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  • Elliott-Gothic-Film-Parody-Preprint

    Rights statement: This article has been accepted for publication in Adaptation. Published by Oxford University Press.

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Gothic—film—parody

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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Gothic—film—parody. / Elliott, Kamilla.
In: Adaptation, Vol. 1, No. 1, 03.2008, p. 24-43.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Elliott, K 2008, 'Gothic—film—parody', Adaptation, vol. 1, no. 1, pp. 24-43. https://doi.org/10.1093/adaptation/apm003

APA

Elliott, K. (2008). Gothic—film—parody. Adaptation, 1(1), 24-43. https://doi.org/10.1093/adaptation/apm003

Vancouver

Elliott K. Gothic—film—parody. Adaptation. 2008 Mar;1(1):24-43. doi: 10.1093/adaptation/apm003

Author

Elliott, Kamilla. / Gothic—film—parody. In: Adaptation. 2008 ; Vol. 1, No. 1. pp. 24-43.

Bibtex

@article{b1d9c96d0b274b9a882555f86d1191b6,
title = "Gothic—film—parody",
abstract = "Gothic, film, and parody are all erstwhile devalued aesthetic forms recuperated by various late twentieth-century humanities theories, serving in return as proof-texts for these theories in their battles against formalism, high-art humanism, and right-wing politics. Gothic film parodies parody these theories as well as Gothic fiction and films. As they redouble Gothic doubles, refake Gothic fakeries, and critique Gothic criticism, they go beyond simple mockery to reveal inconsistencies, incongruities, and problems in Gothic criticism: boundaries that it has been unwilling or unable to blur, binary oppositions it has refused to deconstruct, like those between left- and right-wing politics, and points at which a radical, innovative, subversive discourse manifests as its own hegemonic, dogmatic, and clich{\'e}d double, as in critical manipulations of Gothic (dis)belief. The discussion engages Gothic film parodies spanning a range of decades (from the 1930s to the 2000s) and genres (from feature films to cartoons to pornographic parodies)",
keywords = "Gothic, film , parody , literary film adaptation , criticism , theory , psychoanalysis , identity politics , belief",
author = "Kamilla Elliott",
note = "This article has been accepted for publication in Adaptation. Published by Oxford University Press.",
year = "2008",
month = mar,
doi = "10.1093/adaptation/apm003",
language = "English",
volume = "1",
pages = "24--43",
journal = "Adaptation",
issn = "1755-0637",
publisher = "Oxford University Press",
number = "1",

}

RIS

TY - JOUR

T1 - Gothic—film—parody

AU - Elliott, Kamilla

N1 - This article has been accepted for publication in Adaptation. Published by Oxford University Press.

PY - 2008/3

Y1 - 2008/3

N2 - Gothic, film, and parody are all erstwhile devalued aesthetic forms recuperated by various late twentieth-century humanities theories, serving in return as proof-texts for these theories in their battles against formalism, high-art humanism, and right-wing politics. Gothic film parodies parody these theories as well as Gothic fiction and films. As they redouble Gothic doubles, refake Gothic fakeries, and critique Gothic criticism, they go beyond simple mockery to reveal inconsistencies, incongruities, and problems in Gothic criticism: boundaries that it has been unwilling or unable to blur, binary oppositions it has refused to deconstruct, like those between left- and right-wing politics, and points at which a radical, innovative, subversive discourse manifests as its own hegemonic, dogmatic, and clichéd double, as in critical manipulations of Gothic (dis)belief. The discussion engages Gothic film parodies spanning a range of decades (from the 1930s to the 2000s) and genres (from feature films to cartoons to pornographic parodies)

AB - Gothic, film, and parody are all erstwhile devalued aesthetic forms recuperated by various late twentieth-century humanities theories, serving in return as proof-texts for these theories in their battles against formalism, high-art humanism, and right-wing politics. Gothic film parodies parody these theories as well as Gothic fiction and films. As they redouble Gothic doubles, refake Gothic fakeries, and critique Gothic criticism, they go beyond simple mockery to reveal inconsistencies, incongruities, and problems in Gothic criticism: boundaries that it has been unwilling or unable to blur, binary oppositions it has refused to deconstruct, like those between left- and right-wing politics, and points at which a radical, innovative, subversive discourse manifests as its own hegemonic, dogmatic, and clichéd double, as in critical manipulations of Gothic (dis)belief. The discussion engages Gothic film parodies spanning a range of decades (from the 1930s to the 2000s) and genres (from feature films to cartoons to pornographic parodies)

KW - Gothic

KW - film

KW - parody

KW - literary film adaptation

KW - criticism

KW - theory

KW - psychoanalysis

KW - identity politics

KW - belief

U2 - 10.1093/adaptation/apm003

DO - 10.1093/adaptation/apm003

M3 - Journal article

VL - 1

SP - 24

EP - 43

JO - Adaptation

JF - Adaptation

SN - 1755-0637

IS - 1

ER -