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de Bruin-Molé, Megen. Gothic Remixed: Monster Mashups and Frankenfictions in 21st-Century Culture. New York: Bloomsbury Academic, 2020. 
Added by: joachim (2/2/20, 5:47 PM)   Last edited by: joachim (2/2/20, 5:50 PM)
Resource type: Book
Language: en: English
ID no. (ISBN etc.): 9781350103054
BibTeX citation key: de2020
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 Categories: General
Keywords: "The League of Extraordinary Gentlemen", Moore. Alan, O’Neill. Kevin, Parody, Postmodernism, United Kingdom
Creators: de Bruin-Molé
Publisher: Bloomsbury Academic (New York)		 Views: 7/1137
Attachments   URLs   https://www.academ ... tury_Remix_Culture
Abstract
The bestselling genre of Frankenfiction sees classic literature turned into commercial narratives invaded by zombies, vampires, werewolves, and other fantastical monsters. Too engaged with tradition for some and not traditional enough for others, these ‘monster mashups’ are 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 like Pride and Prejudice and Zombies and The Extraordinary Adventures of the Athena Club series, to television programmes such as Penny Dreadful, to popular visual artworks like Kevin J. Weir’s Flux MachineGIFs. Megen de Bruin-Molé uses these monstrous and liminal works to show how the thrill of transgression has been contained within safe and familiar formats, resulting in the mashups that dominate Western popular culture.

Table of Contents

Figures (vii)
Acknowledgments (ix)

1. Frankenfictions (1)
Gothic remixed (3)
Monstrous adaptations (6)
The many faces of Frankenfiction (12)
Twenty-first-century remix culture (14)
Frankenfiction as remix (18)
Frankenfiction as adaptation (23)
Frankenfiction as appropriation (26)
Hauntings and illegitimate offspring (38)

2. Adapting the Monster (41)
From ‘miserable wretch’ to ‘modernity personified’: Defining the twenty-first-century monster (44)
‘Ourselves expanded’: Anno Dracula and the neoliberal vampire (55)
The empire strikes back: Victorian monsters and The League of Extraordinary Gentlemen (62)
‘We are all monsters’: Reclaiming privilege in Penny Dreadful (70)
‘Monstrum sum’: Intersectional monstrosity in The Extraordinary Adventures of the Athena Club (80)
The promises of monsters (86)

3. Mashing Up the Joke (91)
Camp as sincere parody (97)
The irony of Pride and Prejudice and Zombies (100)
Literature with a twist: Parodying the classics (106)
Parodying neo-Victorianism (116)
Taking the past seriously; or, the limits of postmodern irony (127)
Beyond postmodern irony (131)

4. Remixing Historical Fiction (135)
The Gothic and historical fiction (138)
The ‘look’ of the past: Visual Gothic histories (140)
Sublime metamorphosis: Dan Hillier’s Victorian illustrations (142)
Foreign animals: The immigrant portraiture of Travis Louie (155)
Meet the family: Colin Batty’s Victorian cabinet cards (168)
Flux machine: Kevin J. Weir’s animated horrors (178)
Unnatural history (186)

5. Appropriating the Author (191)
Frankenfiction and Romantic authorship (193)
Frankenfiction and the (un)death of the author (197)
Frankenfiction and transmedia world-building (204)
Women’s work: Mary Shelley as remixer/remixed (212)
Feminist Frankenfiction? (225)

Conclusion: The Monster Always Escapes (231)

Bibliography (235)
Index (261)


  
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