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Exploring modern day Australian Gothic fiction on TV, The Guardian reviews how ‘Tasmania became the gothic music of Australian film and TV’ using popular shows such as The Kettering Incident and Rosehaven. Tasmania is so different from the rest of Australia due to it having its violent convict past; but it does not have the wide, open areas of desert, instead is an isolated island covered in forest. The article is useful for understanding why film makers choose certain places to shoot movies and how Australian Gothic fiction may be making a comeback in the near future.

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This article discusses how Australian Gothic Cinema was received around the world; or more importantly what American film critics thought of it. It justifies why Australian Gothic was such a minor class due to American critics not really taking to the genre as they overlooked the importance of the landscape in the films. As Australians, this article is good as it enables one to see an outsider’s view of Australian Gothic.

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A very comprehensive – albeit complicated - explanation about what Australian Gothic is and how it came to be.  It discusses major themes one can find in all Australian Gothic, a big one being ‘the perversion of the mundane’. It also analyses the two most famous Australian Gothic films - The Cars that Ate Paris and The Night The Prowler - and why they can be defined as uniquely Australian Gothic using the themes discussed before. The article continues to develop the idea of why the terror the familiar can provide the same sense of terror that the supernatural can give – perhaps even more – due to the psychological pressure it can put on the protagonist and the viewers when it challenges the know and familiar. It is recommended that one reads this article after first looking at the article from The Essential.

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The Essential is a website dedicated to giving an Australian view on cinema and music from around the world, so it is guaranteed this is an authentic Australian view on Australian Gothic Cinema. The article discusses the history of Australian Gothic Cinema and literature; and highlights the difference between the gothic and horror genres. It examines the originator of Australian Gothic – Peter Wier - and his film’s style of tapping into the ‘very uniquely white Australian problem of being a stranger in one’s own land.’ It also analyses the importance of landscape as a whole in Australian Gothic, and how film-makers utilise it to give the feeling of ‘an environment working against the intentions of the human working upon it’. It is evident from the article that Australian Gothic aims to strain the lines between the ugly and ordinary. Overall, this article is very easy to understand and is good for introducing first-timers to the Australian Gothic genre without scaring them off.

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“Getting lost, disappearing, being trapped or escaping or going mad in the outback are staple themes in Australian Gothic.”

A short introduction to the world of the Australia Gothic film, this article is for someone more well-versed in the genre. Most of the article is dedicated to a list of classic Australian Gothic films; and includes a short blurb contemplating what the films are about. It is not very useful in telling the reader what the Australian Gothic genre is, but can be used to further one’s interest.

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This is a website dedicated to all things horrible, however it is a UK based column. In the article, it differentiates between ‘traditional horror’ as immortalised by American film and the Australian version of horror. It discusses the use of the unforgiving outback in Gothic literature to ‘paint a hellish landscape’ where the fear of getting lost forever and going mad is very real. The article also mentions some Australian Gothic books for readers to check out if they are interested.

‘There’s simply something about the vastness of this land and the many weird, wild and dangerous creatures that populate it that lends itself to terrifying tales.’