B-Movie Gothic: International Perspectives
Justin Edwards
May 2018 · Edinburgh University Press
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Explores the neglected subject of Gothic B-movies in the Americas, Europe, Asia and AfricaExamines the Gothic in B-movie narratives and techniques in different national cinemasCovers US, British, Spanish, Turkish and Japanese Gothic, as well as the influence of Gothic on Scandinavian, Chinese, Tanzanian and Indian low-budget cinemaIncludes chapters on the transnational tradition of B-movie Gothic from the 1950s to the presentExplores how modes and tropes from Gothic fiction have been integrated into B-moviesFollowing the Second World War, low-budget B-movies that explored and exploited Gothic narratives and aesthetics became a significant cinematic expression of social and cultural anxieties. Influencing new trends in European, Asian and African filmmaking, these films carried on the tradition established by the Gothic novel, and yet they remain part of a largely neglected subject. B-Movie Gothic: International Perspectives examines the influence of Gothic B-movies on the cinematic traditions of the United States, Britain, Scandinavia, Spain, Turkey, Japan, Hong Kong and India, highlighting their transgressive, transnational and provocative nature. It shows how B-movie Gothic is a relentlessly creative form, filled with political tensions and moving from shocking conservatism to profound social critique.
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Justin D Edwards is Chair of Gothic Studies at the University of Stirling. He is co-president of the International Gothic Association and the author or co-author of several books, including Grotesque (2013) Mobility at Large (2012), Postcolonial Literature (2008), Gothic Canada: Reading the Spectre of a National Literature (2005), Gothic Passages: Racial Ambiguity and the American Gothic (2003) and Exotic Journeys: Exploring the Erotics of U.S. Travel Literature (2001).
Johan Höglund is Associate Professor of English at Linnaeus University. He is also Director of the Linnaeus University Centre for Concurrences in Colonial and Postcolonial Studies, member of the board of the Advanced Cultural Studies Institute of Sweden, and of the editorial board of Transtext(e)s Transcultures. He has published extensively on the relationship between imperialism and popular culture as it manifests in a number of different historical and national settings.
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