Future Horror (the Redundancy of Gothic)

Gothic Studies

Volumn 1, Issue 2, 1999, Pages 139-

  Botting, Fred ^a  

^a KEELE UNIVERSITY   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84886637681     PISSN: 13627937     EISSN: 2050456X     Source Type: Journal    
DOI: 10.7227/GS.1.2.1     Document Type: Article

References (51)

1. Nathaniel Hawthorne, The Marble Faun (New York: Pocket Books, 1958), pp. x–xi.
2. Pete Boss, ‘Vile Bodies and Bad Medicine’, Screen, 27:1 (1986), 14–24, p. 20.
3. Philippe Ariès, The Hour of Our Death, trans. Helen Weaver (London: Penguin, 1981), p. 614.
4. Ariès, Hour of Our Death, pp. 585–95.
5. For a different angle on death, temporality and technology, see Fred Botting and Scott Wilson, ‘Dead Time (a Ghost Story)’, in Joanne Morra, Mark Robson and Marq Smith (eds), The Limits of Death, (Manchester: Manchester University Press, forthcoming).
6. Jean Baudrillard, The Perfect Crime, trans. Chris Turner (London and New York: Verso, 1996), p. 115.
7. Baudrillard, Perfect Crime, p. 112.
8. Baudrillard, Perfect Crime, pp. 27–8.
9. The term is Mary Shelley’s, from The Last Man, ed. Morton Paley (Oxford: Oxford University Press, 1994), p. 467. Shelley’s last man exclaims: ‘My person, with its human powers and features, seem to me a monstrous excrescence of nature’. Now, it seems, the human becomes a ‘monstrous excrescence’ of (techno)culture.
10. Fredric Jameson, ‘Postmodernism, or the Cultural Logic of Late Capitalism’, New Left Review, 146 (1984), 53–92, pp. 61–2.
11. Anon., ‘Terrorist Novel Writing’, Spirit of the Public Journals, 1 (1797), 227–9.
12. In ‘Her Body, Himself: Gender in the Slasher Film’, in Fantasy and Cinema, ed. James Donald (London: BFI publishing, 1989), pp. 91–133, p. 94, Carol Clover notes that ‘the “cinefantastic” in any case succeeds, far more efficiently and effectively and on a far greater scale than its ancestral media, in the production of sensation.’
13. Quentin Tarantino, From Dusk Till Dawn (London: Faber and Faber, 1996), p. 97. All subsequent quotations are taken from this edition. Page numbers will follow in brackets.
14. Philip Brophy, ‘Horrality – The Textuality of Contemporary Horror Films’, Screen, 27:1 (1986), 2–13, p. 3. He notes that the ‘growth of special effects’ and the ‘historical overexposure of the genre’s iconography’ (5) are crucial features of modern horror.
15. Cited in Paul Virilio, The Art of the Motor, trans. Julie Rose (Minneapolis: University of Minnesota Press, 1995), p. 71.
16. Clover, ‘Her Body, Himself’, p. 103.
17. See Boss, ‘Vile Bodies’, p. 16.
18. Virilio, Art of the Motor, p. 73.
19. See Michel Foucault, ‘Language to Infinity’, Language, Counter-Memory, Practice, trans. Donald F. Bouchard and Sherry Simon, (Ithaca, New York: Cornell University Press, 1977) pp. 53–67.
20. Victor Sage, Horror Fiction in the Protestant Tradition (London and Basingstoke: Macmillan, 1988), pp. x–xi.
21. Ann Radcliffe, ‘On the Supernatural in Poetry’, New Monthly Magazine, 16 (1826), 145–52.
22. Jacques Lacan, ‘Desire and the Interpretation of Desire in Hamlet’, Yale French Studies, 55/56 (1977), 11–52.
23. Slavoj Zizek, Enjoy Your Symptom (London and New York: Routledge,1992), p. 137.
