This paper examines a strand in British television historical drama that presents what I term a “Gothicised” version of history. This actively engages with historical trauma as returning to confront its originating society, as the classic Gothic text represents the returning or ongoing effects of a traumatic past in the narrative present. In Peaky…[Read more]

This paper examines a strand in British television historical drama that presents what I term a “Gothicised” version of history. This actively engages with historical trauma as returning to confront its originating society, as the classic Gothic text represents the returning or ongoing effects of a traumatic past in the narrative present. In Peaky…[Read more]

This paper examines a strand in British television historical drama that presents what I term a “Gothicised” version of history. This actively engages with historical trauma as returning to confront its originating society, as the classic Gothic text represents the returning or ongoing effects of a traumatic past in the narrative present. In Peaky…[Read more]

This paper considers the 2018 television adaptation of Picnic at Hanging Rock as an example of Gothicised historical television drama, which uses the Gothic mode to present a past in a way that challenges our expectations of what prestige historical drama should be like, and to emphasise historical traumas and the way that they are still relevant…[Read more]

This paper considers the 2018 television adaptation of Picnic at Hanging Rock as an example of Gothicised historical television drama, which uses the Gothic mode to present a past in a way that challenges our expectations of what prestige historical drama should be like, and to emphasise historical traumas and the way that they are still relevant…[Read more]

This paper considers the 2018 television adaptation of Picnic at Hanging Rock as an example of Gothicised historical television drama, which uses the Gothic mode to present a past in a way that challenges our expectations of what prestige historical drama should be like, and to emphasise historical traumas and the way that they are still relevant…[Read more]

Keynote paper.
This paper examines the connections between the winter season and Gothic historical television dramas. It defines Gothic historical television dramas as dramas with a historical setting that take on a Gothic aesthetic and emphasise themes of trauma which are active in the past and continue to be active in the present. It also…[Read more]

Keynote paper.
This paper examines the connections between the winter season and Gothic historical television dramas. It defines Gothic historical television dramas as dramas with a historical setting that take on a Gothic aesthetic and emphasise themes of trauma which are active in the past and continue to be active in the present. It also…[Read more]

Keynote paper.
This paper examines the connections between the winter season and Gothic historical television dramas. It defines Gothic historical television dramas as dramas with a historical setting that take on a Gothic aesthetic and emphasise themes of trauma which are active in the past and continue to be active in the present. It also…[Read more]

This paper draws on the letters and messages and newspaper clipping held by the BBC Written Archives Centre in relation to the 1954 adaptation of Nineteen Eighty-Four as a case study for considering how we understand the historical reception of programming. This production is particularly useful in this regard because it achieved a certain…[Read more]

This paper draws on the letters and messages and newspaper clipping held by the BBC Written Archives Centre in relation to the 1954 adaptation of Nineteen Eighty-Four as a case study for considering how we understand the historical reception of programming. This production is particularly useful in this regard because it achieved a certain…[Read more]

This paper draws on the letters and messages and newspaper clipping held by the BBC Written Archives Centre in relation to the 1954 adaptation of Nineteen Eighty-Four as a case study for considering how we understand the historical reception of programming. This production is particularly useful in this regard because it achieved a certain…[Read more]

This paper draws on the letters and messages and newspaper clipping held by the BBC Written Archives Centre in relation to the 1954 adaptation of Nineteen Eighty-Four as a case study for considering how we understand the historical reception of programming. This production is particularly useful in this regard because it achieved a certain…[Read more]

‘Folk horror’ has often been considered, following Mark Gatiss’ description of the genre, as centrally focused on a particular ‘obsession with the British landscape, its folklore, and superstitions’. While these elements are clearly significant, they become more problematic when opening up the genre to include texts from beyond Britain. Not only…[Read more]