David Annwn Jones is Lecturer in English at the Open University

• IntroductionChapter 11.1 Gothic and Gothic Revival architecture 1.2 Graveyards, crypts and mausolea1.3 Ruins1.4 Follies and gardens 1.5 Décor, domestic furniture and uncanny household items 1.6 Theatre and stage1.7 Masquerade, Halloween and Gothic as pageant and immersive spectacle1.8 Dance and mime Chapter 22.1 Early painting to the eighteenth century2.2 Painting: Goya to Giger and after2.3 Engravings: icons of ancestral fear2.4 The macabre graphic art of the Blue books and Penny Dreadfuls2.5 Revivified and spectral portraits: Otranto’s yawning picture to M.R. James’s ‘The Mezzotint’2.6 Uncanny signs and postersChapter 33.1 Sculptors and statuary3.2 Wax simulacra 3.3 Dolls, effigies, mommets and poppets 3.4 Moving statues and automata3.5 Tableaux vivants and poses plastiques3.6 Cabinets of curiosity 3.7 Postmodern Gothic sculptures and figurines 3.8 Taxidermy Chapter 44.1 Ghost machines: the Satanic Eidophusikon and peepshows 4.2 Phantasmagoria and magic lanterns: E-A Roberston’s lantern-of-fear4.3 Stereoscope ‘Diableries’4.4 ‘Pepper’s Ghost’ and the domestic lantern horror show4.5 Eerie sight machines, zoetropes and the whirling witches of Plateau’s Phenakistoscope4.6 Gothic Kinetoscopes to early American horror film4.7 Gothic films, from silents to electronic movie making4.8 Gothic TVChapter 55.1 Gothic comics, graphic novels and icons5.2 Silhouettes, Ombres Chinoises and shadowgraphs 5.3 Damnable lithographs: Louis Boulanger’s Satanic ‘La Ronde de Sabbat’and the dark barbarism of the ‘lapidary art’5.4 Dressed, adorned and altered prints and books 5.5 Leporellos, moving books and monstrous concertina texts5.6 Gothic calendarsChapter 66.1 The dark hold of Daguerreotypes and early photography 6.2 Mourning and spirit photographs 6.3 Gothic collage, photocollage and shadow boxes6.4 Haunts, great houses, cadavers and ossuaries: the photography of Simon Marsden and Paul Koudounaris 6.5 Modern photographyChapter 77.1 Gothic scripts, fonts, ciphers and calligraphy7.2 A dark chaos of marbled papers 7.3 Gothic labelling, packaging and ads7.4 Graffiti, curses, sigils and heraldry7.5 Tapestries and embroidery 7.6 Book covers and magazine covers 7.7 Record and CD cover art Chapter 88.1 Gothic costume, ancient and modern 8.2 Gothic jewellery 8.3 ‘Gothic toys through Gothic glass’8.4 Masks, weapons, and athames8.5 Playing cards and the TarotChapter 99.1 New media: the art of Gothic gaming and horror apps9.2 Ghost trains9.3 Horror environments and itineraries, escape rooms, Halloween hayrides and tourist attractions 9.4 Gothic installations 9.5 Performance art, body art, tattoos and facepaintIndex

‘With 60 luscious black and white illustrations, Gothic Effigy is a real feast for the eyes as well as a stimulating and encyclopaedic intervention in Gothic Studies. The book takes its readers on an ambitious journey through the various histories of Gothic visual media, most of which have only peripherally been the subject of academic attention. Bringing together traditional architecture, sculpture and painting with more modern artistic and ludic ephemera like jewellery, Halloween hayrides and graffiti, David Annwn Jones’s new book proves to be original, erudite, approachable and necessary. Nothing short of an instant classic.’Dr Xavier Aldana Reyes, Senior Lecturer in English Literature and Film at Manchester Metropolitan University

David Annwn Jones is Lecturer in English at the Open University

• IntroductionChapter 11.1 Gothic and Gothic Revival architecture 1.2 Graveyards, crypts and mausolea1.3 Ruins1.4 Follies and gardens 1.5 Décor, domestic furniture and uncanny household items 1.6 Theatre and stage1.7 Masquerade, Halloween and Gothic as pageant and immersive spectacle1.8 Dance and mime Chapter 22.1 Early painting to the eighteenth century2.2 Painting: Goya to Giger and after2.3 Engravings: icons of ancestral fear2.4 The macabre graphic art of the Blue books and Penny Dreadfuls2.5 Revivified and spectral portraits: Otranto’s yawning picture to M.R. James’s ‘The Mezzotint’2.6 Uncanny signs and postersChapter 33.1 Sculptors and statuary3.2 Wax simulacra 3.3 Dolls, effigies, mommets and poppets 3.4 Moving statues and automata3.5 Tableaux vivants and poses plastiques3.6 Cabinets of curiosity 3.7 Postmodern Gothic sculptures and figurines 3.8 Taxidermy Chapter 44.1 Ghost machines: the Satanic Eidophusikon and peepshows 4.2 Phantasmagoria and magic lanterns: E-A Roberston’s lantern-of-fear4.3 Stereoscope ‘Diableries’4.4 ‘Pepper’s Ghost’ and the domestic lantern horror show4.5 Eerie sight machines, zoetropes and the whirling witches of Plateau’s Phenakistoscope4.6 Gothic Kinetoscopes to early American horror film4.7 Gothic films, from silents to electronic movie making4.8 Gothic TVChapter 55.1 Gothic comics, graphic novels and icons5.2 Silhouettes, Ombres Chinoises and shadowgraphs 5.3 Damnable lithographs: Louis Boulanger’s Satanic ‘La Ronde de Sabbat’and the dark barbarism of the ‘lapidary art’5.4 Dressed, adorned and altered prints and books 5.5 Leporellos, moving books and monstrous concertina texts5.6 Gothic calendarsChapter 66.1 The dark hold of Daguerreotypes and early photography 6.2 Mourning and spirit photographs 6.3 Gothic collage, photocollage and shadow boxes6.4 Haunts, great houses, cadavers and ossuaries: the photography of Simon Marsden and Paul Koudounaris 6.5 Modern photographyChapter 77.1 Gothic scripts, fonts, ciphers and calligraphy7.2 A dark chaos of marbled papers 7.3 Gothic labelling, packaging and ads7.4 Graffiti, curses, sigils and heraldry7.5 Tapestries and embroidery 7.6 Book covers and magazine covers 7.7 Record and CD cover art Chapter 88.1 Gothic costume, ancient and modern 8.2 Gothic jewellery 8.3 ‘Gothic toys through Gothic glass’8.4 Masks, weapons, and athames8.5 Playing cards and the TarotChapter 99.1 New media: the art of Gothic gaming and horror apps9.2 Ghost trains9.3 Horror environments and itineraries, escape rooms, Halloween hayrides and tourist attractions 9.4 Gothic installations 9.5 Performance art, body art, tattoos and facepaintIndex

