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any don't happen. As someone looking in on the ship war from the outside, I wonder what the reaction is going to be if Jonsa fans are disappointed on all three counts. I hate seeing angry posts about my fave and I'm wondering if I'm going to have to avoid my beloved Jon Snow's tag. I don’t tend to think about outcomes that have about a chance of 0. % happening. Yes, there is a chance a random stone losened by a storm hits me on the head, but I don’t spend my days fretting about that. I’ve said it before, if the Starks end on top, I’m good, so there is little chance you’ll get angry post from me, because this is what will happen at the end. If the Starks don’t end on top, I’ll do a Tolkien reread. I rarely post anything in the Jon Snow tag anyway, because I honestly am not up to the wank I get about Politial Jon in the Jon Snow tag and I post next to nothing in Kit’s tag. And anyway with blackslisting you have a great tool to form your own fandom experience. So, instead of ranting about how the Jon Snow tag is “ruined” I would suggest you just blacklist the tags you don’t like. I mean I wasn’t in the Jon Snow tag for ages before blacklisting became possible. What are the chances of Jonsa ending together? Thank you. So, I’ll try to answer this, in the hope that this is what you meant. In addition I would argue that it is more that there is a team Stark, that will stick together. We didn’t got through the whole catfight at Winterhell last season that ended with Sansa and Arya being a team only for that team to split up again. You know the thing about the Stark is, that they stick together.

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Xavi’s talk opened events and, in a particularly apt fashion, placed an emphasis upon feminism and the discourses of post-feminism. Gothic Feminism is, of course, the name of our research group which generated this conference and the name is no accident: the aim of the group is to unapologetically focus on women and their representation on the cinema screen. Our activities are relatively modest but we do sincerely hope to contribute to that under-researched area of the Gothic in film which Xavi identified in his talk. First Xavi asserted how the Gothic and horror provide “empowering tools through which to study gender representation”, as well as related issues such as the study of women filmmakers and reception studies (but with a view to avoid essentialist conclusions). Second, there is a sense that cinema (and particularly contemporary cinema) actively engages with these discussions and provides a forum through which we can explore the complexities of feminism and post-feminism (or, as Xavi’s talk discussed, post-feminism s ) in the 21 st Century. As the call for papers for this event highlighted, Gothic and horror each have their own distinctive traditions for female representations yet these are very much comparable in respect to the mode or genre’s relationship to feminism: in both Gothic and horror, we have films which have central, female protagonists who have narrative and visual agency, and yet whose activities are contained within stories of violence, threat and oppression. The difficult question Gothic and horror equally pose is: are these texts exploitative in their representations, or are they using such plots in order to challenge, undermine and ultimately challenge the inequality of women experienced in real life. These include: Crimson Peak, The Witch and Under the Shadow. Should we, following on from Xavi’s talk, be discussing the concept in a way which emphasises multi-faceted approaches. Therefore should we speak of Gothic or horror feminisms. And, in light of this, are the women in these films ultimately women-in-peril of the Gothic heroine kind, or are they Final Girls, or are they both. This conference enabled us to begin a fruitful debate which extends this language, establishing an inclusive but diverse vocabulary in order to explore the connections between feminism, female representation, the Gothic and horror. This conversation opened with Crimson Peak as the film nicely exemplifies the blurring between these two within contemporary film, but this was only a fragment of the wider discussion. We have taken a journey through cinematic history where the heroines may be old or young, the victim or the aggressor, human or supernatural or mechanical, and maybe not even gendered at all; or, at least, gender is highlighted to be another construction, a concept of porous definitions. There was an on-going debate on the question of genre: what makes a Gothic or horror film, and what term should be used to incorporate such definitions. Over the course of the conference, various names were utilised and discussed, including: Gothic, horror, Female Gothic, Gothic Romance, Gothic fairy tale, eco-Gothic, melodrama, film noir (or neo-retro noir), Gothic horror, comedy, folk horror, slasher film, possession films, vampires, survival horror. The variety of genres listed above are a good example of this, which many papers explored by discussing how conventional genre tropes could be undermined or transformed in the representation of the central female protagonist. Importantly, many papers highlighted how this process exists as a dialectic relationship with its knowing audience: contemporary films, in particular, draw upon and then subvert the viewer’s previous conceptions of the conventional Gothic heroine or Final Girl.

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