Penny Dreadful and Adaptation: Reanimating and Transforming the Monster
Editors: Julie Grossman and Will Scheibel
Palgrave Macmillan, 2023
Available from SpringerLink in print, as an ebook, and as individual chapters. Full details at https://link.springer.com/book/10.1007/978-3-031-12180-7.
Experiments with recent interdisciplinary methodologies to understand the mechanisms of adaptation more broadly
Conceptualizes adaptation beyond the traditional dyad of literature and screen media
Explores the relationship between text, context, and intertext to understand how meaning is made and remade
Part of the book series: Palgrave Studies in Adaptation and Visual Culture (PSADVC)
Front Matter
Pages i-xviii
Introduction
Julie Grossman, Will Scheibel
Pages 1-11
Welcome to the Night: Issues of Reading and Media
The Medium Is the Model
Thomas Leitch
Pages 15-30
The Adaptive Marketing of Penny Dreadful: Listening to The Dreadfuls
Christine Becker
Pages 31-47
Penny Dreadful and Frankensteinian Collection: Museums, Anthologies, and Other Monstrous Media from Shelley to Showtime
Mike Goode
Pages 49-67
Anatomy of a Monster: Horror and the Gothic in Literature and on the Screen
In the House of the Night Creatures: Penny Dreadful’s Dracula
Joan Hawkins
Pages 71-86
Vampirism, Blood, and Memory in Penny Dreadful and Only Lovers Left Alive
Luciana Tamas, Eckart Voigts
Pages 87-104
“The Dead Place”: Cosmopolitan Gothic in Penny Dreadful’s London
Kendall R. Phillips
Pages 105-120
Adapting the Universal Classic Monsters in Penny Dreadful: An Uncanny Resurrection
Will Scheibel
Pages 121-137
The Monster Unbound: Theatrical Performance, Western Dime Novels, and TV Noir
Penny Dreadful and the Stage: Lessons in Horror and Heritage
Shannon Wells-Lassagne
Pages 141-155
Ethan Chandler, Penny Dreadful, and the Dime Novel; or, Dancing with American Werewolves in London
Ann M. Ryan
Pages 157-176
Dreadful Noir, Adaptation, and City of Angels: “Monsters, All, Are We Not?”
Julie Grossman, Phillip Novak
Pages 177-193
Meanings of Monstrosity: Identity, Difference, and Experience
Penny Dreadful’s Palimpsestuous Bride of Frankenstein
Lissette Lopez Szwydky
Pages 197-215
Predators Far and Near: The Sadean Gothic in Penny Dreadful
Lindsay Hallam
Pages 217-232
“All Those Sacred Midnight Things”: Queer Authorship, Veiled Desire, and Divine Transgression in Penny Dreadful
James Bogdanski
Pages 233-252
Borderland Identities in Penny Dreadful: City of Angels
Seda Öz
Pages 253-267
Back Matter
Pages 269-282
Will Scheibel is an associate professor of English at Syracuse University, USA, where he teaches film and screen studies. He is the author of Gene Tierney: Star of Hollywood’s Home Front (2022) and, with Julie Grossman, co-author of Twin Peaks (2020).
Experiments with recent interdisciplinary methodologies to understand the mechanisms of adaptation more broadly
Conceptualizes adaptation beyond the traditional dyad of literature and screen media
Explores the relationship between text, context, and intertext to understand how meaning is made and remade
Part of the book series: Palgrave Studies in Adaptation and Visual Culture (PSADVC)
About this book
This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime’s 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the “bride” of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters.Contents
Front Matter
Pages i-xviii
Introduction
Julie Grossman, Will Scheibel
Pages 1-11
Welcome to the Night: Issues of Reading and Media
The Medium Is the Model
Thomas Leitch
Pages 15-30
The Adaptive Marketing of Penny Dreadful: Listening to The Dreadfuls
Christine Becker
Pages 31-47
Penny Dreadful and Frankensteinian Collection: Museums, Anthologies, and Other Monstrous Media from Shelley to Showtime
Mike Goode
Pages 49-67
Anatomy of a Monster: Horror and the Gothic in Literature and on the Screen
In the House of the Night Creatures: Penny Dreadful’s Dracula
Joan Hawkins
Pages 71-86
Vampirism, Blood, and Memory in Penny Dreadful and Only Lovers Left Alive
Luciana Tamas, Eckart Voigts
Pages 87-104
“The Dead Place”: Cosmopolitan Gothic in Penny Dreadful’s London
Kendall R. Phillips
Pages 105-120
Adapting the Universal Classic Monsters in Penny Dreadful: An Uncanny Resurrection
Will Scheibel
Pages 121-137
The Monster Unbound: Theatrical Performance, Western Dime Novels, and TV Noir
Penny Dreadful and the Stage: Lessons in Horror and Heritage
Shannon Wells-Lassagne
Pages 141-155
Ethan Chandler, Penny Dreadful, and the Dime Novel; or, Dancing with American Werewolves in London
Ann M. Ryan
Pages 157-176
Dreadful Noir, Adaptation, and City of Angels: “Monsters, All, Are We Not?”
Julie Grossman, Phillip Novak
Pages 177-193
Meanings of Monstrosity: Identity, Difference, and Experience
Penny Dreadful’s Palimpsestuous Bride of Frankenstein
Lissette Lopez Szwydky
Pages 197-215
Predators Far and Near: The Sadean Gothic in Penny Dreadful
Lindsay Hallam
Pages 217-232
“All Those Sacred Midnight Things”: Queer Authorship, Veiled Desire, and Divine Transgression in Penny Dreadful
James Bogdanski
Pages 233-252
Borderland Identities in Penny Dreadful: City of Angels
Seda Öz
Pages 253-267
Back Matter
Pages 269-282
About the editors
Julie Grossman is a professor of English and Communication and Film Studies at Le Moyne College in Syracuse, NY, USA. Her monographs include Literature, Film, and Their Hideous Progeny (2015), Ida Lupino, Director (with Therese Grisham, 2017), Twin Peaks (with Will Scheibel, 2020), and The Femme Fatale (2020). She is co-editor (with R. Barton Palmer) of the essay collection Adaptation in Visual Culture (2017) and (with Marc C. Conner and R. Barton Palmer) Screening Contemporary Irish Fiction and Drama (2022).Will Scheibel is an associate professor of English at Syracuse University, USA, where he teaches film and screen studies. He is the author of Gene Tierney: Star of Hollywood’s Home Front (2022) and, with Julie Grossman, co-author of Twin Peaks (2020).
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