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Contemporary, on-screen Gothic is in the unique position of somehow being readily identifiable while simultaneously difficult to describe. Audiences and scholars know when the Gothic is seen or felt but much of the Gothic essence, beyond aesthetic or generic trope, continues to elude even the most steadfastly aware of Gothic connoisseurs. While it is accepted that Gothic is about madness and melancholy, the outsider and the Other, and now gloom alongside gore, at its heart is fear.
Fear has been associated with Gothic since its genesis, but typification of that fear appears wholly missed in scholarly Gothic conversations. This thesis sets out to explore the fear inherent to Gothic by correlating its portrayal of known fears: fears that are recognizable to both individuals and societies. By first exploring the origins of Gothic, in people, and moving through its history in architecture, literature, and eventually onto the screen, this thesis lays the groundwork to demonstrate that throughout its history, Gothic fear is rooted in reality, is known, and is understandable.
With such groundwork laid, this thesis then goes on to analyze the television show Hannibal through close reading of select scenes throughout its first season to flesh out how known fears manifest in such a way as to permit the show more than just an aesthetic association with the Gothic and, instead, better justify a Gothic sorting of the show. By demonstrating the show's engagement with the fears of becoming a monster, of disposability, and enjoying cannibalism, the Gothic of Hannibal can thus be given greater credibility, facilitate in recognizing the Gothic on-screen where can manifest beyond generic conventions, and provide the opportunity to mitigate fear-response.