Gothic Remixed: Monster Mashups and Frankenfictions in 21st-Century Culture

Cover\nContents\nFigures\nAcknowledgements\n1 Frankenfictions\n	Gothic remixed\n	Monstrous adaptations\n	The many faces of Frankenfiction\n	Twenty-first-century remix culture\n	Frankenfiction as remix\n	Frankenfiction as adaptation\n	Frankenfiction as appropriation\n	Hauntings and illegitimate offspring\n2 Adapting the Monster\n	From ‘miserable wretch’ to ‘modernity personified’: Defining the twenty-first-century monster\n	‘Ourselves expanded’: Anno Dracula and the neoliberal vampire\n	The empire strikes back: Victorian monsters and The League of Extraordinary Gentlemen\n	‘We are all monsters’: Reclaiming privilege in Penny Dreadful\n	‘Monstrum sum’: Intersectional monstrosity in The Extraordinary Adventures of the Athena Club\n	The promises of monsters\n3 Mashing Up the Joke\n	Camp as sincere parody\n	The irony of Pride and Prejudice and Zombies\n	Literature with a twist: parodying the classics\n	Parodying neo-Victorianism\n	Taking the past seriously; or, the limits of postmodern irony\n	Beyond postmodern irony\n4 Remixing Historical Fiction\n	The Gothic and historical fiction\n	The ‘look’ of the past: Visual Gothic histories\n	Sublime metamorphosis: Dan Hillier’s Victorian illustrations\n	Foreign animals: The immigrant portraiture of Travis Louie\n	Meet the family: Colin Batty’s Victorian cabinet cards\n	Flux machine: Kevin J. Weir’s animated horrors\n	Unnatural history\n5 Appropriating the Author\n	Frankenfiction and Romantic authorship\n	Frankenfiction and the (un)death of the author\n	Frankenfiction and transmedia world-building\n	Women’s work: Mary Shelley as remixer/remixed\n	Feminist Frankenfiction?\nConclusion: The Monster Always Escapes\n	Bibliography\nIndex