The Suburban Gothic in American Popular Culture

Murphy, Bernice M.

doi:10.1057/9780230244757

Cited by 62 publications

(3 citation statements)

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“…Such films include the Spanish-American coproduction The Others (Alejandro Amenábar, 2001) -one of the most critically successful and influential horror films of the new millennium -and Hollywood remakes of Japanese horror films, such as The Ring (Gore Verbinski, 2002), which is among the 20 highest grossing horror films of all time. 5 A number of scholars have explored the monstrous child's expression of American cultural anxieties: for instance, Kathy Merlock Jackson (1986), Adrian Schober (2004), Robin Wood (1977), and Andrew Scahill (2015) associate terrible children with a distinctly American milieu, and the monstrous child's entwinement with American culture is implicit in the work of Dominic Lennard (2015), Bernice Murphy (2009), and even T.S. Kord (2016), who also considers a variety of non-American films.…”

Section: The Transnational Millennial Uncanny Child Cyclementioning

confidence: 99%

Introduction

2018

The Uncanny Child in Transnational Cinema

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The introduction outlines the book's focus on the cinematic uncanny child, a figure that challenges normalized ideologies of childhood by interrogating the child's associations with both personal and historical time. While the uncanny child emerged as a significant presence in American horror films in the 1980s, this figure became one of the genre´s key unifying tropes at the turn of the 21st century-not only in American films, but in films from around the globe, particularly from Japan and Spain. These uncanny child films are significant not just for their self-reflexive recalibration of a long-entrenched trope of the horror genre, but because they evidence a globally resonant shift in conceptualizations of childhood at the turn of the millennium.

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Section: The Transnational Millennial Uncanny Child Cyclementioning

confidence: 99%

Introduction

2018

The Uncanny Child in Transnational Cinema

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“…As Bernice Murphy claims, the Suburban Gothic is a sub-genre concerned, first and foremost, with playing upon the lingering suspicion that even the most ordinary-looking neighbourhood, or house, or family, has something to hide, and no matter how calm and settled a place looks, it is only ever a moment away from dramatic (and generally sinister) incident. 3 Interestingly, in Supernatural, the family business which primarily deals with things that fit in the realm of the uncanny, turns into something which is very natural and 'homely' to the brothers. As Jensen Randall remarks, 'Horror stories involve something strange, out of place, unseen or unknown, something that makes our skin crawl and our spines tingle.…”

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confidence: 99%

Highway to Hell: Hunting Evil Creatures with the Winchester Boys

Lopes¹

2013

Concerning Evil

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“…The deconstruction and consequent reconstruction (via the USD) of the programme's setting evokes 'suburban gothic', a sub-genre of horror. Bernice Murphy (2009) describes suburban gothic as a "sub-genre concerned, first and foremost, with playing upon the lingering suspicion that even the most ordinary-looking neighbourhood, or house, or family, has something to hide and that no matter how calm and settled a place looks, it is only ever a moment away from [a] dramatic (and generally sinister) incident"…”

Section: Conceptual Originalitymentioning

confidence: 99%

Stranger Things: Complex Serial, Complex Industry. The Institutional, Cultural, and Textual Significance of Internet-Distributed Television

Grandy¹

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<p>This thesis explores the emergence and significance of internet-distributed television by unpacking the industrial, cultural, and textual ramifications of programming originated for an online context. As one of the foremost streaming services both globally and within the United States, Netflix will be the central focus of this thesis. The programmes that Netflix originates facilitate discussions around the potential of this network and its online platform to encourage innovation and novelty in its long-form TV drama. Netflix’s Stranger Things (2016–), a programme concept that was reputedly rejected by a number of cable networks before being accepted by Netflix, provides a compelling case study of the creative possibilities afforded by streaming capabilities. This exploration is structured into three chapters. The first examines the environmental and institutional factors of the US television industry from which internet-distributed networks emerged. This chapter also explores the different economic models and the associated storytelling methods of each. Chapter 2 demonstrates the cultural significance of streaming on consumption behaviours and explores how broadcast, cable, and internet-distributed TV networks conceive of and pursue audiences. The analysis of several seminal TV dramas, such as The Sopranos (HBO 1999-2007), Game of Thrones (HBO 2011-2019), and Breaking Bad (AMC 2008-2013), provides comparisons from which to better understand the significance of Stranger Things to both the network that commissioned it and to the American television industry at large. The third chapter offers a detailed analysis of Stranger Things as an exemplar of Netflix’s ability to commission what Trisha Dunleavy (2018) terms the ‘complex serial drama’ and in doing so emulate the successful strategies first deployed by US cable networks.</p>

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The Suburban Gothic in American Popular Culture

Cited by 62 publications

References 0 publications

Introduction

Introduction

Highway to Hell: Hunting Evil Creatures with the Winchester Boys

Stranger Things: Complex Serial, Complex Industry. The Institutional, Cultural, and Textual Significance of Internet-Distributed Television

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