Undermining the Everyday: Daphne Du Maurier’s Gothic Horror by Gina Wisker

“…As instability and the unknowable disturb complacencies and certainties in these narratives, Du Maurier overwrites the Gothic romance of popular fiction, replacing it with Gothic horror.…”
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Chronique, fiction, roman de non-fiction by Florence Olivier

“…Next to mass-medias’ diffusion of drug trafficking culture, as well as published journalistic investigations about the cartels, some authors of chronicles, novelists and storytellers looked for – and found – literary expressions that go beyond fascination and horror denunciation. The non-fiction novel Campos de amapola. …”
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Understanding Women’s Horrors in Refugee Camps through Silence is My Mother Tongue by Tara Prasad Adhikari

“…The study on “Understanding Women's Horrors in Refugee Camps through Silence is My Mother Tongue” explores the psychological and social challenges faced by women refugees in refugee camps worldwide. …”
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“deepen[ing] the power and horror of the original”: Caroline Clive’s Paul Ferroll as Descendant of Jane Eyre by Adrienne E. Gavin

“…En renversant les attentes victoriennes dans le champ de la fiction et en transgressant les « règles » imposées aux femmes-écrivains, ces livres étaient, pensait-on, porteurs de qualités « masculines » tour à tour louées et dénigrées. …”
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Houses of Horror or Magical Kingdoms? Past Times Revisited with Miguel Ángel Asturias, Carlos Fuentes and Julio Cortázar by Lois Marie Jaeck

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La science-fiction fantastique de Maurice Renard by Arthur B. Evans

“…Although one of the most prominent writers (and theorists) of science fiction in throughout the period of 1900-1930, Maurice Renard has heretofore received very little critical attention outside his native land. …”
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Mythologies of American violence in Alan Ball's True Blood series by Anne-Marie PAQUET-DEYRIS

“…What kind of connection does the series establish between reality and fiction? Or else, which function(s) does the serial format serve when it tackles specific social, political, economic or societal aspects of reality at a specific time and place?…”
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Blockbuster de science-fiction : étendue, extension, morcellement du territoire by Gaspard Delon

“…The market share of science fiction cinema within North American production (difficult to assess because of the overlap between SF cinema, horror, disaster films or superhero films) is limited but significant and expanding, sometimes spectacularly, in the 2000s. …”
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“True fiction” – the memory and the postmemory of traumatic war events in a picturebook by Magdalena Howorus-Czajka

“…The picturebook, like other types of art, operates through the language of fiction to tell the truth. Art is one of the languages of historical narration. …”
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Apports de l’iconographie sidérale aux problématiques spatiales vidéoludiques : le cas des jeux vidéo horrifiques by Guillaume Baychelier

“…Science-fiction and the imaginary of cosmos bring a fertile framework to video games. …”
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From Sensationalism to Sensation: Brian Evenson’s Affecting Texts by Nawelle Lechevalier-Bekadar

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Gothic Fault-Lines in Anne Brontë’s Social Fiction: The Case of The Tenant of Wildfell Hall (1848) by Isabelle Hervouet

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A Critical Review on the Book The Fantasy Film by Ali Khorashadi, Mohammad Shahba

“…One of the important theoretical issues about fantasy works is the confusion of such films with other works of cinema such as horror and science fiction. An accurate definition of the concept of fantasy is problematic; Therefore, considering the creation of brilliant works that carry the attribute of fantasy after the 21st century, and the audience's interest in these works in recent times, as well as the growth of cinematic technology, find specific frameworks to determine the characteristics of fantasy works and distinguish them from other similar works such as science-fiction and horror seem necessary. …”
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Gothic Sounds and the Foreshadowing of Victorian Soundscapes by Lucie Ratail

“…Through the definition of both generic and specific gothic soundscapes, it analyses the impact of sound theories on reality and fiction.…”
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(Des)memória e catástrofe: considerações sobre a literatura pós-golpe de 1964 by Ettore Finazzi-Agrò

“…In this context, the stories – told by many authors and some of the survivors of repression – seem to play an important role in supplying the deficiencies of the History, in order to show, effectively even if through fiction, the nefas that characterized in particular torture and murder of opponents. …”
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Słowo - obraz - pamięć w labiryntach komiksu by Grażyna Gajewska

“…In the United States, in turn, crude science fiction, horror or joke graphic stories were most popular. …”
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Frontières de l’humain et technologies de genre monstrueux by Kevin Lambert

“…According to Halberstam in Skin Shows: Gothic Horror and the Technology of Monsters, contemporary fictional incarnations of monsters herald a change in the representation of the figure. …”
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Tell Me Lies (Peter Brook, 1968) or How I Learned to Start Worrying about Vietnam by Nicole Cloarec

“…The film’s originality also lies in its kaleidoscopic aesthetics, blending documentary techniques with fiction, the immediacy of newsreels and pieces to camera with musical interludes, staged performances, Brechtian “alienation effects” and self-reflexive comments. …”
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“Magic Portraits Drawn by the Sun”: New Orleans, Yellow Fever, and the sense(s) of death in Josh Russell’s Yellow Jack by Owen Robinson

“…As well as providing an intense fictional encounter with a formative period in New Orleans’s history, Yellow Jack is a sophisticated study of the role of visual imagery in documenting such horrors, whose prose is steeped in the smells and sounds of the time and place. …”
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