Abstract:Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Re… Show more
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