In 1764, Horace Walpole published the first gothic novel, The Castle of Otranto, set in a labyrinthine castle surrounded by woods. The novel features the supernatural, with a dark secret from the past at its core. Today, 260 years later, gothic is still with us in the form of “contemporary gothic” plays, fiction, films, music and computer games.
Central to the popularity of gothic is the way it affects its audiences. It is supposed to unsettle, to make the flesh creep and provoke feelings of claustrophobia. Soundtracks for gothic films are integral to creating such effects, building suspense and unease while amplifying the visceral impact of sudden jump scares.
Alejandro Amenábar’s soundtrack for The Others (2001), for example, weirds its listeners out. The hollow but reverberant timbre of brushed piano strings evokes the spaces of the house, conjuring up the old-fashioned alienness of the place. Action, set and music sympathetically resonate.
