Gothic horror

Gothic horror
Gothic horror is a genre of literature that has elements of both romance and horror. Although it is sometimes confused with paranormal romance, according to some horror writers, gothic horror is considered a more atmospheric type of literature.

“The traditional gothic novel starred a young, usually very naïve woman who is mesmerized by a dark, handsome man with a shrouded past. The plots vary from that point, but the classic example is Rebecca by Dame Daphne du Maurier,” said Lynn Stranathan, co-owner of Yard Dog press. “Charlotte Bronte’s Jane Eyre is another good example as is her sister’s much darker Wuthering Heights.”

The Importance of Setting in Gothic Horror

According to some writers, the setting of the gothic horror almost becomes another character.

“Gothic horror is dark, stormy full of eerie winds. Set in old mansion or castles on high cliffs,” Said Gloria Oliver, author of Willing Sacrifice. “(There are) 18th and 19th century settings. Something old or feeling of antiquity needs to be involved. Vampires tend themselves to gothic horror, that influx of antiquity with aristocracy. I guess almost like blueblood horror.”

Gothic Horror Verses Paranormal Romance

Richard Dansky, artist and author of Firefly Rain, said that the difference between Gothic Horror and Paranormal Romance is in the results.

“The gothic builds up the protagonist until he achieves what he's after, and then details the terrible consequences of achieving it. This sits in contrast to paranormal romance, wherein the main character generally seems to be rewarded for achieving (or dating) the forbidden.”

Dansky said that the gothic is also generally associated with excess, and in the original was extremely gory and explicit for its time. There was a strong connection to the lurid anti-Catholic publications of the time, as demonstrated by The Monk and the details of "The Spaniard's Tale" in Melmoth. Love affairs in gothics were generally doomed to end horribly – witness Maturin's loving couple who ended up cannibalizing each other, or Victor and Elizabeth in Frankenstein. At the same time, lustful, forbidden, seductive or forced relationships.

“Really, the gothic was in many ways defined by over-the-top, and included sex, rape, murder, cannibalism, Satanism, and all sorts of debauchery,” Dansky said.

Confusion Between Paranormal Romance and Gothic Horror

According to Brad Sinor, journalist and writer of short horror stories, the confusion between paranormal romance and gothic horror comes from the gothic literature of the sixties.

“Gothic horror actually consisted of novels and shorter work likeDracula, Frankenstein, Camilla and Varney the Vampire,” Sinor said. “There was always a subtext of forbidden sex and stepping outside the accepted way things were done in the Victorian era into the dark shadows that surrounded even the industrial age. Gothic horror actually can trace its roots even further back into the seventeenth and eighteenth centuries.”

According to Sinor, The traditional sixties gothic novel had a direct connection to science fiction. Donald A Wolheim, then an editor at ACE books, looked at the sales figures of the gothic romances that they were publishing. He noticed that the ones that sold better always had a woman running away from a brooding house with a single light on it. Within a year or so all of the books in that genre had covers like that.

“Paranormal romance on the other hand didn't really get going until a few years ago,” Sinor said. “It had its roots in urban fantasy novels such as the ones written by Charles de Lint, Emma Bull and even Mercedes Lackey. In fact many paranormal romance writers say that they aren't writing romance they are writing urban fantasy.”

Examples of Gothic Horror Authors

Unlike modern urban fantasy like the Anita Blake and Sookie Stackhouse series, Gothic Horror still draws its horror from the environment around it. Examples include Edward Lee, Cailin R Kiernan, H. P. Lovecraft, Brian Keene and Karl Edward Wagner, C.R. Maturin Elizabeth Kostova

What is Gothic Horror?. 2014. What is Gothic Horror?. [ONLINE] Available at:https://suite.io/tracy-morris/1y9q2a9. [Accessed 28 April 2014].

Presentation

Presentation: make up in motion 

Final Estella assessment

Practice of Estella look

although my Estella project not as much time preparing as miss Havisham  project, so i decided to practice on my self. 

here are shows 2 type different design, first two main colour are pink, last two are gold and orange.

am fairly please with my last two trail.but for my final i will make the colour more stronger on the face

Face chat of estella

heave pink

light pink

nude, orange, gold

my first two design i decided to use pink as the main colour of her make up, but consider that my shoot will come out with black and white, so for my final i decided to using gold orange, and contorting the face.

pale skin, long eyelashes,pretty and natural beauty look. think will effect more front of camera

Estella

key elements of Estella:

miserable

superior

cold

poised

persuasive 

powerful

broken

hopeless

beautiful

Estella

Often cited as Dickens’s first convincing female character, Estella is a supremely ironic creation, one who darkly undermines the notion of romantic love and serves as a bitter criticism against the class system in which she is mired. Raised from the age of three by Miss Havisham to torment men and “break their hearts,” Estella wins Pip’s deepest love by practicing deliberate cruelty. Unlike the warm, winsome, kind heroine of a traditional love story, Estella is cold, cynical, and manipulative. Though she represents Pip’s first longed-for ideal of life among the upper classes, Estella is actually even lower-born than Pip; as Pip learns near the end of the novel, she is the daughter of Magwitch, the coarse convict, and thus springs from the very lowest level of society.

Ironically, life among the upper classes does not represent salvation for Estella. Instead, she is victimized twice by her adopted class. Rather than being raised by Magwitch, a man of great inner nobility, she is raised by Miss Havisham, who destroys her ability to express emotion and interact normally with the world. And rather than marrying the kindhearted commoner Pip, Estella marries the cruel nobleman Drummle, who treats her harshly and makes her life miserable for many years. In this way, Dickens uses Estella’s life to reinforce the idea that one’s happiness and well-being are not deeply connected to one’s social position: had Estella been poor, she might have been substantially better off

Despite her cold behavior and the damaging influences in her life, Dickens nevertheless ensures that Estella is still a sympathetic character.

By giving the reader a sense of her inner struggle to discover and act on her own feelings rather than on the imposed motives of her upbringing, Dickens gives the reader a glimpse of Estella’s inner life, which helps to explain what Pip might love about her. Estella does not seem able to stop herself from hurting Pip, but she also seems not to want to hurt him; she repeatedly warns him that she has “no heart” and seems to urge him as strongly as she can to find happiness by leaving her behind. Finally, Estella’s long, painful marriage to Drummle causes her to develop along the same lines as Pip—that is, she learns, through experience, to rely on and trust her inner feelings. In the final scene of the novel, she has become her own woman for the first time in the book. As she says to Pip, “Suffering has been stronger than all other teaching. . . . I have been bent and broken, but—I hope—into a better shape.”

SparkNotes: Great Expectations: Analysis of Major Characters. 2014.SparkNotes: Great Expectations: Analysis of Major Characters. [ONLINE] Available at: https://www.sparknotes.com/lit/greatex/canalysis.html. [Accessed 28 April 2014].