Overview

Uses examples from film and literature to define a new genre of Queer Gothic literature and demonstrate how it was shaped by women writers. The New Queer Gothic: Reading Queer Girls and Women in Contemporary Fiction and Film comprises literary, cultural, and film analysis to situate and define the New Queer Gothic as a product of woman-authored twentieth and twenty-first-century novels. The first in-depth analysis of contemporary queer and Gothic texts to focus on the subjectivity, characterization, and representation of queer girls and women, it investigates and celebrates the relationship between queer feminine identity and the Gothic, beyond purely paranoid readings. Using contemporary texts and theory, it focuses on the representation of queer girls and women in contemporary queer and Gothic texts. It includes original analyses of a selection of global film and fiction texts released in the past fifteen years.

Full Product Details

Author:   Robyn Ollett
Publisher:   University of Wales Press
Imprint:   University of Wales Press
Dimensions:   Width: 13.80cm , Height: 1.70cm , Length: 21.60cm
ISBN:  

9781837721382

ISBN 10:   1837721386
Pages:   256
Publication Date:   15 April 2024
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Out of stock  
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Table of Contents

Introduction Part One Chapter One: “She herself is a haunted house”: The Origins of The New Queer Gothic in work of Twentieth Century Women Writers: Shirley Jackson, Angela Carter, Maryse Condé, Anne Rice, Jewel Gomez, and Sarah Waters Chapter Two: Miles away from Screwing? The Queer Gothic Child in John Harding’s Florence and Giles (2010) Part Two Chapter Three: “What happened to my sweet girl?”: Conventions of The New Queer Gothic and Queer Subjectivity in Black Swan (2010) and Jack and Diane (2012) Chapter Four: “The Saviour who came to tear my life apart”: The Queer Postcolonial Gothic of Park Chan-wook’s The Handmaiden (2016) Part Three Chapter Five: Queering the Cannibal in Julia Ducournau’s Raw (2016) Chapter Six: “She would never fall, because her friend was flying with her”: Gothic Hybridity, Queer Girls and Exceptional States in Helen Oyeyemi’s The Icarus Girl (2005) and M. R. Carey’s The Girl with all the Gifts (2014) Conclusion: Queering Gender and Queers of Colour in The New Queer Gothic

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Author Information

Robyn Ollett is a lecturer of English studies at Teesside University and PGR dissertation supervisor for gender studies and media at Stirling University.

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