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Neoliberal Gothic i Neoliberal Gothic 99781526113443_pi-214.indd781526113443_pi-214.indd i 22/22/2017/22/2017 22:21:46:21:46 PPMM ii T e Series’ Board of General Editors Elisabeth Bronfen, University of Zurich, Switzerland Steven Bruhm, University of Western Ontario, Canada Ken Gelder, University of Melbourne, Australia Jerrold Hogle , University of Arizona, USA (Chair) Avril Horner , Kingston University, UK William Hughes, Bath Spa University, UK T e Editorial Advisory Board Glennis Byron, University of Stirling, Scotland Robert Miles, University of Victoria, Canada David Punter, University of Bristol, England Andrew Smith, University of Glamorgan, Wales Anne Williams, University of Georgia, USA Previously published Monstrous media/ spectral subjects: imaging gothic f om the nineteenth century to the present Edited by Fred Bot ing and Catherine Spooner Globalgothic Edited by Glennis Byron EcoGothic Edited by Andrew Smith and William Hughes Each volume in this series contains new essays on the many forms assumed by – as well as the most important themes and topics in – the ever-expanding range of international ‘gothic’ f ctions from the eighteenth to the twenty- f rst century. Launched by leading members of the International Gothic Association (IGA) and some editors and advisory board members of its journal, Gothic Studies , this series thus of ers cut ing- edge analyses of the great many variations in the gothic mode over time and all over the world, whether these have occurred in literature, f lm, theatre, art, several forms of cybernetic media, or other manifestations ranging from ‘goth’ group identities to avant garde displays of aesthetic and even political critique. T e ‘gothic story’ began in earnest in 1760s England, both in f ction and in drama, with Horace Walpole’s ef orts to combine the ‘ancient’ or supernatural and the ‘modern’ or realistic romance. T is blend of anomalous tendencies has proved itself remarkably f exible in playing out the cul- tural conf icts of the late Enlightenment and of more recent periods. Antiquated set ings with haunting ghosts or monsters and deep, dark secrets that are the mysteries behind them, albeit in many dif erent incarnations, continue to intimate both what audiences most fear in their per- sonal subconscious and the most pervasive tensions underlying western culture. But this always unset ling interplay of conf icting tendencies has expanded beyond its original potential as well, especially in the hands of its greatest innovators, to appear in an astounding variety of expres- sive, aesthetic and public manifestations over time. T e results have transported this inherently boundary- breaking mode across geographical and cultural borders into ‘gothics’ that now appear throughout the world: in the set ler communities of Canada, New Zealand, and Australia; in such postcolonial areas as India and Africa; in the Americas and the Caribbean; and in East Asia and several of the islands within the entire Pacif c Rim. T ese volumes consequently reveal and explain the ‘globalisation’ of the gothic as it has prolifer- ated across two- and- a- half centuries. T e General Editors of this series and the editors of every volume, of course, bring special expertise to this expanding development, as well as to the underly- ing dynamics, of the gothic. Each resulting collection, plus the occasional monograph, therefore draws together important new studies about particular examples of the international gothic – past, 99781526113443_pi-214.indd781526113443_pi-214.indd iiii 22/22/2017/22/2017 22:21:46:21:46 PPMM iii present or emerging – and these contributions can come from both established scholars in the f eld and the newest ‘rising stars’ of gothic studies. T ese scholars, moreover, are and must be just as international in their locations and orientations as this series is. Interested experts from throughout the globe, in fact, are invited to propose collections and topics for this series to the Manchester University Press. T ese will be evaluated, as appropriate, by the General Editors, members of the Editorial Advisory Board and/or other scholars with the requisite expertise, so that every published volume is professionally put together and properly refereed within the high- est academic standards. Only in this way can the International Gothic series be what its creators intend: a premiere worldwide venue for examining and understanding the shape- shif ing ‘strange- ness’ of a gothic mode that is now as multi- cultural and multi- faceted as it has ever been in its long, continuing and profoundly haunted history. 