• Laura Hubner


This chapter investigates how seeming opposites—‘fairy tale’ and ‘gothic’—react against each other, share properties and merge as they create horror in film. Fairytale elements can universalize the historically specific, offering an alternative vision beyond time and place, or enhance the horror, as the full force of the film’s terrors or atrocities leak in. Gothic illuminates the wild sensations that drive us, the pull between rational and irrational forces, questioning the securities of home, self and belief. This chapter outlines how the more conceptual chapters provide a broader cultural foundation for the close analyses that follow in the case study chapters. This chapter concludes that the films selected for analysis create a lasting shudder that persists, and is likely to return.


  1. Botting, F. (1996). Gothic (London and New York: Routledge).Google Scholar
  2. Freud, S. (2003). ‘“The Uncanny” (1919)’, in The Uncanny, translated by D. McLintock (London: Penguin Classics), pp. 123–162.Google Scholar
  3. Jackson, R. (1991, reprinted version). Fantasy: The Literature of Subversion (London and New York: Routledge).Google Scholar
  4. Perkins, V.F. (Winter, 1990). ‘Must We Say What They Mean?’, Movie, 34/35, 1–6.Google Scholar
  5. Short, S. (2015). Fairy Tale and Film: Old Tales with a New Spin (Basingstoke and New York: Palgrave Macmillan).Google Scholar
  6. Tatar, M. (2003). The Hard Facts of the Grimms’ Fairy Tales (Princeton and Oxford: Princeton University Press).Google Scholar
  7. Wood, R. (revised edition, 1986). ‘The American Nightmare: Horror in the 1970s’, Hollywood from Vietnam to Regan… And Beyond (New York and Chichester, West Sussex: Columbia University Press), pp. 63–84.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.Department of Media and Film StudiesUniversity of WinchesterWinchesterUK

Personalised recommendations