This is the first book to look at the impact of the goth scene worldwide, from its origins right through to the present day. From the UK's sprawling post-punk scene, Japan's highly visual movement, the USA's deathrock explosion and Germany's extremely popular Schwarze Szene, Worldwide Gothic explores how they all came about and the influence they've had on contemporary music and fashion. Spat out of punk at the tail end of the 1970s, goth became a major subculture in the UK with bands like Siouxsie And The Banshees and The Sisters Of Mercy scoring Top Ten hits and its fashion inspiring catwalk collections. After the scene died down in the early 1990s, it spread out to Europe where it attracted hundreds of thousands of followers and became assimilated with other muscial genres. This book also looks at how goth is now returning to its roots now with the emergence of dark rock and indie bands who pay homage to gothic greats like Bauhaus and Joy Division.

Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century, with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. It creates an understanding of this under-researched cultural phenomenon by showing how the narratives make visible cultural anxieties haunting the Nordic countries, their welfare systems, identities and ideologies. Nordic Gothic examines how figures from Nordic folklore function as metaphorical expressions of Gothic themes and Nordic settings are explored from perspectives such as ecocriticism and postcolonialism. The book will be of interest to researchers and post- and- undergraduate students in various fields within the Humanities.

Gothic style and contemporary architecture worldwide Although largely overlooked in studies of architectural history, church architecture in a Gothic idiom outlived its 19th century momentum to persist worldwide throughout the 20th century and into the new millennium. Global Gothic presents a first systematic worldwide understanding of "Gothic" in contemporary architecture, both as a distinct variation and as a competitor to recognized modern styles. The book’s chapters critically discuss Gothic’s various manifestations over the past century, describing and illustrating approaches from Gothic Revival living traditions in the former British Empire and original Gothic appropriation in Latin America to competitions of European builders in former Asian and African colonies. The focus is also on the special appropriations in North America, China and Japan, as well as contemporary solutions that tend to be transnational in style. With contributions from renowned architecture experts from around the world, Global Gothic provides an overview of this cultural phenomenon and presents a wealth of stunning material, much of it little known. Richly illustrated in full color, it offers an important contribution to colonial and postcolonial global art history and a seldom acknowledged perspective on art history in general. Contributors: Barbara Borngässer (Technische Universität Dresden), Martín M. Checa-Artasu (Metropolitan Autonomous University, Mexico City), Thomas Coomans (KU Leuven), Pedro Guedes (University of Queensland), Bruno Klein (Technische Universität Dresden), Bettina Marten (Technische Universität Dresden), Olimpia Niglio (Hosei University Tokyo), Peter Scriver (University of Adelaide), Amit Srivastava (University of Adelaide) This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

This book will provide the first study of how the Gothic engages with ecocritical ideas. Ecocriticism has frequently explored images of environmental catastrophe, the wilderness, the idea of home, constructions of 'nature', and images of the post-apocalypse – images which are also central to a certain type of Gothic literature. By exploring the relationship between the ecocritical aspects of the Gothic and the Gothic elements of the ecocritical, this book provides a new way of looking at both the Gothic and ecocriticism. Writers discussed include Ann Radcliffe, Mary Shelley, Ambrose Bierce, Algernon Blackwood, Margaret Atwood, Cormac McCarthy, Dan Simmons and Rana Dasgupta. The volume thus explores writing and film across various national contexts including Britain, America and Canada, as well as giving due consideration to how such issues might be discussed within a global context.

Dressed head-to-toe in black, often with extreme make-up, the gothic look has been a popular once since the 1980s. Gothic art is about more than just album covers and ephemera; it's about fashion, book jackets, cinematography, computer graphics and fine arts. And its influence frequently seeps through into mainstream culture.The first ever English language collection of gothic images available. Features 224 pages of gothic photography and artwork. Contains up to date references that encompass the modern gothic movement as well as the original movement that came from punk. Gathers imagery from around the world, including previously unpublished photographs and artwork. Each chapter includes two special features, including profiles of influential artists or styles. Features articles on the work of well-known artists such as Anne Sudworth and Roman Dirge as well as graphic design teams Parched Art, Leisure Process and 23 Envelope.

