It’s official! Gothic Remixed: Monster Mashups and Frankenfictions in 21st-Century Culture is now with Bloomsbury Academic’s production team, and will be coming to a bookshop near you in October. The book is already available to preorder at this link.
If you’re teaching or researching the Gothic, adaptation studies, or popular media, please do consider requesting Gothic Remixed for your library! Alternately, if you have deep pockets you can spring for a hardback edition of your very own (currently retailing at £76.50 on the Bloomsbury website). A paperback edition will hopefully follow shortly.
Bloomsbury’s website also provides a short blurb and the table of contents:
The bestselling genre of Frankenfiction sees classic literature turned into commercial narratives invaded by zombies, vampires, werewolves, and other fantastical monsters. However, too engaged with tradition for some and not traditional enough for others, it is often criticized as a sign of the artistic and moral degeneration of contemporary culture. These hybrid creations are the ‘monsters’ of our age, lurking at the limits of responsible consumption and acceptable appropriation.
This book explores the boundaries and connections between contemporary remix and related modes – including adaptation, parody, the Gothic, Romanticism, and postmodernism. Taking a multimedia approach, case studies range from novels such as Pride and Prejudice and Zombies; television series like Penny Dreadful; and the visual arts in the prints of Travis Louie. Megen de Bruin-Molé takes culture’s most ‘monstrous’ and liminal works to show how a safe and familiar format disrupted by the thrill of transgression has resulted in the mashups that dominate Western popular culture.
Chapter One: Frankenfictions
– Gothic Remixed
– Monstrous Adaptations
– The Many Faces of Frankenfiction
– Twenty-First-Century Remix Culture
– Frankenfiction as Remix
– Frankenfiction as Adaptation
– Frankenfiction as Appropriation
– Hauntings and Illegitimate Offspring
Chapter Two: Adapting the Monster
– From ‘Miserable Wretch’ to ‘Modernity Personified’: Defining the Twenty-First-Century Monster
– ‘Ourselves Expanded’: Anno Dracula and the Neoliberal Vampire
– The Empire Strikes Back: Victorian Monsters and The League of Extraordinary Gentlemen
– ‘We Are All Monsters’: Reclaiming Privilege in Penny Dreadful
– ‘Monstrum Sum‘: Intersectional Monstrosity in The Extraordinary Adventures of the Athena Club
– The Promises of Monsters
Chapter Three: Mashing Up the Joke
– Camp as Sincere Parody
– The Irony of Pride and Prejudice and Zombies; Or, Taking Historical Fiction Seriously
– Literature with a Twist: Parodying the Classics
– Parodying Neo-Victorianism
– Taking the Past Seriously; Or, The Limits of Postmodern Irony
– Conclusion: Beyond Postmodern Irony
Chapter Four: Remixing Historical Fiction
– The Gothic and Historical Fiction
– The ‘Look’ of the Past: Visual Gothic Histories
– Sublime Metamorphosis: Dan Hillier’s Victorian Illustrations
– Foreign Animals: The Immigrant Portraiture of Travis Louie
– Meet the Family: Colin Batty’s Victorian Cabinet Cards
– Flux Machine: Kevin J. Weir’s Animated Horrors
– Conclusion: Unnatural History
Chapter Five: Appropriating the Author
– Frankenfiction and Romantic Authorship
– Frankenfiction and the (Un)Death of the Author
– Frankenfiction and Transmedia World-Building
– Women’s Work: Mary Shelley as Remixer/Remixed
– Feminist Frankenfiction?
– Conclusion: The Monster Always Escapes
Click here to check out Gothic Remixed on the publisher’s website.