Hodkinson

Hodkinson's analysis of British goth culture focuses on its strength of translocal connections as elemental to its identity. He begins by identifying the abstract connections of personal identity and taste before expanding his analysis to "concrete" connections via commerce and media, specifically citing the Internet as new ground for subcultural expansion.

Though Hodkinson's analysis and discussion of goth is thorough throughout, there is very little relating his findings to the goth culture itself, nor any justification of goth as his subject of study. In fact, most of his analyses read as general statements on youth culture in general. "Meanwhile, key influential individuals such as DJs were equally liable to pick up musical ideas and influences from attending events elsewhere, ideas which may then be imported back into the set list of their local goth club." [p137] This quotation could easily be applied to various youth cultures, just as Hodkinson's discussion of the impact of specialty shops could be linked to the style of any subculture. By not discussing the significance of any signs, symbols, capital, or communications specific to goth culture, Hodkinson fails to answer the simple question of how goth distinguishes itself from any other subculture. More specifically, his introduction of goth's tenets illustrate its members' tendencies toward reclusion, isolation, and individualism, yet at no point does he reconcile these with his description of social networking and collective identity, presumably counterintuitive to other youth subcultures, such as Thornton's discussion of acid-house culture which is based on highly social clubs and raves.

Discussion question(s): Why goth? How are goth's symbols and culture linked? If punk remnants can be identified in goth, what are they, and how do they differ?

UPDATE: After watching the goth special on the Culture Show, I believe even more strongly that the aesthetics of goth, while lie central to the collective identity, do not suffice as subcultural essence without greater contextualization. As Donny Robbins dresses up in goth attire and claims to "feel" goth, he seemingly only does so because other goths complimented his garb. In actuality, Robbins displayed little of the theatricality, self-indulgence or fetishism that underlies the gothic fascination with imagery. I believe that he and Hodkinson both fail to explain why goth really is what it is and how it exists as a subculture.