‘The dead travel fast and, in our contemporary globalised world, so too does the gothic.’ Examining how gothic has been globalised and globalisation made gothic, this collection of essays explores an emerging globalgothic that is simultaneously a continuation of the western tradition and a wholesale transformation of that tradition which expands the horizons of the gothic in diverse new and exciting ways. Globalgothic contains essays from some of the leading scholars in gothic studies as well as offering insights from new scholars in the field. The contributors consider a wide range of different media, including literary texts, film, dance, music, cyberculture, computer games, and graphic novels. This book will be essential reading for all students and academics interested in the gothic, in international literature, cinema, and cyberspace.

The Gothic World offers an overview of this popular field whilst also extending critical debate in exciting new directions such as film, politics, fashion, architecture, fine art and cyberculture. Structured around the principles of time, space and practice, and including a detailed general introduction, the five sections look at: Gothic Histories Gothic Spaces Gothic Readers and Writers Gothic Spectacle Contemporary Impulses. The Gothic World seeks to account for the Gothic as a multi-faceted, multi-dimensional force, as a style, an aesthetic experience and a mode of cultural expression that traverses genres, forms, media, disciplines and national boundaries and creates, indeed, its own ‘World’.

Gothic art finds its roots in the powerful architecture of the cathedrals of northern France. It is a medieval art movement that evolved throughout Europe over more than 200 years. Leaving curved Roman forms behind, the architects started using flying buttresses and pointed arches to open up cathedrals to daylight. A period of great economic and social change, the Gothic era also saw the development of a new iconography celebrating the Holy Mary – in drastic contrast to the fearful themes of dark Roman times. Full of rich changes in all of the various art forms (architecture, sculpture, painting, etc.), Gothic art paved the way for the Italian Renaissance and International Gothic movement.

It was a scene that had many names: some original members referred to themselves as punks, others, new romantics, new wavers, the bats or the morbids. 'Goth' did not gain lexical currency until the late 1980s. But no matter what term was used, 'postpunk' encompasses all the incarnations of the 1980s alternative movement. Some Wear Leather, Some Wear Lace is a visual and oral history of the first decade of the scene. Featuring interviews with both the performers and the audience to capture the community on and off stage, the book places personal snapshots alongside professional photography to reveal a unique range of fashions, bands and scenes. A book about the music, the individual and the creativity of a worldwide community rather than theoretical definitions of a subculture, Some Wear Leather, Some Wear Lace considers a subject not often covered by academic books. Whether you were part of the scene or are just fascinated by different modes of expression, this book will transport you to another time and place.

For over two hundred years, the Gothic has remained fixed in the European and American imaginations, steadily securing its position as a global cultural mode in recent decades. The globalization of Gothic studies has resulted in the proliferation of new critical concepts and a growing academic interest in the genre. Yet, despite its longevity, unprecedented expansion, and accusations of prescriptiveness, the Gothic remains elusive and without a straightforward definition. Gothic Peregrinations: The Unexplored and Re-explored Territories looks at Gothic productions largely marginalized in the studies of the genre, including the European absorption of and response to the Gothic. This collection of essays identifies landmarks and ley lines in the insufficiently probed territories of Gothic scholarship and sets out to explore its unmapped regions. This volume not only examines Gothic peregrinations from a geographical perspective but also investigates how the genre has been at odds with strict demarcation of generic boundaries. Analyzing texts which come from outside the Gothic canon, yet prove to be deeply indebted to it, like bereavement memoirs, stories produced by and about factory girls of Massachusetts, and the Mattel Monster High franchise, this volume illuminates the previously unexplored fields in Gothic studies. The chapters in this volume reveal the truly transnational expansion of the Gothic and the importance of exchange – exchange now seen not only as crucial to the genre’s gestation, or vital to the processes of globalization, but also to legitimizing Gothic studies in the global world.