Popular Culture Review 29.1 (Spring 2018) - Page 111

Conclusion  BBC’s Luther represents a recently emerging subgenre of European crime drama that depends for its success upon the inclusion of elements found in traditional Gothic literature and cinematic horror: a dark and dreary setting, hauntings and strange sounds, a Byronic hero, an implied demonic presence, a host of monsters, and a monstrous female. In episode after episode, Luther ventures into dreary “derelict London” to confront the sociopathic killers, their atrocities intended to inspire the terror that precedes a bloodcurdling event, the horror that constitutes our reaction to the atrocities, and an anxiety stirred by the fears that have gripped a European culture faced with its own continued dissolution. Works Cited Aleister Crowley—The Wickedest Man in the World. Top Documentary Films. 2002.   https://topdocumentaryfilms.com/ aleister-crowley-wickedest-man-world/. Accessed 25 April 2017. Botting, Fred. Gothic. The New Critical Edition. 1996. Routledge 1997. Bruhm, Steven. “The contemporary Gothic: why we need it.” The Cambridge Guide to Gothic Fiction. Ed. Jerrold E. Hogle, Cambridge UP, 2002, pp. 252-276. Clery, E. J. The Rise of Supernatural Fiction. Cambridge Studies in Romanticism.1995. Cambridge UP, 1996. Print. Crawford, Joseph. Twilight of the Gothic? Vampire Fiction and the Rise of Paranormal Romance. University of Wales Press, 2014. Creed, Barbara.  The Monstrous Feminine: Film, Feminism, Psychoanalysis.1993. Routledge, 2006. Cross, Neil.  Luther: The Calling. A Touchstone Book/ Simon and Schuster, 2011. Hogle, Jerold E. “Introduction: the gothic in western culture.” The Cambridge Companion to Gothic Fiction. Ed. Jerold E. Hogle. Cambridge UP, 2002, pp. 1-20. Hoyt, Terence. “Carl G. Jung on the Shadow.” Practical Philosophy. 5 June 2017, http://www.practicalphilosophy.net/?page_id=952, accessed 5 June 2017. 111