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Taking Mary Shelley's novel as its point of departure, this collection of essays considers how her creation has not only survived but thrived over 200 years of media history, in music, film, literature, visual art and other cultural forms. In studying monstrous figures torn from the deepest and darkest imaginings of the human psyche, the essays in this book deploy the latest analytical approaches, drawn from such fields as musicology, critical race studies, feminist studies, queer theory and psychoanalysis. The book interweaves the manifold sounds, sights and stories of monstrosity into a conversation that sheds light on important social issues, aesthetic trends and cultural concerns that are as alive today as they were when Shelley's landmark novel was published 200 years ago.
Taking Mary Shelley's novel as its point of departure, this collection of essays considers how her creation has not only survived but thrived over 200 years of media history, in music, film, literature, visual art and other cultural forms. In studying monstrous figures torn from the deepest and darkest imaginings of the human psyche, the essays in this book deploy the latest analytical approaches, drawn from such fields as musicology, critical race studies, feminist studies, queer theory and psychoanalysis. The book interweaves the manifold sounds, sights and stories of monstrosity into a conversation that sheds light on important social issues, aesthetic trends and cultural concerns that are as alive today as they were when Shelley's landmark novel was published 200 years ago.
Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more 'monsters' than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.
Emerging from darkness, daring to take form and become something more than the Other, monsters stalk these pages, shifting form in true monstrous fashion as they inhabit literature and film, history and parallel communities modelled after our own. They become enmeshed in popular music, run rampant through cities, take androgynous form to rally for their own identities, their own futures, and their own families, and they hold up mirrors while we are caught shattering our sense of Self. Both the past and the future are rich fodder for the evil that monsters do, and from freak show to homunculus to serial killer to cyborg, they remind us that they are never far from sight - and that we cannot look away even if we wish to. Monstrosity from the Inside Out takes as the paradox that monsters are simultaneously impossible and very much a part of what it means to be human.
In the mid-1950s, a new genre of novelty music emerged that mixed humor and horror. The result: Monster Music! Suddenly, jukeboxes were filled with songs about Frankenstein, Dracula, the Wolf Man, creatures from outer space and a multitude of supernatural terrors. The genre reached its peak in 1962 with Bobby "Boris" Pickett's smash "Monster Mash," but there are many more songs worthy of rediscovery -- and Monster Music still lives on today, thanks to the influence of punk pioneers like The Cramps and The Misfits. Here is the complete, untold story of Monster Music -- the genre that refused to die!
When we look at monsters from a safe distance, it is nothing but a glance. To preserve our pristine human identity, whenever we find the monstrous Other, we search for difference, not similarity. But what happens when we allow our gaze to linger and the face staring back at us looks uncannily familiar? When we lose the alterity factor and can no longer discern the boundaries that separate "us" from "them"? The nine chapters in this volume investigate how terrifying the Other remains after we strip its façade and discover an unsettling likeness. Also, the saturation of monster imagery and verbiage contained in contemporary literature, film, music, and popular culture solidifies it as a topic that crosses diverse borders. The authors´ interdisciplinary approaches reassess issues such as the current stand of classical monsters, the persistence of animal imagery in Horror and the domestication strategies that reshaped monstrosity
Three years after entering the pop music scene, Lady Gaga became the most well-known pop star in the world. These thirteen critical essays explore Lady Gaga's body of work through the interdisciplinary filter of performance identity and cover topics such as gender and sexuality, body commodification, visual body rhetoric, drag performance, homosexuality and heteronormativity, Surrealism and the theatre of cruelty, the carnivalesque, monstrosity, imitation and parody, human rights, and racial politics. Of particular interest is the way that Lady Gaga's œuvre, however popular, strange, raw or controversial, enters into the larger sociopolitical discourse, challenging the status quo and altering our perceptions of reality.
This collection offers new and insightful perspectives on Ingmar Bergman's work as a film and theatre director as well as writer of fiction. Ingmar Bergman's rich legacy as a film director and writer of classics such as The Seventh Seal, Scenes From a Marriage, and Fanny and Alexander has attracted scholars not only in film studies but also of literature, theater, gender, philosophy, religion, sociology, musicology, and more. Less known, however, is Bergman from the perspective of production studies, including all the choices, practices, and routines involved in what goes on behind the scenes. For instance, what about Bergman's collaborations and conflicts with film producers? What about his work with musicians at the opera, technicians in the television studio, and actors on the film set? What about Bergman and MeToo? In order to throw light on these issues, art practitioners such as film directors Ang Lee and Margarethe von Trotta, film and opera director Atom Egoyan, and film producer and screenwriter James Schamus are brought together with academics such as philosopher and film scholar Paisley Livingston, musicologist Alexis Luko, and playwright and performance studies scholar Allan Havis to discuss Bergman's work from their unique perspectives. In addition, Ingmar Bergman at the Crossroads provides, for the first time, in-depth interviews with Bergman's longtime collaborators Katinka Faragó and Måns Reuterswärd, who both have first-hand experience of working intimately as producers in film and television with Bergman, covering more than 5 decades. In an open exchange between individual and institutional perspectives, this book bridges the often-rigid boundaries between theoreticians and practitioners, in turn pointing Bergman's studies in new directions.
Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more 'monsters' than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.
The Encylopedia of the Gothic features a series of newly-commissioned essays from experts in Gothic studies that cover all aspects of the Gothic as it is currently taught and researched, along with the development of the genre and its impact on contemporary culture. Comprises over 200 newly commissioned entries written by a stellar cast of over 130 experts in the field Arranged in A-Z format across two fully cross-referenced volumes Represents the definitive reference guide to all aspects of the Gothic Provides comprehensive coverage of relevant authors, national traditions, critical developments, and notable texts that define, shape, and inform the genre Extends beyond a purely literary analysis to explore Gothic elements of film, music, drama, art, and architecture. Explores the development of the genre and its impact on contemporary culture