Joseph Crawford
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440929
- eISBN:
- 9781474477024
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440929.003.0006
- Subject:
- Literature, Criticism/Theory
Gothic media has flourished in the digital world. The internet itself is a deeply Gothic environment, characterised by persistent anxieties of infection, deception, exploitation and surveillance. ...
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Gothic media has flourished in the digital world. The internet itself is a deeply Gothic environment, characterised by persistent anxieties of infection, deception, exploitation and surveillance. This chapter explores some of the ways in which digital Gothic media engages with the Gothic potentials of digital technology itself. Opening with a discussion of the Japanese film Kairo (2001), an early and influential example of a narrative which uses the internet itself as a locus of Gothic horror, I shall proceed to consider examples of Gothic digital media including screamers, creepypasta, Slenderman vlogs, Gothic webcomics such as the works of Emily Carroll (2010–16), horror memes such as Zalgo, and social media-based fiction such as the work of _9MOTHER9HORSE9EYES9 (2016), all of which draw upon anxieties regarding corruption and contagion in order to exploit the potential of online technologies to unnerve their users and unsettle their sense of reality.Less
Gothic media has flourished in the digital world. The internet itself is a deeply Gothic environment, characterised by persistent anxieties of infection, deception, exploitation and surveillance. This chapter explores some of the ways in which digital Gothic media engages with the Gothic potentials of digital technology itself. Opening with a discussion of the Japanese film Kairo (2001), an early and influential example of a narrative which uses the internet itself as a locus of Gothic horror, I shall proceed to consider examples of Gothic digital media including screamers, creepypasta, Slenderman vlogs, Gothic webcomics such as the works of Emily Carroll (2010–16), horror memes such as Zalgo, and social media-based fiction such as the work of _9MOTHER9HORSE9EYES9 (2016), all of which draw upon anxieties regarding corruption and contagion in order to exploit the potential of online technologies to unnerve their users and unsettle their sense of reality.
Brannon Costello and Qiana J. Whitted (eds)
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617030185
- eISBN:
- 9781621032212
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617030185.001.0001
- Subject:
- Literature, Comics Studies
This book offers a wide-ranging assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the ...
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This book offers a wide-ranging assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman’s Metropolis or Chris Ware’s Chicago to the swamps, back roads, small towns, and cities of the U.S. South, it critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some chapters seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of the comics form to prose fiction. With essays from an interdisciplinary group of scholars, the book contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and southern studies.Less
This book offers a wide-ranging assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman’s Metropolis or Chris Ware’s Chicago to the swamps, back roads, small towns, and cities of the U.S. South, it critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some chapters seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of the comics form to prose fiction. With essays from an interdisciplinary group of scholars, the book contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and southern studies.
