This anthology explores the resilience and ubiquity of the Gothic in cinema from its earliest days to its most contemporary iterations. Fifteen newly commissioned chapters by prominent scholars in the field of Gothic and cinema studies examine the myriad ways that filmmakers mobilise Gothic conceits across multiple film genres and in conjunction with several significant film styles. In the process, the book contributes exciting new readings of canonical works of Gothic cinema as well as important new critical examinations of emerging horror subgenres.