Festival du Film Fantastique

 The European Fantastic Film Festival is on in Strasbourg for the next 2 weeks in Strasbourg... and they are showing Dracula !

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Key Issue Seven: Power and menace in Gothic writing (Alexis / Liam / Malo)

Key Issue Seven: Power and menace in Gothic writing (Alexis / Liam / Malo) Closely linked together, power and menace are both fundamental for Gothic Literature . Even though they are not the first criteria someone would think about after watching a Gothic movie or reading Gothic literature, power and menace are nearly always presented in Gothic art. I. Power Looking at power portrayed through Gothic writing, we can already declare that power can come in different forms: fear, torture (violence), psycological aspects (mental), etc.  Power is dependent on a constraint, someone or something that needs to feel or be submissive to this powerful character. In Gothic writing, we can see this through vulnerable characters being driven by fear, for example Lucy Westerna in Dracula.  In Gothic literature, villains (humans or creatures) usually always hold the power, and they use this power over the other characters through violence and fear, for example, Dracula, or Frankenstein.  So, we can
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Key Issue Eight: Melodrama and Realism in Gothic Writing (Milla and Madeleine)

Melodrama and realism in Gothic writing Melodrama and Realism are two main concepts that Gothic authors used and explored to bring the readers into the atmosphere they created.  Melodrama The Melodrama movement was born in France, in the late 18th and early 19th centuries as part of the Romantic literary period. The romantics wanted to express their emotions through art, inspired by imagination, individuality, and nature.  The word Melodrama is made from two different Greek words: Melos meaning music and drama meaning action.  A melodrama is the foundation of every American movie of our time, as it contains a story with conflict coupled with music .  This dramatic form also shows a battle between Good and Evil in three major plot elements:  1. provocation, whatever provokes the villain to act devilishly to the hero;  2.pangs, the pains that the hero suffers through because of the villain’s evil;  3. and the penalty, the denouement, the last part of the play, where the villain gets the
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Key Issue Six : Heroes and villains in Gothic writing (Daniel / Lilas / Eléonore)

Heroes and  Villains In Gothic writing, a specific atmosphere prevails in which heroes and villains are easily distinguishable from other literature genres.  The hero-villain relationship is often ambiguous, and in a number of works of Gothic writing, attraction and love between the two characters might even occur.  Within heroes, boundaries opposing morality and immorality tend to be vague.  In fact, heroes of Gothic writing—oftentimes characters of high social ranking—could be described as morally “grey,” as it is their own goodness—the hero’s tragic flaw—that brings them, through decadence, to villainy. On the other hand, the antagonist is, from his very outset, portrayed as a flawed, lonesome, or outcast figure who must overcome obstacles in order to re-join society.  Generally, Gothic Villains represent one of two archetypes: the Evil Father or the Dangerous Lover. Villains who embody these figures include, respectively, Victor Frankenstein and Heathcliff from Wuthering Heights
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