‘With 60 luscious black and white illustrations, Gothic Effigy is a real feast for the eyes as well as a stimulating and encyclopaedic intervention in Gothic Studies. The book takes its readers on an ambitious journey through the various histories of Gothic visual media, most of which have only peripherally been the subject of academic attention. Bringing together traditional architecture, sculpture and painting with more modern artistic and ludic ephemera like jewellery, Halloween hayrides and graffiti, David Annwn Jones’s new book proves to be original, erudite, approachable and necessary. Nothing short of an instant classic.’Dr Xavier Aldana Reyes, Senior Lecturer in English Literature and Film at Manchester Metropolitan University

David Annwn Jones is Lecturer in English at the Open University

• IntroductionChapter 11.1 Gothic and Gothic Revival architecture 1.2 Graveyards, crypts and mausolea1.3 Ruins1.4 Follies and gardens 1.5 Décor, domestic furniture and uncanny household items 1.6 Theatre and stage1.7 Masquerade, Halloween and Gothic as pageant and immersive spectacle1.8 Dance and mime Chapter 22.1 Early painting to the eighteenth century2.2 Painting: Goya to Giger and after2.3 Engravings: icons of ancestral fear2.4 The macabre graphic art of the Blue books and Penny Dreadfuls2.5 Revivified and spectral portraits: Otranto’s yawning picture to M.R. James’s ‘The Mezzotint’2.6 Uncanny signs and postersChapter 33.1 Sculptors and statuary3.2 Wax simulacra 3.3 Dolls, effigies, mommets and poppets 3.4 Moving statues and automata3.5 Tableaux vivants and poses plastiques3.6 Cabinets of curiosity 3.7 Postmodern Gothic sculptures and figurines 3.8 Taxidermy Chapter 44.1 Ghost machines: the Satanic Eidophusikon and peepshows 4.2 Phantasmagoria and magic lanterns: E-A Roberston’s lantern-of-fear4.3 Stereoscope ‘Diableries’4.4 ‘Pepper’s Ghost’ and the domestic lantern horror show4.5 Eerie sight machines, zoetropes and the whirling witches of Plateau’s Phenakistoscope4.6 Gothic Kinetoscopes to early American horror film4.7 Gothic films, from silents to electronic movie making4.8 Gothic TVChapter 55.1 Gothic comics, graphic novels and icons5.2 Silhouettes, Ombres Chinoises and shadowgraphs 5.3 Damnable lithographs: Louis Boulanger’s Satanic ‘La Ronde de Sabbat’and the dark barbarism of the ‘lapidary art’5.4 Dressed, adorned and altered prints and books 5.5 Leporellos, moving books and monstrous concertina texts5.6 Gothic calendarsChapter 66.1 The dark hold of Daguerreotypes and early photography 6.2 Mourning and spirit photographs 6.3 Gothic collage, photocollage and shadow boxes6.4 Haunts, great houses, cadavers and ossuaries: the photography of Simon Marsden and Paul Koudounaris 6.5 Modern photographyChapter 77.1 Gothic scripts, fonts, ciphers and calligraphy7.2 A dark chaos of marbled papers 7.3 Gothic labelling, packaging and ads7.4 Graffiti, curses, sigils and heraldry7.5 Tapestries and embroidery 7.6 Book covers and magazine covers 7.7 Record and CD cover art Chapter 88.1 Gothic costume, ancient and modern 8.2 Gothic jewellery 8.3 ‘Gothic toys through Gothic glass’8.4 Masks, weapons, and athames8.5 Playing cards and the TarotChapter 99.1 New media: the art of Gothic gaming and horror apps9.2 Ghost trains9.3 Horror environments and itineraries, escape rooms, Halloween hayrides and tourist attractions 9.4 Gothic installations 9.5 Performance art, body art, tattoos and facepaintIndex

‘With 60 luscious black and white illustrations, Gothic Effigy is a real feast for the eyes as well as a stimulating and encyclopaedic intervention in Gothic Studies. The book takes its readers on an ambitious journey through the various histories of Gothic visual media, most of which have only peripherally been the subject of academic attention. Bringing together traditional architecture, sculpture and painting with more modern artistic and ludic ephemera like jewellery, Halloween hayrides and graffiti, David Annwn Jones’s new book proves to be original, erudite, approachable and necessary. Nothing short of an instant classic.’Dr Xavier Aldana Reyes, Senior Lecturer in English Literature and Film at Manchester Metropolitan University