Suburban Gothic is a subgenre of Gothic fiction, art, film and television, focused on anxieties associated with the creation of suburban communities, particularly in the United States and the West, from the 1950s and 1960s onwards.
It often, but not exclusively, relies on the supernatural or elements of science fiction that have been in wider Gothic literature, but manifested in a suburban setting.
Suburban Gothic is defined by Bernice M. Murphy as "a subgenre of the wider American Gothic tradition which dramatises anxieties arising from the mass urbanisation of the United States and usually features suburban settings, preoccupations and protagonists".  She argues that a common trope of the suburban Gothic is the danger within a family or neighbourhood, rather than an external threat.  Teenagers and children are often major protagonists or sources of threat, and characteristic conflicts often focus on issues of individuality and conformity. 
Important early works identified with the subgenre include Richard Matheson's I Am Legend (1954) and Shirley Jackson's The Haunting of Hill House (1959).  A more recent book identified within the genre is Bret Easton Ellis' mock memoir Lunar Park (2005). 
Important films include Stanley Kubrick's take on Lolita (1962), Wes Craven's original A Nightmare on Elm Street (1984)  and Tobe Hooper's Poltergeist (1982).  Works that incorporate environmental concerns include Ira Levin's The Stepford Wives (1972), Anne Rivers Siddons's The House Next Door (1978), the Todd Haynes film Safe (1995)  and the film Blue Velvet have been identified as part of the suburban gothic subgenre.  An earlier cinematic example of this is Nicholas Ray's 1955 classic Rebel Without a Cause .  Films with threats from a female protagonist, including Fatal Attraction (1987) and Disclosure (1994), have also been identified as part of the genre.  In addition, films that feature a more character-driven or dramatic standpoint also inform the genre, notably Peter Jackson's Heavenly Creatures , Todd Solondz's Happiness ,  Sam Mendes's American Beauty , and Richard Kelly's Donnie Darko .  Other films described as within the suburban gothic genre include Brian De Palma's version of Brian De Palma's Carrie (1976), John Carpenter's Halloween (1978), The Amityville Horror (1979),  Fright Night (1985), The Stepfather (1987),  Joe Dante's The 'Burbs (1989),  Parents (1989),  Tim Burton's Edward Scissorhands (1990),  The People Under the Stairs (1991; also by Wes Craven),  John Waters's Serial Mom (1994),  Peter Weir's Truman Show (1998), Little Children (2006),  The Girl Next Door (2007), The Sisterhood of Night (2014), The Invitation (2015),  Snowtown (2011)  and The Babadook (2014). 
The works of David Lynch are seen as defining examples of the genre, notably the television series Twin Peaks, alongside the 1992 feature Fire Walk with Me .  TV series such as Buffy the Vampire Slayer, Supernatural , and Desperate Housewives have also been seen as dealing with concerns about hidden Gothic worlds behind the suburban façade.  Another televised example is the Emmy-winning American Horror Story . 
Australian visual artist Tanja Stark explores themes of Suburban Gothic and the Sublime Divine, drawing from a background as a social worker, domestic violence counsellor and upbringing in the Baptist church.  She approaches her creation through a symbolic lens, and sees the genre of suburban gothic as influenced by psycholanalytical ideas of the Jungian shadow, and the parts of domestic life that lie beneath conscious awareness. Her art explores these unconscious desires and feelings and their powerful influence on waking life, particularly when they are associated with serious psychological trauma. In accordance with Jungian ideas, where the 'shadow' is not acknowledged or integrated, but is repressed, projected or inflated, the darker aspects of the psyche may emerge in ways that can be dangerous or destructive to mental or physical well-being of the individual and those around them, a key tension in Suburban Gothic art.  
Gothic fiction, sometimes called Gothic horror in the 20th century, is a loose literary aesthetic of fear and haunting. The name is a reference to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels. The first work to call itself Gothic was Horace Walpole's 1764 novel The Castle of Otranto, later subtitled "A Gothic Story". Subsequent 18th century contributors included Clara Reeve, Ann Radcliffe, William Thomas Beckford and Matthew Lewis. The Gothic influence continued into the early 19th century, works by the Romantic poets, and novelists such as Mary Shelley, Walter Scott and E. T. A. Hoffmann frequently drew upon gothic motifs in their works. The early Victorian period continued the use of gothic, in novels by Charles Dickens and the Brontë sisters, as well as works by the American writers Edgar Allan Poe and Nathaniel Hawthorne. Later prominent works were Dracula by Bram Stoker, Richard Marsh's The Beetle and Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde. Twentieth-century contributors include Daphne du Maurier, Stephen King, Shirley Jackson, Anne Rice and Toni Morrison.
Horror is a film genre that seeks to elicit fear or disgust in its audience for entertainment purposes.
Horror is a genre of speculative fiction which is intended to frighten, scare, or disgust. Literary historian J. A. Cuddon defined the horror story as "a piece of fiction in prose of variable length... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing". Horror intends to create an eerie and frightening atmosphere for the reader. Horror is often divided into the psychological horror and supernatural horror sub-genres. Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society. Prevalent elements include ghosts, demons, vampires, werewolves, ghouls, the Devil, witches, monsters, extraterrestrials, dystopian and post-apocalyptic worlds, serial killers, cannibalism, psychopaths, cults, dark magic, satanism, the macabre, gore and torture.
