Aural Atavism:<i>The Witch's Tale</i>and Gothic Horror Radio

Killmeier, Matthew A.

doi:10.1080/19376529.2012.667021

Cited by 5 publications

(2 citation statements)

References 6 publications

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“…Matthew A. Killmeier (2012) successfully articulates the importance of pulp magazines as much as Gothic literature as a source and influence on the aforementioned The Witch's Tale (1931-38), radio's first horror series. The affinity between horror radio and horror pulps is immediately evident: these are works that thrill the reader, frequently using concision and dramatic momentum ideal for a work designed to be consumed in one 'sitting'.…”

Section: IImentioning

confidence: 99%

‘Awed listening’: H. P. Lovecraft in classic and contemporary audio horror

Hand

2022

Horror Studies

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From the beginnings of radio drama to digital podcasting, horror has been a significant genre. Radio located an immediate and effective affinity with horror, exploiting the form’s qualities of invisibility, immersivity and suggestion in realizing the genre in on-air performance. As a part of this, adaptation – from Gothic classics to populist fiction – has been central. One conspicuous absence in early radio is H. P. Lovecraft with only one notable adaptation in the 1930–1950s ‘golden age’. Nevertheless, in the radio work of Lovecraft acolyte Robert Bloch as well as shows such as Quiet, Please (1947–49) the ‘Lovecraftesque’ is strongly evident. Indeed, various dimensions to Lovecraft’s fiction make his oeuvre ideally suited to audio adaptation. In recent times, the transmedia pre-eminence of Lovecraft is evident in audio culture as much as anywhere else. This article scopes the presence of Lovecraft in both classic and contemporary contexts of horror audio.

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Section: IImentioning

confidence: 99%

‘Awed listening’: H. P. Lovecraft in classic and contemporary audio horror

Hand

2022

Horror Studies

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“…Although most of the current academic work on television revivals centers around the intertextual dialectic between the original and the reboot, Brian Ott and Cameron Walter note that intertextuality should also be considered from the perspective of the encoding that creators employ as “a textual strategy consciously incorporated by media producers that invites audiences to make specific lateral associations between texts” (430). Indeed, horror as a genre has always trafficked heavily in intertextuality (Coulthard and Birks; Killmeier; Metz; Tietchen) and Chilling Adventures specifically “has an impressively cine‐literate streak [where] horror fans [will] spot several hat‐tips to their favourite movies” (Naahar). Ott and Walter's lateral associations manifest themselves in Chilling Adventures in the extensive use of Easter eggs.…”

Section: The Sentimentality Of the Easter Egg Huntmentioning

confidence: 99%