Lady in the Mist: Gothic Mystery

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Drag image here. Visual Search. Mysterious Woman in the Mist. Share Twitter. Jack's inner turmoil and ultimate unleashing of his monstrous side provides us with the true horror of the film and of man's dark side. Johnson remembers discussing Frankenstein with Kubrick during the development of the screenplay. King perhaps also had this character in mind as he describes Frankenstein's monster in his non-fiction book Danse Macabre as "The Thing Without a Name", an archetype for numerous horrific creations.

The exhibition fittingly displays items from the work of Emily and Charlotte, which connect directly with The Shining. This is referenced in The Shining with the crazed corpse of the 'bathtub lady' in room The theme of imprisonment in the grand old house is central to Jane Eyre and is echoed in The Shining.

In Diane Johnson's manuscript notes, next to the scene where Danny is confronted by the ghostly Grady Girls, she has written "rather like the very affecting scene in Wuthering Heights where the visitor wakes up to discover a child's imploring hand reaching through the broken window. She confirms it was the "imagery Next in the exhibition's Shining maze is the work of Edgar Allan Poe.

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His story 'The Masque of the Red Death ' is heavily referenced throughout King's novel there is a short extract in the epigraph and it reappears many times throughout the text. Although the ballroom scene association remains in the film, Kubrick avoided making such obvious links to the story. In a interview he downplayed the connection: "All his [Stephen King's] Poe quotes and Red Death things are alright but didn't seem necessary".

The enduring tradition of the fairytale is the last clue to the mysteries of The Shining that we find in the exhibition. Although a genre in itself and influential to the book and film in many other ways there is also an overlap with the Gothic themes here too. The exhibition points out that fairytales are "not strictly Gothic" but that often the stories are '"supernatural and frightening".

On display is a copy of Red Riding Hood , a tale that is referenced in the research for The Shining. Diane Johnson has commented that she and Kubrick explored fairytales through the psychoanalytic lens of Bruno Bettelheim's book The Uses of Enchantment In the Stanley Kubrick Archive Kubrick's personal copy of the book with annotations and highlighted sections gives some very revealing insights into the Jack and Danny Danny Lloyd relationship of The Shining.

Treacherous is the Night

Of particular note here is a highlighted section including a description of the symbolism of Charles Perrault's Wolf and Red Riding Hood characters. There are many suggestions of Jack as the big bad wolf in Kubrick's notes and in the film this is made evident in one of the most iconic scenes. As Jack prepares to axe through the bathroom door to get to a terrified Wendy Shelley Duvall he teases: "little pigs, little pigs let me in As we piece together the evidence of the many literary influences on The Shining we can begin to understand more about this enigmatic film.

It is perhaps the ghosts of the Gothic past haunting the story that have helped to make it such an enduring classic. The familiar themes from historical literature that influence the characterization, the visual elements and the narrative of the film create a feeling of 'The Uncanny'. The Shining resonates with our cultural past and long imagined fears; like the ghosts of the Overlook Hotel, The Shining has "always been here".

To learn more about The Shining and the history of Gothic literature visit Terror and Wonder: the Gothic Imagination now in its final weeks. For more information including extra late night openings please visit the website. Interview with Catriona McAvoy. Danel Olson. Centipede Press, Interview with Vicente Molina Foix. Alison Castle. Koln: Taschen, Exhibitions , Film , Gothic.

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  6. From the outset the curators of the Terror and Wonder exhibition were determined to devote a significant amount of space to the goth subculture. In order to make sure we got the story right we turned to Pete Scathe for advice. Pete is the unofficial historian of the early days of Goth and his website is an invaluable source of information. He regularly DJs in the Portsmouth area and you can follow him on Twitter petescathe.

    Here Pete explains the relationship between goth and Gothic. Over time, meanings of words can change, shift and expand. With the words 'goths' and 'Gothic', not only have the meanings been expanded by application to what we now call the goth scene, but the scene itself was changed by having the word applied to it. The early goth scene began as an offshoot from punk, and one early term applied to it was 'positive punk'.