Yaoi, also known by the wasei-eigo construction boys' love and its abbreviation BL, is a genre of fictional media originating in Japan that features homoerotic relationships between male characters. It is typically created by women for women and is distinct from homoerotic media marketed to gay men, but it does also attract a male audience and can be produced by male creators. It spans a wide range of media, including manga, anime, drama CDs, novels, video games, television series, films, and fan works. "Boys' love" and "BL" are the generic terms for this kind of media in Japan and much of Asia; though the terms are used by some fans and commentators in the West, yaoi remains more generally prevalent in English.
Psychological horror is a subgenre of horror and psychological fiction with a particular focus on mental, emotional, and psychological states to frighten, disturb, or unsettle its audience. The subgenre frequently overlaps with the related subgenre of psychological thriller, and often uses mystery elements and characters with unstable, unreliable, or disturbed psychological states to enhance the suspense, drama, action, and paranoia of the setting and plot and to provide an overall unpleasant, unsettling, or distressing atmosphere.
Southern Gothic is an artistic subgenre of fiction, country music, film and television that are heavily influenced by Gothic elements and the American South. Common themes of Southern Gothic include storytelling of deeply flawed, disturbing or eccentric characters who may be involved in hoodoo, decayed or derelict settings, grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.
Neo-Victorianism is an aesthetic movement that features an overt nostalgia for the Victorian period, generally in the context of the broader hipster subculture of the 1990s-2010s. It is also likened to other "neos", which do not simply look back to the past but also reiterate and replay it in more diverse and complicated ways. This characteristic makes neo-Victorian art difficult to define conclusively.
In literature, psychological fiction is a narrative genre that emphasizes interior characterization and motivation to explore the spiritual, emotional, and mental lives of the characters. The mode of narration examines the reasons for the behaviors of the character, which propel the plot and explain the story. Psychological realism is achieved with deep explorations and explanations of the mental states of the character's inner person, usually through narrative modes such as stream of consciousness and flashbacks.
The New Weird is a literary genre that emerged in the 1990s through early 2000s with characteristics of weird fiction and other speculative fiction subgenres. M. John Harrison is credited with creating the term "New Weird" in the introduction to The Tain in 2002. The writers involved are mostly novelists who are considered to be part of the horror or speculative fiction genres but who often cross genre boundaries. Notable authors include K. J. Bishop, Paul Di Filippo, M. John Harrison, Jeffrey Ford, Storm Constantine, China Miéville, Alastair Reynolds, Justina Robson, Steph Swainston, Mary Gentle, Michael Cisco, Jeff VanderMeer and Conrad Williams, among others.
Paranormal romance is a subgenre of both romantic fiction and speculative fiction. Paranormal romance focuses on romantic love and includes elements beyond the range of scientific explanation, blending together themes from the speculative fiction genres of fantasy, science fiction, and horror. Paranormal romance may range from traditional category romances, such as those published by Harlequin Mills & Boon, with a paranormal setting to stories where the main emphasis is on a science fiction or fantasy-based plot with a romantic subplot included. Common hallmarks are romantic relationships between humans and vampires, shapeshifters, ghosts, and other entities of a fantastic or otherworldly nature.
Archetypal literary criticism is a type of analytical theory that interprets a text by focusing on recurring myths and archetypes in the narrative, symbols, images, and character types in literary works. As an acknowledged form of literary criticism, it dates back to 1934 when Classical scholar Maud Bodkin published Archetypal Patterns in Poetry.
Palgrave Macmillan is a British academic and trade publishing company headquartered in the London Borough of Camden. Its programme includes textbooks, journals, monographs, professional and reference works in print and online. It maintains offices in London, New York, Shanghai, Melbourne, Sydney, Hong Kong, Delhi, and Johannesburg.
Fantasy is a genre of speculative fiction involving magical elements, typically set in a fictional universe and sometimes inspired by mythology and folklore. Its roots are in oral traditions, which then became fantasy literature and drama. From the twentieth century, it has expanded further into various media, including film, television, graphic novels, manga, animations and video games.
Urban Gothic is a subgenre of Gothic fiction, film horror and television dealing with industrial and post-industrial urban society. It was pioneered in the mid-19th century in Britain, Ireland and the United States and developed in British novels such as Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886), and Irish novels such as Oscar Wilde's The Picture of Dorian Gray (1890), and Bram Stoker's Dracula (1897). In the twentieth century, urban Gothic influenced the creation of the subgenres of Southern Gothic and suburban Gothic. From the 1980s, interest in the urban Gothic revived with books like Anne Rice's Vampire Chronicles and a number of graphic novels that drew on dark city landscapes, leading to adaptations in film including Batman (1989), The Crow (1994) and From Hell (2001), as well as influencing films like Seven (1995).
A list of reference works on the horror genre of film.
John Edgar Browning is an American author, editor, and scholar known for his nonfiction works about the horror genre and vampires in film, literature, and culture. Previously a Visiting Lecturer at the Georgia Institute of Technology, he is now a professor of Liberal Arts at the Savannah College of Art and Design in Atlanta, Georgia.
Jeffrey Andrew Weinstock is an American literature, film, and media scholar who has been teaching in the Department of English Language and Literature at Central Michigan University since 2001. He has authored or edited twenty-four books and a range of articles focusing on the American Gothic tradition, monsters, cult film and television, popular culture, weird fiction, pedagogy, and goth music. He is also an editor for the academic journal The Journal of the Fantastic in the Arts.
Body horror or biological horror is a subgenre of horror that intentionally showcases grotesque or psychologically disturbing violations of the human body. These violations may manifest through aberrant sex, mutations, mutilation, zombification, gratuitous violence, disease, or unnatural movements of the body. Body horror was a description originally applied to an emerging subgenre of North American horror films, but has roots in early Gothic literature and has expanded to include other media.