1. Introduction
We encounter the term Gothic in a lot of domains. In history, the term is to be found referring to the East Germanic tribe called the Goths and in linguistics referring to their extinct language. It also relates to Gothic architecture, prevalent in Western Europe in the 12th to 16th century and its revival from the mid-18th to early 20th century, characterized by pointed arches, rib vaults, flying buttresses, large windows and elaborate tracery. It is also used as a reference to the gloomy and horrifying Dark Ages. Today we have a subculture which refers to oneself as Goths and their style as Gothic. In literature Horace Walpole’s The Castle of Otranto from 1764 is assigned as the origin of Gothic in literature. From this time on, Gothic features can be found in many novels by different authors from continental Europe. It continued throughout different literary periods, be it Romanticism or the Victorian Age, and its elements and figures were used in novels, drama, poetry and short stories. Therefore, it is no wonder that its presence continued in the new media of the twentieth century like radio, television and movies. There are movie adaptations of Gothic writings as well as movies influenced by the Gothic and making use of its features.
The cult movie The Rocky Horror Picture Show offers grotesque characters: the straps and makeup wearing Dr. Frank N. Furter, a ‘sweet transvestite’, his sun-tanned, flaxen-haired muscular creation Rocky, wearing golden underpants. A sinister and humped servant called Riff Raff and all the strange-looking people doing the ‘Time Warp’. This and an innocent couple’s strange adventure in an old and isolated mansion which is the home of the mysterious Dr. Frank N. Furter, tempt the spectator to see a Gothic influence in this musical movie adaptation. Consequently the question arises: Is it there, the Gothic?
Andrew Smith, at least, included The Rocky Horror Picture Show in his list of Gothic texts in Gothic Literature but does not justify it. And Jeffrey Cox asserts in English Gothic Theatre that scholars have identified Gothic elements in the movie, but he as well provides no proof nor even names some of these scholars. As studies about Gothic elements in The Rocky Horror Picture Show are missing it would be an interesting undertaking to proof these statements. The aim of this paper is therefore to find out if the Gothic is actually present in The Rocky Horror Picture Show.
Table of Contents
1. Introduction
2. Gothic elements
2.1 Gothic setting
2.2 “Over at the Frankenstein Place” – The scientist and his monster
2.3 The fainting heroine and the femme fatale
2.4 Vampirism
3. The Rocky Horror Picture Show – A Gothic movie?
3.1 The genre issue
3.2 Realization of the elements
4. Conclusion
5. Bibliography
5.1 Primary source
5.2 Secondary sources
Research Objectives and Core Themes
The primary objective of this paper is to determine whether the cult film The Rocky Horror Picture Show can be classified as a Gothic movie. The research investigates the presence of traditional Gothic stock elements, literary allusions, and character archetypes within the musical, ultimately analyzing how these tropes are repurposed and parodied to suit the film's unique genre identity.
- Identification of Gothic architectural and environmental settings in the film.
- Analysis of Frankenstein-inspired character arcs and themes of artificial creation.
- Examination of character archetypes, specifically the heroine, femme fatale, and the vampire.
- Evaluation of genre hybridity and the role of parody in contemporary cinema.
Excerpt from the Book
2.1 Gothic setting
The setting in The Rocky Horror Picture Show is recognizably Gothic. The narrator of The Rocky Horror Picture Show introduces the “strange journey” (The Rocky Horror 1975: 10:08) of the young couple Brad Majors and Janet Weiss, which begins “on a late [and dark] November evening” (The Rocky Horror 1975: 10:35). The forest through which they drive is completely dark, the only light that can be seen are the headlights of the car (cf. The Rocky Horror 1975: 11:28f). Darkness is, as David Stevens explains a “[…] generic preference […]” (Stevens 2000: 54) for a Gothic setting. So it is not remarkable that the story, as in many other Gothic texts, plays in winter, the time of year associated with death, when everything seems dark and gloomy. In fact the whole plot of the ‘strange journey’ of Brad and Janet takes place from late evening to the dawn of the next day, an often occurring time span for Gothic fiction.