24. Jacques-Alain Miller, ‘Extimité’, Prose Studies, 11:3 (1988), 121–31.
25. Jacques Lacan, The Ethics of Psychoanalysis 1959–60, trans. Dennis Porter (London: Routledge, 1992), p. 99.
26. Lacan, Ethics of Psychoanalysis, p. 232.
27. Lacan, Ethics of Psychoanalysis, p. 298.
28. Jean-Francois Lyotard, The Postmodern Condition, trans. Geoff Bennington and Brian Massumi (Manchester: Manchester University Press, 1984), pp. 81–2.
29. Brophy, ‘Horrality’, p. 5.
30. Tarantino, From Dusk till Dawn, p. xii.
31. Quentin Tarantino, Natural Born Killers (London: Faber and Faber: 1995), p. 60.
32. Quentin Tarantino, Reservoir Dogs (London: Faber and Faber, 1994), pp. 65–6. For an extended reading of the film see Fred Botting and Scott Wilson, ‘By Accident: the Tarantinian Ethics’, Theory, Culture and Society, 15:2 (1998), 89–113, and their Holy Shit: the Tarantinian Ethics (London: Sage Publications, forthcoming).
33. Judith Halberstam, Skin Shows (Durham and London: Duke University Press, 1995), pp. 179–80.
34. Zizek, describing Lecter as ‘a desperate, ultimately failed attempt of the popular imagination to represent to itself the idea of a Lacanian analyst’, asserts that ‘he literally “steals the kernel of our being”, the object a, the secret treasure, agalma, what we consider most precious in ourselves, denouncing it as a mere semblance.’ See Elizabeth Wright and Edmond Wright (eds), The Zizek Reader (Oxford: Blackwell, 1999), p. 276.
35. Rudy Rucker, Wetware, in Live Robots (New York: Avon Books, 1994), 169–357, p. 179. For an extended discussion of Rucker’s novel and cyberpunk notions of the ‘meat’ see my Sex, Machines and Navels: Fiction, Fantasy and History in the Future Present (Manchester: Manchester University Press, 1999). For a discussion of future subjects and (sexual) identities see SHaH, ‘Incorporating the Impossible: a General Economy of the Future Present’, Cultural Values, 1:2 (1997), 178–204.
36. Rucker, Wetware, pp. 186–7.
37. Rucker, Wetware, p. 180.
38. William Gibson, Idoru (London: Penguin, 1996), pp. 28–9.
39. Arthur Machen, ‘The Novel of the White Powder’, in Charles Fowkes (ed.), The Best Ghost Stories, (London: Hamlyn, 1977), 224–37, p. 233.
40. E. F. Benson, ‘Negotium Perambulans’, in Richard Dalby (ed.), The Collected Ghost Stories of E. F. Benson, (London: Robinson Publishing, 1992), 227–38, p. 238.
41. Kelly Hurley, The Gothic Body (Cambridge: Cambridge University Press, 1996), pp. 3–4.
42. Iain Banks, The Wasp Factory (London: Abacus, 1990), p. 142.
43. Georges Bataille, The Accursed Share, Vols II and III, trans. Robert Hurley (New York: Zone Books, 1991), p. 95.
44. Slavoj Zizek, The Indivisible Remainder (New York and London: Verso, 1996), p. 196.
45. For a discussion of this term, see Georges Bataille, ‘Base Materialism and Gnosticism’, in Fred Botting and Scott Wilson (eds) The Bataille Reader, (Oxford: Blackwell, 1997), pp. 160–4.
46. Bataille, Accursed Share, p. 63.
47. Bataille, Accursed Share, p. 63.
48. Georges Bataille, Eroticism, trans. Mary Dalwood (London and New York: Marion Boyars, 1987), p. 267 and p. 144.
49. Bataille, Eroticism, p. 127.
50. Nick Land, ‘Machinic Desire’, Textual Practice, 7:3 (1993), 471–82, p. 479.
51. Land, ‘Machinic Desire’, pp. 481–2.