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Re: The Dracula Saga
When you think about it, though, Gothic as a subgenre of drama has always been relegated to that role. The melodrama of a book like The Castle of Otranto has all of the stock settings of what we expect in classic Gothic forms. Modern horror has gotten away from that into microscopic slasher/forensic grossness. With an author like Mary Shelley, you have somebody who took from these images and combined them with the experiences of the lost weekend--and darn, wouldn't it be great to be influenced by the likes of a Byron or her hubby, Percy, and yes, even Coleride's earlier Romantic gothic images with "Rime of the Ancient Mariner," where Percy's "Mont Blanc" too was influenced, where Byron's "Don Juan" and Mary's own demons came spilling out into her writing? With the true Gothic, what you didn't see was what scared you. In modern slashers, which include the new vampires, you see everything, all sex, all blood and guts, so much so that you soon are completely desensitized to it--hence the upset over some of these new thriller/horror games where the player becomes the killer/criminal, and then we get something like Columbine. Then the director's "vision" takes books and completely destroy them, like Beowulf (which starts off okay and then makes it into something different. I will say that Kubrick's version of The Shining has some classic imagery, but he changed King's vision on the way--I don't really understand why a director would do that if the story works! The haunted castle, the terrorized maiden, the threatening, deadly Abject Other--are all stock devices. Kubrick, I think, went back to some of that, which is why his version worked--the Overlook itself, like Hell House, is the villain, completely inhuman, the womb that is a tomb. Adding actors who are already great magnifies the overall effect, where we get lines like "Here's Johnny!" The fact that kids keep signing up for my Gothic literature and film class is a testament to the power of the horror film--like going on a really safe roller coaster, watching horror gives us the thrills without hurting us.
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In Imladris did Elrond
A stately star dome decree:
Where Bruin, the sacred river, ran
Through Rivendell measureless to man
Down to the Havens and the sea. ...
But oh! that deep romantic chasm slanted
Down the green hill athwart a cedarn cover!
A wondrous place! as holy and enchanted
As e'er beneath a waning people was haunted
By handmaidens wailing for their Elvish lover!
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