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And if gothic literature is always about a troubled home/family life in some way (recall Freud’s formulation of the uncanny as something slightly askew within the “homely” or quotidian), then, Wheatley notes, gothic television is doubly uncanny. , 7). ). Certainly this describes the very structure and style of Dark Shadows as it wedded the conventional daytime televisual form of the 1960s to elaborate dream sequences and special effects– laden supernatural sequences. In her analysis of Dark Shadows itself, Wheatley notes the same domestic/gothic pairing within the diegetic space of Collinwood: the Great House is inhabited by the “normal” family, while the decaying Old House is inhabited by the vampire Barnabas.
This is an ongoing structural effect impossible to achieve in single closed texts such as the gothic novel or the horror film. The usual ideological effects of the horror film, perhaps most succinctly defined by Robin Wood as “normality . . threatened by the Monster” (Hollywood, 78), are also suspended or altered by Dark Shadows’ structure as a soap opera. In the classical Hollywood horror film (as opposed to more modern horror films) “normality” eventually overcomes and defeats the monster, suggesting the desirability of the status quo.
In 1795 she played Naomi Collins, head of the household and mother to Barnabas. In the 1897 sequence, Bennett was Judith Collins, again running the estate while falling afoul of several nefarious plots. Sometimes neurotic, alcoholic, or flighty, Bennett’s characters also frequently displayed strength and determination as she struggled to keep her family together. Especially during the first year of the show, Bennett’s Elizabeth Collins Stoddard might be understood as a rather generic soap opera mother, a sturdy trunk 55 Chapter 5 56 around whom various family intrigues entwine.
Чертежи кораблей французского флота BOUCLIER 1911
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