The 'Gothical'
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University of Siegen Faculty I Master’s Thesis The ‘Gothical’ On the Emergence of a Hybrid Genre Svenja Elena Zenz Literaturwissenschaft: Literatur, Kultur, Medien (Englisch) First Corrector: Prof. Dr. Stefan L. Brandt (University of Graz) Second Corrector: Dr. Cathy Waegner (University of Siegen) Table of Contents 1 The Overture – An Introduction ...................................................................................1 2 ‘Genre Omnivores’: Challenging Genre(s) and Hybridity .............................................5 2.1 ‘Genrefication’: Useful Aid or Restraining Tool? ...................................................5 2.1.1 The Gothic: The Joy of Horror.....................................................................10 2.1.2 The Musical: Just a Light-Hearted Entertainment Genre? ...........................22 2.2 Hybrids: The New Genres? ................................................................................28 2.2.1 The Gothical: When Gothic Meets Musical .................................................39 2.2.2 The Interlude – From Theory to Analyses ...................................................42 3 The Rocky Horror Picture Show: A Happy-Go-Lucky Freak Show? ..........................43 3.1 The Creature’s Awakening: A Musical Reminiscence of Frankenstein ...............44 4 Sweeney Todd – The Demon Barber of Fleet Street: A Nightmare on Fleet Street ...56 4.1 “Try a Little Priest”: A Waltzing Flesh Hunt .........................................................58 5 REPO! The Genetic Opera: From Life-Saving Operations to Money Madness..........69 5.1 ‘Organ-Ization’: The Repo Man in Action............................................................72 6 The Finale – A Conclusion ........................................................................................83 7 References ...............................................................................................................86 7.1 Bibliography – Works Cited and Consulted ........................................................86 7.2 Filmography – Films Cited and Consulted..........................................................91 8 Index .........................................................................................................................95 1 1 The Overture – An Introduction Once I had told friends about the topic of my Master’s thesis I felt their skepticism and confusion about my choice. Therefore, I explained my theory of the genre ‘Gothical,’ a convergence of Gothic films and Musicals, and soon enough faced questions like ‘does that even exist?’, ‘what is that?’ and ‘how do Gothic films and Musicals fit together?’. When I mentioned the films I had chosen, the initial skepticism changed into interest though they were still a bit unsure about what to expect. The Rocky Horror Picture Show (1975), regarded as a ‘film classic’ and well-known due to its famous actors such as Susan Sarandon and musician Meat Loaf is probably the most iconic selected film example. Alongside this classic, Sweeney Todd – The Demon Barber of Fleet Street (2007) also features spectator magnets like Johnny Depp and Helena Bonham Carter in rather unusual roles as they both sing and dance in addition to their acting. My third example of a ‘Gothical’ is the recently produced film REPO! The Genetic Opera (2008) by Darren Lynn Bousman who is also the director of the horror films Saw II, Saw III, and Saw IV. At first sight my three film examples appear to include contrasting film genres. However, the combination of these components can provoke impressive effects. Why is it so hard for many spectators to acknowledge the union of these unlikely siblings, Gothic and Musical? The assumptions which numerous people have – including myself before conducting this research – that Gothic films are always dark and uncanny, taking place in castles and that especially the Musical film is a happy-go-lucky genre are not completely valid. Therefore, I decided to take a closer look at the Gothic and the Musical genre with regard to the medium of film and examine in how far a new hybrid genre, what hereafter I will call the ‘Gothical’,1 is emerging – the genre title itself being a hybrid, a neologism. Particularly, the ‘friction’ of two rather differing genres is what has kept my interest ever since I became aware of the existence of the Gothical. In this thesis, I will argue that the hybrid genre Gothical emerges and needs to be considered a crucial contemporary phenomenon. Therefore, I will demonstrate how the Gothical mingles characteristics from the Gothic film as well as the Musical and combines their parameters by using irony as its main tool of criticism. This specific form of irony aims directly at the heart of social problems in subject areas such as gender, race, and/or 1 The term ‘Gothical’ has been used by Scott Freer in his article “The Victorican Criminal Underworld and the Musical Carnivalesuqe.” An explanation on how this study understands the term ‘Gothical’ is going to follow in Chapter 2.2. and 2.2.1. 