Additionally “there [are] dark storm clouds, heavy, black and pendulous toward which [Janet and Brad are] driving” (The Rocky Horror 1975: 10:50) as the narrator informs us. The following scene after the narrator’s introduction shows then Janet and Brad in their car in the middle of a thunderstorm. Lightning illuminates the scenes various times followed by thunder (The Rocky Horror 1975: 13:33; 13:44; 14:12); the rain is pouring heavily throughout the whole outdoor scene (The Rocky Horror 1975: 11:27-17:44). Thunderstorms and rain are frequently used elements of Gothic literature. They can be found in works by many authors, for example Edgar Allan Poe’s The Fall of the House of Usher (Poe 2004 [1845]: 212ff), Ann Radcliffe’s The Romance of the Forest (Radcliffe 2009: 3f) or Bram Stoker’s Dracula (Stoker 1994: 95ff). Especially early Gothic writers set their story “[…] against a backdrop of dim, stormy nights […]” (Snodgrass 2005: 158).
Summary of Chapters
1. Introduction: This chapter provides an overview of the term "Gothic," its literary history, and outlines the research objective to investigate Gothic influences within The Rocky Horror Picture Show.
2. Gothic elements: This section examines specific tropes such as the Gothic setting, Frankenstein-like scientific hubris, the transformation of the heroine, and vampiric imagery present in the film.
3. The Rocky Horror Picture Show – A Gothic movie?: This chapter discusses the theoretical challenges of defining a "Gothic movie" and concludes that the film utilizes Gothic elements as a parodic, comical device rather than as a strict genre classification.
4. Conclusion: The concluding chapter summarizes the findings, confirming that while the film contains significant Gothic elements, it is not a "Gothic movie" but a product of its time that employs these features for comedic effect.
5. Bibliography: This section provides a comprehensive list of primary and secondary sources used in the analysis of Gothic literature and film conventions.
Keywords
Gothic, The Rocky Horror Picture Show, Frankenstein, Vampirism, Femme Fatale, Genre, Parody, Gothic Setting, Literary Allusions, Dr. Frank N. Furter, Janet Weiss, Horror Film, Romanticism, Victorian Age, Cinema Studies
Frequently Asked Questions
What is the central focus of this academic paper?
The paper focuses on identifying and analyzing Gothic elements within the cult film The Rocky Horror Picture Show to determine if the film can be officially classified as a Gothic movie.
What are the core themes explored in this work?
The primary themes include Gothic literary conventions, the adaptation of classic monsters like Frankenstein's creature and vampires, the evolution of the "damsel in distress" archetype, and the complexities of genre classification in cinema.
What is the primary research question?
The research asks: "Is the Gothic actually present in The Rocky Horror Picture Show, and does this influence justify its declaration as a Gothic movie?"
Which methodology does the author employ?
The author uses a comparative analysis, contrasting visual and narrative elements from the film against established literary and cinematic Gothic traditions, supported by scholarly citations from experts in Gothic literature.
What does the main body of the paper address?
The main body systematically breaks down specific Gothic markers—such as the isolated castle, the mad scientist, and the transformation of the lead character Janet—to see how they function within the film's narrative.
Which keywords best characterize the study?
Key terms include Gothic, Parody, Frankenstein, Vampirism, Femme Fatale, and Genre, reflecting the intersection of literary theory and film analysis.
How does the film manipulate the "Frankenstein" archetype?
The paper notes that The Rocky Horror Picture Show uses the scientist and his creation as a parallel to Mary Shelley's work but subverts the tragedy of the original by sexualizing the creation and ending the narrative with a parody of the classic "hubris" punishment.
Does the author consider Janet Weiss a traditional Gothic heroine?
No, the author argues that while she starts with traits of a traditional heroine, she evolves into a modern hybrid character who combines the "fainting damsel" with the "femme fatale," signifying a subversion of traditional gender roles.
Why does the author conclude that it is not a "Gothic movie"?
The author concludes that because the film purposefully uses Gothic tropes for comedy and parody, it is better classified as a musical-comedy that reflects its specific 1970s production context rather than a strict Gothic genre film.
- Arbeit zitieren
- Anonym (Autor:in), 2013, The Gothic in the movie "The Rocky Horror Picture Show", München, GRIN Verlag, https://www.hausarbeiten.de/document/215534
