ABSTRACT
This chapter traces the fragmentation of the Gothic following its decoupling from the horror genre, which largely left behind the former’s medieval accoutrements in favour of modern settings and themes. The main argument is that, since the 1980s, the Gothic has been opened up and mainstreamed. While the Gothic has, architectonically, continued to symbolise barbarism and isolation, especially in regards to outdated beliefs or ideological systems, its images and tropes have more actively blossomed in other genres like animated films for children and the superhero action adventure and through the figure of the sympathetic monster. The chapter also considers the adaptations of main Gothic myths like Dracula, Frankenstein and Jekyll and Hyde, and argues that their lack of commercial success might be due to the fact that their cultural work has permeated other more flexible Gothic manifestations. The Gothic pastiches of Tim Burton and Universal Studios’ attempt to revamp their old monsters’ catalogue are also considered.
