This book defines the cinematic Gothic as an intergeneric, transnational, and transhistorical aesthetics of memory. It suggests that the cross-border movements of those I call ‘travelling directors’ had a crucial impact on the emergence, development, and dissemination of the Gothic. This approach expands the canon to filmmakers and national traditions that have not received much attention in the context of the Gothic and supports an examination of the aesthetic as exilic at its core. I consider memory and processes of manual re-membering to be structural to the aesthetic’s carefully staged ‘sensuous geographies’ (Rodaway, Sensuous Geographies: Body, Sense and Place. London: Routledge, 1994). Guided by three key concepts—memory, travelling, and touch—this volume encourages a reappraisal of traditional modes of reading the Gothic by redrawing its scope, retracing its origins, and refocusing attention on surfaces as sites of meaning. In urging the reader to think about the cinematic Gothic in these terms, and through a range of disciplines, this book extends previous scholarship and breaks new ground for investigating not only areas that have eluded critical study, such as the role of hands in film, but also prioritises issues relevant to current academic discourse on memory, migration, and the senses.