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Fear Itself: American Gothic and Cla...

Williams, Karen.

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Fear Itself: American Gothic and Classical Hollywood Cinema.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Fear Itself: American Gothic and Classical Hollywood Cinema./
Author:	Williams, Karen.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	244 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-04(E), Section: A.
Contained By:	Dissertation Abstracts International78-04A(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10186125
ISBN:	9781369332193

Fear Itself: American Gothic and Classical Hollywood Cinema.
Williams, Karen.

Fear Itself: American Gothic and Classical Hollywood Cinema. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 244 p.

Source: Dissertation Abstracts International, Volume: 78-04(E), Section: A.

Thesis (Ph.D.)--New York University, 2016.

The dissertation argues for the significance of the gothic in American cinema as a mode by which U.S. identity has been both constructed and destabilized. I combine theories of the gothic from literary studies with cinema studies approaches to formulate a model for a specifically American gothic cinema, and through close textual analysis survey two significant gendered gothic cycles of the classical Hollywood era: the 1940s gothic romance cycle and noir thrillers of the late 1940s and 1950s. The study examines how the gothic in classical Hollywood cinema articulates an affective American identity characterized by both an affiliation with an ideal white masculinity and a fear of a pervasive and permeating excluded other. Affect has been central to the formulation of the U.S. national self, and both the gothic as a mode and film as a medium have contributed to the production of the necessary affective relations of the nation and the construction of an ideal national identity through shared feeling and binding affinities. Gothicism in U.S. cinema effects a national gothic in which anxiety and fear are centered around the loss of a coherent bounded self to the other. Classical Hollywood films such as gothic romances and noir thrillers articulate these conditions through a cinematic gothic in which both the film medium and white women become implicated in the forms of affective transmission and exchange which undermine this coherence and boundedness. Tropes of psychic and physical violation and contamination surface as manifestations of this threat. The transmission of the other's feelings, experience, and history is expressed through gothic themes, conventions, and devices, such as suggestibility, loss of self, hauntings, doubles, and paranoia. The American gothic in these films and the emotions they engender reveal the inherent instability of a national self that relies on the affective homosocial ties of white masculinity. The dissertation argues that at the heart of American gothic cinema is not the imperiled heroine, or the threatening other, but in fact an impossible white masculine identity riven by internal and intrinsic contradiction.

ISBN: 9781369332193Subjects--Topical Terms:

2122736
Film studies.

Fear Itself: American Gothic and Classical Hollywood Cinema.
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245 1 0 $a Fear Itself: American Gothic and Classical Hollywood Cinema.
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300 $a 244 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-04(E), Section: A.
500 $a Adviser: Anna McCarthy.
502 $a Thesis (Ph.D.)--New York University, 2016.
520 $a The dissertation argues for the significance of the gothic in American cinema as a mode by which U.S. identity has been both constructed and destabilized. I combine theories of the gothic from literary studies with cinema studies approaches to formulate a model for a specifically American gothic cinema, and through close textual analysis survey two significant gendered gothic cycles of the classical Hollywood era: the 1940s gothic romance cycle and noir thrillers of the late 1940s and 1950s. The study examines how the gothic in classical Hollywood cinema articulates an affective American identity characterized by both an affiliation with an ideal white masculinity and a fear of a pervasive and permeating excluded other. Affect has been central to the formulation of the U.S. national self, and both the gothic as a mode and film as a medium have contributed to the production of the necessary affective relations of the nation and the construction of an ideal national identity through shared feeling and binding affinities. Gothicism in U.S. cinema effects a national gothic in which anxiety and fear are centered around the loss of a coherent bounded self to the other. Classical Hollywood films such as gothic romances and noir thrillers articulate these conditions through a cinematic gothic in which both the film medium and white women become implicated in the forms of affective transmission and exchange which undermine this coherence and boundedness. Tropes of psychic and physical violation and contamination surface as manifestations of this threat. The transmission of the other's feelings, experience, and history is expressed through gothic themes, conventions, and devices, such as suggestibility, loss of self, hauntings, doubles, and paranoia. The American gothic in these films and the emotions they engender reveal the inherent instability of a national self that relies on the affective homosocial ties of white masculinity. The dissertation argues that at the heart of American gothic cinema is not the imperiled heroine, or the threatening other, but in fact an impossible white masculine identity riven by internal and intrinsic contradiction.
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