Table of Contents

pp 5-6

Introduction : Please Check the Signal: Screening the Gothic in the Upside Down

pp 7-18

Part I - Gothic Places

pp 19-20

1 - Unsettled Waters: The Postcolonial Gothic of Tidelands

pp 21-44

2 - When I Died, I Saw the Whole World’ : Uncanny Space and the Māori Gothic in the Aftermath Narratives of Waru and Māui’s Hook

pp 45-60

3 - The Kettering Incident: From Tasmanian Gothic to Antarctic Gothic

pp 61-78

4 - ‘Going Home is One Thing This Lot of Blockheads Can’t Do’ : Unhomely Renovations on The Block

pp 79-96

Part II - Gothic Genres

pp 97-98

5 - Glocalizing the Gothic in Twenty-First Century Australian Horror

pp 99-122

6 - Terra Somnambulism : Sleepwalking, Nightdreams, and Nocturnal Wanderings in the Televisual Australian Gothic

pp 123-140

7 - Gothic Explorations of Landscapes, Spaces, and Bodies in Jane Campion’s Top of the Lake and Top of the Lake: China Girl

pp 141-158

8 - At the End of the World : Animals, Extinction, and Death in Australian Twenty-First-Century Ecogothic Cinema

pp 159-176

Part III - Gothic Monsters

pp 177-178

9 - Dead, and Into the World : Localness, Culture, and Domesticity in New Zealand’s What We Do in the Shadows

pp 179-194

10 - Mapping Settler Gothic : Noir and the Shameful Histories of the Pākehā Middle Class in The Bad Seed

pp 195-212

11 - Monstrous Victims : Women, Trauma, and Gothic Violence in Jennifer Kent’s The Babadook and The Nightingale

pp 213-228

12 - From ‘Fixer’ to ‘Freak’: Disabling the Ambitious (Mad)Woman in Wentworth

pp 229-250

Index

pp 251-255