99781526113443_pi-214.indd781526113443_pi-214.indd iiiiii 22/22/2017/22/2017 22:21:46:21:46 PPMM iv 99781526113443_pi-214.indd781526113443_pi-214.indd iivv 22/22/2017/22/2017 22:21:46:21:46 PPMM v Neoliberal Gothic International Gothic in the Neoliberal Age Edited by Linnie Blake and Agnieszka Soltysik Monnet Manchester University Press 99781526113443_pi-214.indd781526113443_pi-214.indd v 22/22/2017/22/2017 22:21:46:21:46 PPMM vi Copyright © Manchester University Press 2017 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing- in- Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing- in- Publication Data applied for ISBN 978 1 5261 1344 3 hardback First published 2017 T e publisher has no responsibility for the persistence or accuracy of URLs for any external or third- party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset by Out of House Publishing Printed in Great Britain by ?????? 99781526113443_pi-214.indd781526113443_pi-214.indd vvii 22/22/2017/22/2017 22:21:46:21:46 PPMM vii Linnie Blake would like to dedicate this book to her mother, Sheila Robinson – whose lifelong radicalism has never failed to inspire and motivate – and to Ella and Freya Blake who will carry all she has taught us into the future. Agnieszka Soltysik Monnet would like to dedicate it to Christian, for his full- spectrum home economics of nourishing conversation, moral support and loving companionship. 99781526113443_pi-214.indd781526113443_pi-214.indd vviiii 22/22/2017/22/2017 22:21:46:21:46 PPMM viii 99781526113443_pi-214.indd781526113443_pi-214.indd vviiiiii 22/22/2017/22/2017 22:21:46:21:46 PPMM ix Contents Notes on contributors page xi Acknowledgements xiv Introduction: Neoliberal Gothic 1 Linnie Blake and Agnieszka Soltysik Monnet Part I. Neoliberal gothic monsters 1 Game of fangs: the vampire and neoliberal subjectivity 21 Aspasia Stephanou 2 Austerity bites: ref guring Dracula in a neoliberal age 38 S t é p h a n i e G e n z 3 Staging spectrality: capitalising (on) ghosts in German postdramatic theatre 56 Barry Murnane Part II. Biotechnologies, neoliberalism and the gothic 4 T e return of the dismembered: representing organ traf cking in Asian cinemas 83 K a t a r z y n a A n c u t a 99781526113443_pi-214.indd781526113443_pi-214.indd iixx 22/22/2017/22/2017 22:21:46:21:46 PPMM x x Content 5 Catastrophic events and queer northern villages: zombie pharmacology In the Flesh 104 L i n n i e B l a k e 6 Gothic vulnerability: af ect and ethics in f ction from neoliberal South Africa 122 R e b e c c a D u n c a n Part III. T e gothic home and neoliberalism 7 Market value: American Horror Story ’s housing crisis 145 Karen E. Macfarlane 8 Haunted by the ghost: from global economics to domestic anxiety in contemporary art practice 161 Tracy Fahey Part IV. Crossing borders 9 Gothic meltdown: German nuclear cinema in neoliberal times 179 S t e f en H a n t k e 10 Border gothic: Gregory Nava’s Bordertown and the dark side of NAFTA 200 Agnieszka Soltysik Monnet Index 215 99781526113443_pi-214.indd781526113443_pi-214.indd x 22/22/2017/22/2017 22:21:46:21:46 PPMM xi Contributors Katarzyna Ancuta is a lecturer at Assumption University in Bangkok, T ailand. Her research interests oscillate around the interdiscipli- nary contexts of contemporary gothic/ horror, currently with a strong Asian focus. Her recent publications include contributions to A New Companion to the Gothic (2012), Global Gothic ( 2 0 1 3 ) a n d T e Cambridge Companion to the Modern Gothic (2014), as well as two co- edited special journal issues on T ai (2014) and Southeast Asian (2015) horror f lm. Linnie Blake is Principal Lecturer and Director of the Centre for Gothic Studies at Manchester Metropolitan University. She is the author of T e Wounds of Nations: Horror Cinema, Historical Trauma and National Identity (Manchester University Press, 2008) a n d c o - editor (with X. Aldana Reyes) of Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon (2015). She has also published on a variety of gothic topics in journals such as Gothic Studies , Horror Studies and Cultural Sociology . Rebecca Duncan completed her DAAD- funded doctorate at Giessen University (Germany) in 2015. She is the author of the forthcoming South Af ican Gothic , and has published articles and book chapters on topics relating to postcolonial and South African textual cultures, the gothic and the speculative, and materialist ecocriticism. She cur- rently teaches in the Division of Languages and Literatures at Stirling University in Scotland. 99781526113443_pi-214.indd781526113443_pi-214.indd xxii 22/22/2017/22/2017 22:21:46:21:46 PPMM xii xii Notes on contributors Tracy Fahey is Head of the Department of Fine Art and Head of the Centre of Postgraduate Studies in Limerick School of Art and Design (LSAD).
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