2 class – the classic triad in cultural theory.2 Although Gothic films as well as Musicals often include social criticism, the new hybrid genre Gothical converges the main characteristics of both genres and thereby reinforces a critical reading of social problems. The Gothic film and the Musical may at first appear to be contradictory genres but their amalgamation leads to a progressive concept of irony and thus increases criticism regarding social evils since the Gothical’s combined means go further than in the original genres. Irony frequently operates as tool for criticism and as Linda Hutcheon suggests “the often ‘cutting’ edge of irony . is always a social and political edge.”3 Indeed, the idea of ‘hybridity’ is not new as well-known theorists like Homi K. Bhabha (The Location of Culture, 1994) and W.E.B. Du Bois (The Souls of Black Folk, 1903) shaped this concept in cultural theory.4 The Russian formalist Mikhail Bakhtin has also applied this term to literary theory. Moreover, in literary and film theory, genre mixes have been important for a long time, for instance Horror-Thrillers, Sci-fi Thrillers, or Romantic Comedies. Therefore, some of the already developed theoretical approaches from other research areas will serve as framework for my thesis. Methodically situated in cultural and film studies, this study will draw upon these concepts. During my research, I found that theoretical approaches which explicitly examine ‘genre hybridity’ in films, except for general superficial categorizations, are rare and that being the case, this thesis is advancing into unexplored areas. One book, however, which clearly deals with this phenomenon, is Ira Jaffe’s Hollywood Hybrids: Mixing Genres in Contemporary Films from 2008. His work has been of particular importance for the theory part of my thesis. Yet, Jaffe has primarily been concerned with other genres and their mixes – amongst others, Action, Western, Melodrama, Thriller – though parallels to the Gothical can be observed. Social criticism can be found in many film genres but it certainly is a crucial effect of the Gothical. Although there are countless genre mixes in the history of film and these have also been dealt with in theory, I could only find one single work that has already touched upon the idea of the Gothical. Despite the fact that Scott Freer (University of Leicester, England, UK) has already utilized the term Gothical, his insight primarily focuses on the aesthetic value of this genre mix as he merely understands the Gothical as a sub-genre of the Musical. Therefore, this study offers a new and more extensive approach by not only 2 Works to consult for further information: Ott, Brian L., and Robert L. Mack. Critical Media Studies: An Introduction. Malden, Oxford, West Sussex: Blackwell Publishing, 2010. Print. Ackermann, Robert John. Heterogeneities: Race, Gender, Class, Nation, and State. Massachusetts: University of Massachusetts Press, 1996. Print. 3 Hutcheon Irony’s Edge: The Theory and Politics of Irony i. 4 W.E.B. Du Bois is often named in reference to ‘hybridity’ – as for instance in Jeremy Hawthorn’s definition “Hybrid/hybridization” in A Glossary of Contemporary Literary Theory and Peter Brooker’s A Glossary of Cultural Theory – because Du Bois described the concept of ‘twoness’ and ‘double consciousness’ which seems similar to that of ‘hybridity.’ 3 declaring the existence of a sub-genre but considering the Gothical a new independent hybrid genre. In this thesis, I want to enhance Freer’s first proposal by showing that the Gothical provides the socio-cultural function of social criticism. On top of that, this study is concerned with theories of Postmodernism and Romance. Postmodernist ideas show similarities to the mechanics of the Gothical as, for example, general structures and truths are questioned, borders between original and reproduction diminish, and edges of high and low or popular art are queried. In terms of a postmodernist approach to the Gothical, this thesis will unveil the ways how criticism is applied and combined with intertextual devices and the aforementioned concept of irony. Considering that “before 1860 the term romance in America connoted characteristics [such as the supernatural that is] now associated with the gothic”5 it is relevant for this study to include the development of the Gothic. This thesis can be divided into two major parts: A theoretical and an analytical part. Within the theory section, the focus is placed on scrutinizing