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B-Movie Gothic

International Perspectives

Edited by Justin Edwards, Johan Höglund

Paperback (Forthcoming)

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Explores the neglected subject of Gothic B-movies in the Americas, Europe, Asia and Africa

  • Examines the Gothic in B-movie narratives and techniques in different national cinemas
  • Covers US, British, Spanish, Turkish and Japanese Gothic, as well as the influence of Gothic on Scandinavian, Chinese, Tanzanian and Indian low-budget cinema
  • Includes chapters on the transnational tradition of B-movie Gothic from the 1950s to the present
  • Explores how modes and tropes from Gothic fiction have been integrated into B-movies

Following 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.


Table of Contents



Justin D Edwards and Johan Höglund

Section I: America

Chapter One: Its, Blobs and Things: Gothic Beings Out of Time, Justin D Edwards

Chapter Two: Re-Scripting Blaxploitation Horror: Ganja and Hess and the Gothic Mode, Maisha Wester

Chapter Three: Alucardas and Alucardos: Vampiric Obsessions, Gothic, and Mexican Cult Horror Cinema, Enrique Ajuria Ibarra

Chapter Four: Gothic Forests and Mangroves: Ecological Disasters in Zombio and Mangue Negro, Daniel Serravalle de Sá 

Section II: Europe

Chapter Five: Mummies, Vampires, and Doppelgangers: Hammer’s B-Movies and Classic Gothic Fiction, John Edgar Browning

Chapter Six: Fantaterror: Gothic Monsters in the Golden Age of Spanish B-Movie Horror, 1968-80, Xavier Aldana Reyes

Chapter Seven: Austro-Trash, Class, and the Urban Environment: The Politics of Das Ding aus der Mur and its Prequel, Michael Fuchs

Chapter Eight: Wither the Present, Wither the Past: The Low Budget Gothic Horror of Stockholm Syndrome Films, Johan Höglund

Chapter Nine: Turkish B-movie Gothic: Making the Undead Turkish in Ölüler Konuşmaz Ki, Tuğçe Bıçakçı Syed 

Section III: Africa and Asia

Chapter Ten: Filamu ya kutisha: Tanzanian Horror Films as B-Movie Gothic, Claudia Böhme

Chapter Eleven: Psychopaths and Gothic Lolitas: Japanese B-Movie Gothic in Gen Takahashi’s Goth: Love and Death and Go Ohara’s Gothic & Lolita Psycho, Jimmy D. McRoy

Chapter Twelve: Hong Kong Gothic: Category III Films as Gothic Cinema, Katarzyna Ancuta

Chapter Thirteen: B is for Bhayanak: Past, Present and Pulp in Bollywood Gothic, Tabish Khair 




About the Author

Professor Justin Edwards is Professor of English Literature at the University of Surrey

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.


This book takes head-on the complex question of the relationship between Gothic as a Western-origin art form and the rise of indigenous film of the supernatural and the eerie across cultures and continents. Its focus on the B-movie is adeptly handled by a variety of distinguished critics, raising important questions about internationalisation and local development. There are many dark gems revealed here, and expertly and engagingly discussed.

- Professor David Punter, University of Bristol

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