Resumen
Music videos of the MTV era often use gothic visual signifiers as decorative elements or creative expressions of the musician?s star persona or latest record. But several video clips from the early 1980s adapt the figure of gothic monstrosity, and in particular, the images and stories of the undead or beastly Other, in ways that dramatize the music video?s evolving aesthetic, commercial, and technological character and its unpredictable relation to Gothic. In this article, I look closely at the narrative elements of two important configurations of gothic-themed video clips: ?Don?t Go? (1982) by Yazoo, ?Telefone (Long Distance Love Affair)? (1983) by Sheena Easton, and ?Mary Jane?s Last Dance? (1993) by Tom Petty and the Heartbreakers, which creatively adapt textual elements of Mary Shelley?s 1818 novel Frankenstein and its various film adaptations and parodies and its cultural significance in the modern Western imaginary; and ?Thriller? (1983) by Michael Jackson and ?Heads Will Roll? (2009) by the Yeah Yeah Yeahs, which likewise adapt and reimagine aspects of John Landis?s 1981 horror comedy film An American Werewolf in London and its afterlife in the modern media ecosystem. These videos, I argue, trouble conventional understandings of the practice of adaptation as a one-to-one line of inheritance between source material and destination text. In so doing, furthermore, these clips amplify and elaborate certain socio-cultural anxieties about gender and race, personal and professional identity and autonomy, and technological innovation and automation that animate their source materials.