Open Graves, Open Minds

The Open Graves, Open Minds Project began by unearthing depictions of the vampire and the undead in literature, art, and other media, then embraced werewolves (and representations of wolves and wild children), fairies, and other supernatural beings and their worlds. The Project extends to all narratives of the fantastic, the folkloric, and the magical, emphasising that sense of Gothic as enchantment rather than simply horror. Through this, OGOM is articulating an ethical Gothic, cultivating moral agency and creating empathy for the marginalised, monstrous or othered, including the disenchanted natural world.

Open Graves, Open Minds

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← Rebecca Williams, Post-Object Fandom Television, Identity and Self-narrative

Dale Townshend, ‘Review of Elisabeth Bronfen’s Night Passages: Philosophy, Literature, Film’ →

Louis Peitzman, ‘Behind The Changes That Brought “Into The Woods” From Stage To Screen’

Posted on 21st December 2014 by William the Bloody

An interview with Into the Woods screenwriter James Lapine on the new adaptation for cinema of Stephen Sondheim’s brilliant revisioning of classic Grimms’ fairy tales.

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About William the Bloody

Cat lover. 18C scholar on the dialogue and novel. Co-convenor OGOM Project

View all posts by William the Bloody →

This entry was posted in Interviews and tagged adaptation, cinema, Fairy tales, Grimm brothers, Into the Woods, Stephen Sondheim. Bookmark the permalink.

← Rebecca Williams, Post-Object Fandom Television, Identity and Self-narrative

Dale Townshend, ‘Review of Elisabeth Bronfen’s Night Passages: Philosophy, Literature, Film’ →

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