    This never caught on - it was too much of a mouthful, even when shortened to 'posi-punk'. And the implication that it was superior to punk meant that the old punks would never be happy using it. Fortunately a term then came along that they were happy to use, and they were soon moaning about 'hordes of bloody goths' - not so much an exciting new subculture to them, more of a vexing infestation.

    The questions are how much 'Gothic' there was in the scene before it acquired the tag, and how the scene changed as a result of acquiring the tag. For most early goth bands, Gothic wasn't necessarily something to be taken seriously, it was something to be occasionally plundered for imagery, fun and maybe the odd song idea it helped that Gothic imagery looked good in black and white, and black and white record covers were cheaper to print.

    Certainly the original goth club, the Batcave , used Gothic imagery in a deliberately tongue-in-cheek way — Ollie Wisdom from Specimen , one of the Batcave founders, was a dead ringer for Frank N.

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    Furter from The Rocky Horror Show. The early goth scene was vibrant, exciting, and based around following a cluster of excellent live bands that fostered a tribal sense of identity. Early goth gigs were lively events, and the usual dancing style was 'chicken dancing', which involved flailing elbows the decidedly more sedate 'Gothic Two Step', where goths in flowing dresses walked back and forth on the dancefloor amidst billowing clouds of smoke, was a later invention that I first encountered in Leeds in the mid 80s.

    There were literary influences in the early scene, but these were rarely directly Gothic. Literary influences tended to be decadent, transgressive and non-mainstream rather than straightforwardly Gothic. Outside literature, their interests were widespread. Bauhaus, probably the most Gothically-inclined of the early bands, also sang about the likes of Nijinsky or Antonin Artaud, whilst Southern Death Cult were obsessed with Native American imagery. The Banshees sang about everything from multiple personality disorder to Dada photocollages.

    The downside of this was that the bands could be seen as pretentious, and certainly were by a lot of the media. It didn't help that goth bands were far less likely than punk bands to sing about social issues, and 'goth' became a term of abuse in the music press. Most bands in the early scene were completely bemused by this goth tag.

    Gothic woman in the mist stock image. Image of morning -

    It was understandable that the likes of Bauhaus and Alien Sex Fiend would be tagged goth, but other bands in the scene like Danse Society acquired the tag simply by having a similar look, sound and followers. As goth became a clearly defined scene, it started to acquire 'subcultural rules', as had happened with other scenes, and this is where the 'Gothic' tag started to make a difference. The original bands hadn't been influenced by the Gothic tag, except sometimes in trying to distance themselves from it, but newcomers to the scene often tried to fit in and be accepted by being Gothic.

    The look changed from the earlier spiky fetish glam look to something decidedly more elegant, and many new goth bands dropped energetic tribal drumming and often drummers in favour of something slower, more atmospheric and more Gothic. Members of one later goth band stated that the early goth bands hadn't been that Gothic and that they themselves were determined to be more Gothic, thus illustrating the power of the tag the early bands hadn't, of course, been trying to be Gothic as they had no idea that they were goth bands! This obsession with being Gothic sometimes turned into a game of 'gother than thou' that rendered the scene terribly vulnerable to media satire and gave it an embarrassing reputation, but it also meant that many new goths, in trying to be Gothic, began to show an interest in Gothic films and literature.

    Some had entered the scene because of an existing inclination towards that sort of thing, but it's likely that the existence of the goth scene both intensified and in some cases created a new interest in the Gothic.

    Lady in the Mist: Gothic Mystery
    Lady in the Mist: Gothic Mystery
    Lady in the Mist: Gothic Mystery
    Lady in the Mist: Gothic Mystery
    Lady in the Mist: Gothic Mystery
    Lady in the Mist: Gothic Mystery

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