Gothic Heroines on Screen: Representation, Interpretation, and Feminist Enquiry

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Notes on contributors
Acknowledgements
Introduction
	Notes
	References
PART I: Bluebeard’s ghost
	Chapter 1: Bluebeard’s women fight back: the Gothic heroine in contemporary film and Heidi Lee Douglas’ Little Lamb (2014)
		Notes
		References
	Chapter 2: Bluebeard in the cities: the use of an urban setting in two 21st-century films
		Introduction
		Bluebeard
		Conclusion
		Note
		References
	Chapter 3: Blueprints from Bluebeard: charting the Gothic in contemporary film
		Conclusion
		Notes
		References
PART II: Returning to Manderley
	Chapter 4: Impossible spaces: Gothic special effects and feminine
subjectivity
		References
	Chapter 5: The certified accountant Gothic heroine: paranoia and
The Second Woman (1950)
		References
	Chapter 6: ‘But it’s happening to you, Eleanor’: The Haunting as a ‘Buildingsroman’
		The mature naïf
		To Bildung through the building
		A fragmented subject: voice-over
		Point-of-view fusion: anthropomorphism
		Point-of-view fusion: gifts of experience
		Point-of-view fusion: becoming whole
		Help Eleanor come home
		Notes
		References
PART III: The Gothic and genre forms
	Chapter 7: The Gothic in space: genre, motherhood, and Aliens (1986)
		‘Generic monsters’: Gothic and science fiction
		Heroine, mother, bitch
		‘Who’s laying the eggs?’ Gothic science fiction meets motherhood
		Not just ‘another bug hunt’
		Notes
		References
	Chapter 8: The Gothic heroine out West: A Town Called Bastard (1971)
		Introduction
		Gothic and feminine westerns
		The Gothic, the Female Gothic, and British westerns
		A Town Called Bastard
		Conclusion
		References
	Chapter 9: Laughing at periods: Gothic parody in Julia Davis’ Hunderby
		References
	Chapter 10: ‘There’s a secret behind the door. And that secret is me’: the Gothic reimagining of Agatha Christie’s And Then There Were None
		‘What HAS the BBC done to Agatha Christie?’
		Crisis of vision and temporality: Soldier Island as haunted house
		‘I have an instinct about you. I think you’re pretending’ (Philip Lombard to Vera)
		Conclusion
		References
PART IV: National cinema and the Gothic
	Chapter 11: East German Gothic: Kurt Maetzig’s The Rabbit Is Me (1965)
		A brief history of The Rabbit Is Me
		Bluebeard and the Gothic
		Gothic and film style
		Key close-ups
		Conclusion
		Notes
		References
	Chapter 12: ‘I see, I see . . .’: Goodnight Mommy (2014) as Austrian Gothic
		References
	Chapter 13: The Babadook (2014), maternal Gothic, and the ‘woman’s horror film’
		Note
		References
Filmography
	Opera
	Television series
Index