Longlisted for the 2022 International Gothic Association's Allan Lloyd Smith Prize 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 Machine GIFs. 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.

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 Machine GIFs. 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.

Brings together new research that lays out the current state of contagion studies, from the perspective of media studies, monster studies, and the medical humanities. Offers fresh perspectives on contagion studies from disciplines such as the social sciences and the medical humanities, introducing new methods of collaboration and avenues of research, and demonstrating how these disciplines have already been working in parallel for several decades. Covers a wide variety of international media and contexts, including literature, film, television, public policy, and social networks. Includes key, recent case studies (including public health documents and the popular Netflix series Santa Clarita Diet) that have not yet been analysed anywhere else in the field. Bucks the current trend of going back to plague literature and historical plagues in the search for meaning to address current and late-20th century epidemics, diseases, and monsters.

In the Remixed Classics series, authors from marginalized backgrounds reinterpret classic works through their own cultural lens to subvert the overwhelming cishet, white, and male canon. Two British Indian teens cut off from their heritage find solace in each other in this gothic Wuthering Heights YA remix that subverts the default whiteness of the original text. Sometimes, lost things find their way home... Yorkshire, North of England, 1786. As the abandoned son of a lascar—a sailor from India—Heathcliff has spent most of his young life maligned as an "outsider." Now he's been flung into an alien life in the Yorkshire moors, where he clings to his birth father's language even though it makes the children of the house call him an animal, and the maids claim he speaks gibberish. Catherine is the younger child of the estate's owner, a daughter with light skin and brown curls and a mother that nobody talks about. Her father is grooming her for a place in proper society, and that's all that matters. Catherine knows she must mold herself into someone pretty and good and marriageable, even though it might destroy her spirit. As they occasionally flee into the moors to escape judgment and share the half-remembered language of their unknown kin, Catherine and Heathcliff come to find solace in each other. Deep down in their souls, they can feel they are the same. But when Catherine's father dies and the household's treatment of Heathcliff only grows more cruel, their relationship becomes strained and threatens to unravel. For how can they ever be together, when loving each other—and indeed, loving themselves—is as good as throwing themselves into poverty and death? Praise for What Souls Are Made Of: "A gorgeously reclaimed Gothic. ... I’m a Tasha Suri fan for life." —Chloe Gong, New York Times-bestselling author of These Violent Delights "With its brooding characters, gorgeous setting, and a romance that sparkles with electricity, this retelling of Wuthering Heights breathes fresh air into an old classic." —Stacey Lee, New York Times-bestselling author of The Downstairs Girl and Luck of the Titanic The Remixed Classics Series A Clash of Steel: A Treasure Island Remix by C.B. Lee So Many Beginnings: A Little Women Remix by Bethany C. Morrow Travelers Along the Way: A Robin Hood Remix by Aminah Mae Safi What Souls Are Made Of: A Wuthering Heights Remix by Tasha Suri Self-Made Boys: A Great Gatsby Remix by Anna-Marie McLemore My Dear Henry: A Jekyll & Hyde Remix by Kalynn Bayron Teach the Torches to Burn: A Romeo & Juliet Remix by Caleb Roehrig Into the Bright Open: A Secret Garden Remix by Cherie Dimaline Most Ardently: A Pride & Prejudice Remix by Gabe Cole Novoa

Gothic Mash-Ups explores the role of intertextuality in Gothic storytelling through the analysis of texts from diverse periods and media. Drawing on recent scholarship on Gothic remix and adaptation, the contributors examine crossover fictions, multi-source film and comic book adaptations, neo-Victorian pastiches, performance magic, monster mashes, and intertextual Gothic works of various kinds. Their chapters investigate many critical issues related to Gothic mash-up, including authorship, originality, intellectual property, fandom, commercialization, and canonicity. Although varied in approach, the chapters all explore how Gothic storytellers make new stories out of older ones, relying on a mix of appropriation and innovation. Covering many examples of mash-up, from nineteenth-century Gothic novels to twenty-first-century video games and interactive fiction, this collection builds from the premise that the Gothic is a fundamentally hybrid genre.

The third volume of The Cambridge History of the Gothic is the first book to provide an in-depth history of Gothic literature, film, television and culture in the twentieth and twenty-first centuries (c. 1896-present). Identifying key historical shifts from the birth of film to the threat of apocalypse, leading international scholars offer comprehensive coverage of the ideas, events, movements and contexts that shaped the Gothic as it entered a dynamic period of diversification across all forms of media. Twenty-three chapters plus an extended introduction provide in-depth accounts of topics including Modernism, war, postcolonialism, psychoanalysis, counterculture, feminism, AIDS, neo-liberalism, globalisation, multiculturalism, the war on terror and environmental crisis. Provocative and cutting edge, this will be an essential reference volume for anyone studying modern and contemporary Gothic culture.

The first volume to provide an interdisciplinary, comprehensive history of twentieth and twenty-first century Gothic culture.