Danielewski’s extraordinary pastiche House of Leaves (2000). In contemporary American literature too, the haunted house motif has endured, from Toni Morrison’s beautiful allegory of haunting by the repressed past in Beloved (1987) to Mark Z. Night Shyamalan’s The Sixth Sense (1999). Although seemingly traditional narratives still rivet-one need think only of such films as The Others (2001), which takes a classic haunted house plot, and only belatedly reveals its reverse focalization-today’s tales of haunting are acutely aware of the haunted house being the psyche itself, as evidenced in popular film by M. 5 Maria Beville’s study Gothic-Postmodernism (2009) distinguishes postmodern Gothic, particularly as (.)ġHaunted houses pervade contemporary American culture: what might have seemed, two and a half centuries ago, a minor motif in a literary subgenre has become, in contemporary popular American culture, a staple of children’s literature, a feature of Halloween, a classic attraction of many theme parks, 1 an established form of tourism, 2 and a central figure in Hollywood thrillers and horror films alike.4 For an analysis of the aesthetics of trauma, in American literature spanning from Charles Brockden (.).
3 The word house is always in pale blue ink inside the text, as opposed to the black used for most o (.).1 Take the virtual tour of Disneyland’s Haunted Mansion :.
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