Ancient Egypt and the Gothic go well together – or to be more precise, modern images of what most consider to be a magical and enchanted, rather exotic period in history appear to find their most touching expression in what is widely considered to be a typical gothic manner of representation.
This paper deals with Stephen Sommers’s movie “The Mummy”, released in 1999 (c.f. International Movie Database, IMDb). It might be considered a Blockbuster, as it was able to not only regain but more than double its budget within the opening weekend alone (c.f. ibid.). What are the reasons for such a success? Two of them may already be found in the opening sentences of this introduction – “The Mummy” successfully unites both the audience’s visions of ancient Egypt and a typical – covert, but still tangible – gothic way of narration and style. However, another layer has been added that seems to have contributed to the movie’s success at international box-offices: the idea of an eternal love obviously doomed from its very beginning. It is this fatal love between a high priest and the Pharaoh’s mistress that represents the center of this paper’s argumentation. It will be examined whether this love can be called the “prima causa” (Conrad 1973: 17) of the catastrophe that follows it. Furthermore, it will be shown how well the love-story fits into the film’s general story and to its gothic appeal.
In preparation for this discussion, the paper enlists criteria of what is considered being a representative gothic novel and compares these criteria with characteristics of the movie. Additionally, the movie’s villainous couple and their love will be examined: Can he be seen as a typical gothic villain and is he “a se” (ibid: 18) evil or are the origins of his villainy to be sought in his environment? Does she truly love him or only see him as her possibility to oppose society and escape into a better future? In this context, the paper will also explore some current theories about the Byronic hero and heroine and their representation in literature. Again, the characteristics of this literary figure will be listed and compared to those of Imhotep and Anck Su Namun – it will then be examined whether the two of them can be read as such archetypes of literature.
Table of Contents
Introduction
1. What is gothic?
1.1 Characteristics of gothic fiction
1.2 Transferring gothic characteristics to “The Mummy”
2. The Byronic hero
2.1 Imhotep as Byronic hero
2.2 Doomed love in “The Mummy”
3. Conclusion
Objectives and Research Focus
This paper explores Stephen Sommers' 1999 film "The Mummy" as a modern interpretation of the gothic genre, focusing on the intersection of ancient Egyptian motifs and the theme of doomed love. The central research question examines whether the film's narrative structure and character dynamics, particularly regarding the villain Imhotep and the concept of the Byronic hero, align with established criteria of gothic literature.
- Analysis of core gothic elements in a modern cinematic context.
- Evaluation of Imhotep as a manifestation of the Byronic hero archetype.
- Investigation into the nature of the doomed romance between Imhotep and Anck Su Namun.
- Comparison of the film's narrative tropes with traditional gothic literary characteristics.
Excerpt from the Book
1.1 Characteristics of gothic fiction
Although gothic villains differ in some of their characteristics, there is one element that remains: their yearning for autocracy (c.f. Conrad 1973: 38). They usually come from a wealthy, even noble background and embody the certain kind of egoism people might expect from such a person (c.f. ibid.). In addition, they display shrewdness and radiate “’something super-human’” (ibid.). Interestingly, they often mirror their respective antagonist in a dark way (c.f. Hackenberg 2009: 63) and cause their female victims to feel “alternately attracted and repelled by the rakishly handsome […] villain” (Holland a. Sherman 1977: 279). Furthermore, their past often contains an unutterable secret and its discovery offers a possible solution and supports the other characters’ hope for escape (c.f. Conrad 1973: 16, 21 & Holland a. Sherman 1977: 286). They are “mythic and timeless, [...] creature[s] of all ages” (Holland a. Sherman 1977: 285) and oppose the moral norms their victims comply to (c.f. ibid.).
The villain’s female adversary is a pure and innocent young woman whose family and friends are either dead, nonexistent or not with her, thereby creating the motif of the “’helpless orphan’” (c.f. Conrad 1973: 20) in order to stress the imbalance of power between villain and victim. There is also a constant sexual tension between them – Conrad argued that it is indeed the victim who provokes persecution and potential rape in the first place (c.f. ibid.: 16). Holland and Sherman tend towards the same idea and argue that the victim’s constant flight is actually an “outward turn from threatened sexual penetration […]” (Holland a. Sherman 1977: 284). She usually teams up with a male protector (c.f. Conrad 1973: 18).
Summary of Chapters
Introduction: This chapter introduces the film "The Mummy" and outlines the research objective, which is to analyze the film through the lens of gothic fiction, specifically highlighting the role of doomed love.
1. What is gothic?: This chapter establishes the theoretical framework by defining the essential elements of gothic literature, such as the villain, the victim, and the gothic environment.
1.1 Characteristics of gothic fiction: This section details specific criteria of the genre, including the elegant villain, the helpless female victim, and the mysterious gothic lair.
1.2 Transferring gothic characteristics to “The Mummy”: This section applies the previously defined gothic criteria to the characters and settings of the film "The Mummy," demonstrating their direct relevance.
2. The Byronic hero: This chapter introduces the definition of the Byronic hero and considers its relevance to the film's antagonist.
2.1 Imhotep as Byronic hero: This section analyzes how Imhotep’s character traits and motivations align with the established characteristics of the Byronic hero.
2.2 Doomed love in “The Mummy”: This section examines the relationship between Imhotep and Anck Su Namun, evaluating its sincerity and its function within the gothic narrative.
3. Conclusion: The final chapter summarizes the findings, confirming that "The Mummy" serves as a valid modern example of gothic fiction and doomed love.
Keywords
Gothic fiction, The Mummy, Imhotep, Byronic hero, doomed love, ancient Egypt, cinematic gothic, gothic villain, gothic heroine, literary archetypes, Stephen Sommers, horror, terror and pity, Anck Su Namun, narrative tropes.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines whether the 1999 movie "The Mummy" can be classified as a piece of gothic fiction by analyzing its characters and themes through established gothic literary theories.
What are the core themes explored in the work?
The central themes include the nature of the gothic villain, the archetype of the Byronic hero, the dynamics of doomed love, and the representation of the past within gothic narratives.
What is the main objective of the analysis?
The primary goal is to demonstrate that despite being a modern blockbuster movie, "The Mummy" utilizes deep-rooted gothic structures and archetypes to tell its story.
Which scientific methodology is employed?
The paper utilizes a comparative literary analysis, applying predefined criteria for gothic novels and Byronic heroes to the characters and plot of the film.
What does the main part of the paper cover?
The main part covers the definition of gothic elements, their application to the film, a detailed character analysis of Imhotep as a Byronic hero, and an investigation into the doomed romance between the film's central couple.
Which keywords best describe this study?
Key terms include gothic fiction, Byronic hero, Imhotep, doomed love, narrative analysis, cinematic gothic, and literary archetypes.
How does the author interpret Imhotep's villainy?
The author argues that Imhotep is not inherently evil ("a se") but rather a tragic figure driven by overwhelming passion and fatal circumstances, fitting the mold of the Byronic hero.
What role does the setting of Hamunaptra play?
Hamunaptra is identified as a functional equivalent of the gothic castle, possessing an enchanted, brutal past and a profound, active connection to the villain's actions.
How is the relationship between Imhotep and Anck Su Namun evaluated?
The analysis questions the genuineness of their love, exploring whether it is a sincere connection or if Anck Su Namun views it primarily as a means of escape from her situation.
- Quote paper
- Lena Meyer (Author), 2013, Unwrapping “The Mummy“. A Modern Example of Doomed Love and the Gothic, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/299332
