The conclusion points out that convincing the reader/viewer that the story is real still is a priority in the Gothic agenda. Therefore, this article verifies the ways in which the claims to truthfulness appear in found footage movies, observing how the classical Gothic characteristics are replicated or subverted in this subgenre of horror movies. Nonetheless, one recurrent element in the literary Gothic convention regardless of its time is the claims to truthfulness, understood here as an effort to convince the reader/viewer that the story told indeed happened, as incredible as it seems.

Hyde and Dracula, works that also display the technicism and scientific advancements in the second phase of the Industrial Revolution.

Species and revisited in The Strange Case of Dr. In Gothic literature this is noticeable in elements such as medieval settings when they were more frequent (The Castle of Otranto), or the questionings regarding the creationist thought suggested in Frankenstein, materialized in The Origin of. Social, historical, political and economic changes somehow are invariably reflected in the cultural and artistic manifestations of their time. Michelle Massé, In The Name of Love: Women, Masochism and the Gothic (Ithaca: Cornell University Press, 1992), 250. Nancy Armstrong, Desire and Domestic Fiction: A Political History of the Novel (New York: Oxford University Press, 1987).ġ0. Toni Wein, British Identities, Heroic Nationalisms and the Gothic Novel, 1764-1824 (Houndmills: Palgrave, 2002), 45.ĩ. Stephen Gwynn, The Life of Horace Walpole (London: Thornton Butterworth, 1932).Ĩ.

Frank, preface to 'The Castle of Otranto' and 'The Mysterious Mother,' by Horace Walpole (Peterborough: Broadview Press, 2003), 11.ħ. Diane Hoeveler and Tamar Heller (New York: Modern Language Association of America, 2003), 4.Ħ. Approaches to Teaching Gothic Fiction: The British and American Traditions, ed. Paulina Palmer, Lesbian Gothic (London: Cassell, 1999), 1.ĥ. Jerry Hogle, ed., The Cambridge Companion to Gothic Fiction (Cambridge: Cambridge University Press, 2002), 1-2.Ĥ. (Manchester: Manchester University Press, 2002), 2.ģ. Robert Miles, Gothic Writing 1750-1820: A Genealogy, 2nd ed. Maggie Kilgour, The Rise of the Gothic Novel (London Routledge, 1995), 221.Ģ. Her research interests include nineteenth-century literature, women's studies, psychoanalysis, Gothic literature, Canadian literature, and cultural studies.ġ. candidate in English at McMaster University.

Gothic literature characteristics