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E-raamat: Penny Dreadful and Adaptation: Reanimating and Transforming the Monster

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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 Showtimes 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. 

Hear the authors talk about the collection here: https://nrftsjournal.org/monsters-all-are-we-not-an-interview-with-julie-grossman-and-will-scheibel/
1 Introduction
1(12)
Julie Grossman
Will Scheibel
Works Cited
10(3)
Part I Welcome to the Night: Issues of Reading and Media
13(56)
2 The Medium Is the Model
15(16)
Thomas Leitch
Works Cited
29(2)
3 The Adaptive Marketing of Penny Dreadful: Listening to The Dreadfuls
31(18)
Christine Becker
Introduction
31(2)
Showtime's Inferior Status
33(2)
Speaking Dreadful
35(3)
The Dreadfuls Speak Back
38(5)
Conclusion
43(1)
Works Cited
44(5)
4 Penny Dreadful and Frankensteinian Collection: Museums, Anthologies, and Other Monstrous Media from Shelley to Showtime
49(20)
Mike Goode
Part I Penny Dreadful Collections
49(4)
Part II Canons and Characters
53(5)
Part III Frankenstein and the Anthology
58(5)
Part IV Penny Dreadful as Frankensteinian Collection
63(3)
Works Cited
66(3)
Part II Anatomy of a Monster: Horror and the Gothic in Literature and on the Screen
69(70)
5 In the House of the Night Creatures: Penny Dreadful's Dracula
71(16)
Joan Hawkins
Dracula 1
73(2)
The Woman Question and The Vampire's Wife
75(4)
Feminism, Suffrage, and Lily
79(3)
Psychoanalysis and the Occult
82(2)
Gothic and Neo-Gothic
84(1)
Works Cited
85(2)
6 Vampirism, Blood, and Memory in Penny Dreadful and Only Lovers Left Alive
87(18)
Luciana Tamas
Eckart Voigts
The Myth of Blood: The Body in (Vampire) Films
87(4)
Penny Dreadful: The Syncretic Vampire of Popular Culture
91(6)
Melancholizing the Visceral in Only Lovers Left Alive
97(6)
Works Cited
103(2)
7 "The Dead Place": Cosmopolitan Gothic in Penny Dreadful's London
105(16)
Kendall R. Phillips
Cosmopolitan Gothic and the Echoes of Empire
107(11)
Conclusion
118(1)
Works Cited
119(2)
8 Adapting the Universal Classic Monsters in Penny Dreadful: An Uncanny Resurrection
121(18)
Will Scheibel
"I Know This Place, I've Been Here Before": Home Texts and Unhomely Adaptations
124(5)
House of Vanessa Ives: John Logan's Monster Mash(up)
129(7)
Works Cited
136(3)
Part III The Monster Unbound: Theatrical Performance, Western Dime Novels, and TV Noir
139(56)
9 Penny Dreadful and the Stage: Lessons in Horror and Heritage
141(16)
Shannon Wells-Lassagne
Victorian Legacies: The Heritage of Performance in Penny Dreadful
142(6)
Showtime: The Performance of Heritage in Penny Dreadful
148(3)
Performance and Spectatorship in Penny Dreadful
151(3)
Works Cited
154(3)
10 Ethan Chandler, Penny Dreadful, and the Dime Novel; or, Dancing with American Werewolves in London
157(20)
Ann M. Ryan
The Western Hero
158(8)
The Dark Sidekick
166(6)
Conclusion: The American Monster
172(3)
Works Cited
175(2)
11 Dreadful Noir, Adaptation, and City of Angels: "Monsters, All, Are We Not?"
177(18)
Julie Grossman
Phillip Novak
"Where Strangeness is Not Shunned But Celebrated": Adapting to City of Angels
178(3)
Cherchez la Femme
181(3)
"You May Think You Know What You're Dealing With": Adapting toward Complexity
184(8)
Works Cited
192(3)
Part IV Meanings of Monstrosity: Identity, Difference, and Experience
195(74)
12 Penny Dreadful's Palimpsestuous Bride of Frankenstein
197(20)
Lissette Lopez Szwydky
The Bride: A Palimpsest of Consent, Class, and Hypersexualization
199(4)
Pygmalion's "Perfect" Woman
203(3)
Gendered Trauma and a "Revolution in Female Manners"
206(6)
Conclusion
212(2)
Works Cited
214(3)
13 Predators Far and Near: The Sadean Gothic in Penny Dreadful
217(16)
Lindsay Hallam
The Sadean Libertine
219(5)
The Marquis de Sade and the Gothic
224(3)
A Dreadful Mix of High and Low
227(4)
Works Cited
231(2)
14 "All Those Sacred Midnight Things": Queer Authorship, Veiled Desire, and Divine Transgression in Penny Dreadful
233(20)
James Bogdanski
Works Cited
251(2)
15 Borderland Identities in Penny Dreadful: City of Angels
253(16)
Seda Oz
Works Cited
266(3)
Index 269
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 Hollywoods Home Front (2022) and, with Julie Grossman, co-author of Twin Peaks (2020).