Tren de Sombras: El Espectro de le Thuit: Memory, Genre and Film Technology

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Notes

Notes

1 Loxham, Cinema at the Edges: New Encounters with Julio Medem, Bigas Luna and José Luis Guerín, pp. 142–143.

2 Kinder, “Uncanny Visions of History: Two Experimental Documentaries from Transnational Spain—Asaltar los Cielos and Tren de Sombras,” in Film Quarterly, p. 23.

3 Ibid.

4 Ibid

5 López and Pizarro, Silencios de Pánico: Historia del Cine Fantástico y de Terror Espaňol, 1897–2010, p. 367.

6 Kinder, Uncanny Visions, p. 18.

7 Botting, “Technospectrality: Essay on Uncannimedia,” in Technologies of the Gothic in Literature and Culture: Technogothics; Sconce, Haunted Media: Electronic Presence from Telegraphy to Television.

8 Loxham, Cinema, p. 140.

9 Warner, “Insubstantial Pageants,” in The Gothic, p. 58.

10 Horace Walpole’s The Castle of Otranto (1764), in which Walpole only confessed his authorship with the publication of the second edition in 1765.

11 Hogle, “The Gothic Ghost of the Counterfeit and the Progress of Abjection,” in A Companion to the Gothic, p. 293.

12 Ibid., p. 298.

13 Warner, Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self, p. 177.

14 Botting, Technospectrality, p. 19.

15 Banash, “The Blair Witch Project: Technology, Repression, and the Evisceration of Mimesis,” in Nothing That Is: Millennial Cinema and the Blair Witch Controversies, p. 115.

16 I am grateful to Dr. Stefanie Van De Peer for drawing my attention to the work of Robbins and Woofter. Robbins and Woofter, “Gothumentary: The Gothic Unsettling of Documentary’s Rhetoric of Rationality,” in Textus.

17 Ibid., p. 50.

18 Ibid., p. 54.

19 Ibid., p. 55.

20 Cuevas Álvarez, “En las Fronteras del Cine Aficionado: Tren de Sombras y El Proyecto de la Bruja de Blair,” in Comunicación y Sociedad; Kinder, Uncanny Visions.

21 Maturin, Melmoth the Wanderer (Oxford: Oxford Universty Press, 1989).

22 Pérez-Reverte, El Club Dumas (The Dumas Club) (Madrid: Alfaguara, 1998).

23 Cuevas Álvarez, Fronteras del Cine; Higley and Weinstock, Nothing That Is: Millennial Cinema and the Blair Witch Controversies.

24 Spooner, “Twenty-First Century Gothic,” in Terror and Wonder: The Gothic Imagination, p. 186.

25 Cabello, “Construyendo Tiempo: Los Ensayos Cinematográficos de José Luis Guerín,” in Ciberletras 12 (2005).

26 Botting, “Aftergothic: Consumption, Machines, and Black Holes,” in The Cambridge Companion to Gothic Fiction, p. 281.

27 Sheridan Lefanu, ‘Carmilla’. In A Glass Darkly (Oxford: Oxford University Press, 2008).

28 Kinder, Uncanny Visions, p. 23.

29 Botting, Technospectrality, p. 19.

30 Kinder, Uncanny Visions, p.13.

31 Ibid., p. 23.

32 Botting, Technospectrality; Kinder, Uncanny Visions.

33 Botting, Technospectrality, p. 23.

34 Ibid., p. 29.

35 See also Spooner, Post-Millennial Gothic: Comedy, Romance and the Rise of Happy Gothic.

36 Moore, “Haunting Memories: Gothic and Memoir,” in Gothic Landscapes: Changing Eras, Changing Cultures, Changing Anxieties, p. 173.

37 Robbins and Woofter, Gothumentary, p. 52.

38 Higley, “‘People Just Want to See Something:’ Art, Death, and Document in Blair Witch, The Last Broadcast, and Paradise Lost,” in Nothing That Is: Millennial Cinema and the Blair Witch Controversies, p. 105.