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Chloe Germaine Buckley does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

Lancaster University provides funding as a founding partner of The Conversation UK.

Crimson Peak is set at the turn of the 20th century and follows the fate of the American middle-class Edith (Mia Wasikowska) as she is seduced by the English baronet, Thomas Sharpe (Tom Hiddleston) and travels with him to his crumbling Cumberland ancestral home, Allerdale Hall.

As she explores the gothic mansion, which is slowly sinking into the oozing red clay of the family’s now defunct mines, Edith realises that the Sharpe family hide a host of unsavoury secrets.

What these reviews reveal is a split in our cultural consciousness between forms of fiction deemed masculine (horror), and those deemed feminine (romance). Walpole initiated the trend with The Castle of Otranto in 1764, a self-styled “Gothic Romance” featuring many of the tropes we see in Crimson Peak.

Transgressive and violent, Lucille is the film’s anti-hero, taking the masculine role from her brother once the action moves to Cumberland.Yet she is also incarcerated, confined by her domestic role as daughter and sister, consumed by bitter disappointment and regret.Lucille’s homicidal madness is a necessary gothic trope, as well as a nod to Daphne du Maurier’s Rebecca (1938).Del Toro’s entangling of horror with romance refuses to privilege one form over the other.Terrance Weinzierl, an in-house type designer at Monotype, was put to the task.

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