley Jackson’s . (1959) as a haun

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Male Reproductive Function and Semenn down, not least because of its overlap with the horror genre and its historical mutability. This introductory chapter also discusses the Gothic in different contexts such as literature, art and architecture as well as the distinctions and similarities between the Gothic and Dark Romanticism as wel