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==Description==
==Description==
Suburban Gothic is defined by Bernice M. Murphy as "a sub-genre of the wider American Gothic tradition which dramatises anxieties arising from the mass urbanisation of the United States and usually features suburban settings, preoccupations and protagonists".<ref name="Murphyp2>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 2.</ref> She argues that a common trope of the suburban Gothic is the danger within a family or neighbourhood, rather than an external threat.<ref name="Murphyp3>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 3.</ref> Teenagers and children are often major protagonists or sources of threat and characteristic conflicts often focus on issues of individuality and conformity.<ref name="Murphyp2-3>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, pp. 2-3.</ref> Important early works identified with the sub-genre include [[Richard Matheson]]'s ''[[I Am Legend]]'' (1954) and [[Shirley Jackson]]'s, ''[[The Haunting of Hill House]]'' (1959).<ref name="Murphyp15>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 15.</ref> Works that include environmental concerns include [[Ira Levin]]'s ''[[The Stepford Wives]]'' (1972), [[Anne Rivers Siddons]]'s ''[[The House Next Door]]'' (1978) and the [[Todd Haynes]]'' film [[Safe (film)|Safe]]'' (1995).<ref name="Murphyp4>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 4.</ref> Important films include versions of these written works and [[Stephen Spielberg]]'s ''[[Poltergeist (film)|Poltergeist]]'' (1982).<ref>J. E. Hogle, ''The Cambridge Companion to Gothic Fiction'' (Cambridge: Cambridge University Press, 2002), ISBN 0521794668, p. xxv.</ref> TV series such as ''[[Buffy the Vampire Slayer]]'' and ''[[Desperate Housewives]]'' have also been seen as part of the sub-genre, dealing with concerns about hidden worlds behind the suburban facade.<ref name="Murphyp166>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 166.</ref>
Suburban Gothic is defined by Bernice M. Murphy as "a sub-genre of the wider American Gothic tradition which dramatises anxieties arising from the mass urbanisation of the United States and usually features suburban settings, preoccupations and protagonists".<ref name="Murphyp2>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 2.</ref> She argues that a common trope of the suburban Gothic is the danger within a family or neighbourhood, rather than an external threat.<ref name="Murphyp3>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 3.</ref> Teenagers and children are often major protagonists or sources of threat and characteristic conflicts often focus on issues of individuality and conformity.<ref name="Murphyp2-3>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, pp. 2-3.</ref> Important early works identified with the sub-genre include [[Richard Matheson]]'s ''[[I Am Legend]]'' (1954) and [[Shirley Jackson]]'s, ''[[The Haunting of Hill House]]'' (1959).<ref name="Murphyp15>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 15.</ref> Works that include environmental concerns include [[Ira Levin]]'s ''[[The Stepford Wives]]'' (1972), [[Anne Rivers Siddons]]'s ''[[The House Next Door]]'' (1978) and the [[Todd Haynes]]'' film [[Safe (film)|Safe]]'' (1995).<ref name="Murphyp4>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 4.</ref> Important films include versions of these written works and [[Steven Spielberg]]'s ''[[Poltergeist (film)|Poltergeist]]'' (1982).<ref>J. E. Hogle, ''The Cambridge Companion to Gothic Fiction'' (Cambridge: Cambridge University Press, 2002), ISBN 0521794668, p. xxv.</ref> TV series such as ''[[Buffy the Vampire Slayer]]'' and ''[[Desperate Housewives]]'' have also been seen as part of the sub-genre, dealing with concerns about hidden worlds behind the suburban facade.<ref name="Murphyp166>B. M. Murphy, ''The Suburban Gothic in American Popular Culture'' (Palgrave Macmillan, 2009), ISBN 0230218105, p. 166.</ref>


==Notes==
==Notes==

Revision as of 23:32, 5 October 2010

Suburban Gothic is a sub-genre of Gothic fiction, film and television, focused on anxieties associated with the creation of suburban communities, particularly in the United States, from the 1950s and 60s onwards. It often, but not exclusively, relies on the supernatural or elements of science fiction that have been in wider Gothic literature, but manifested in a suburban setting.

Description

Suburban Gothic is defined by Bernice M. Murphy as "a sub-genre of the wider American Gothic tradition which dramatises anxieties arising from the mass urbanisation of the United States and usually features suburban settings, preoccupations and protagonists".[1] She argues that a common trope of the suburban Gothic is the danger within a family or neighbourhood, rather than an external threat.[2] Teenagers and children are often major protagonists or sources of threat and characteristic conflicts often focus on issues of individuality and conformity.[3] Important early works identified with the sub-genre include Richard Matheson's I Am Legend (1954) and Shirley Jackson's, The Haunting of Hill House (1959).[4] Works that include environmental concerns include Ira Levin's The Stepford Wives (1972), Anne Rivers Siddons's The House Next Door (1978) and the Todd Haynes film Safe (1995).[5] Important films include versions of these written works and Steven Spielberg's Poltergeist (1982).[6] TV series such as Buffy the Vampire Slayer and Desperate Housewives have also been seen as part of the sub-genre, dealing with concerns about hidden worlds behind the suburban facade.[7]

Notes

  1. ^ B. M. Murphy, The Suburban Gothic in American Popular Culture (Palgrave Macmillan, 2009), ISBN 0230218105, p. 2.
  2. ^ B. M. Murphy, The Suburban Gothic in American Popular Culture (Palgrave Macmillan, 2009), ISBN 0230218105, p. 3.
  3. ^ B. M. Murphy, The Suburban Gothic in American Popular Culture (Palgrave Macmillan, 2009), ISBN 0230218105, pp. 2-3.
  4. ^ B. M. Murphy, The Suburban Gothic in American Popular Culture (Palgrave Macmillan, 2009), ISBN 0230218105, p. 15.
  5. ^ B. M. Murphy, The Suburban Gothic in American Popular Culture (Palgrave Macmillan, 2009), ISBN 0230218105, p. 4.
  6. ^ J. E. Hogle, The Cambridge Companion to Gothic Fiction (Cambridge: Cambridge University Press, 2002), ISBN 0521794668, p. xxv.
  7. ^ B. M. Murphy, The Suburban Gothic in American Popular Culture (Palgrave Macmillan, 2009), ISBN 0230218105, p. 166.

See also

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