offers a radical new way of understanding the relationship between film and the Gothic as it surveys a wide range of films, many of which have received scant critical attention. Its central claim is that, paradoxically, those texts whose affiliations with the Gothic were the clearest became the least Gothic when filmed. Thus, Hopkins surprises readers by revealing Gothic elements in films such as and , as well as exploring more obviously Gothic films like . Written in an accessible and engaging manner, will be of interest to film lovers as well as students and scholars.