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Clive Barker’s Halloween Horror Nights and brand authorship
Gareth James

performance art, literature, illustrations, and comic book adaptations of his work. However, as expensive flops like Nightbreed proved, trying to create a Barker-branded franchise spanning films and other forms of merchandise could be problematic. What is important to focus on, then, is that the rides were less about extending a specific Barker-written franchise like

in Clive Barker
Dean Lockwood

outcome’ (142). Attali’s observations coincided with the emergence of British post-punk music. My focus here is on the band Throbbing Gristle (typically abbreviated as ‘TG’) who created what they called ‘industrial’ music. TG, formed in 1975, originated as the musical incarnation of the performance art group, COUM Transmissions. Initially conceived as a

in Monstrous media/spectral subjects
Sarah L. Henderson
Scott N. Romaniuk
, and
Aliaksandr Novikau

activities related to promoting or instigating social, racial, national, religious, or linguistic supremacy. One method it has employed is its selective use of rule by law to target and intimidate critics. Thus, blogger and anticorruption activist Alexei Navalny, protestors from the 2011 known as the Bolotnaya 12, members of the punk rock/performance art collective Pussy Riot, and

in Counter-terrorism and civil society
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The original Futurist cookbook?
Selena Daly

Aeronautico G. Caproni), pp. 95–9. Baldissone, G. (2009). Filippo Tommaso Marinetti (Milan: Mursia). Baron Cohen, S. and J. E. Harrison (eds) (1997). Synaesthesia: Classic and Contemporary Readings (Oxford: Blackwell). Adamowicz and Storchi, Back to the Furutists.indd 206 01/11/2013 10:58:52 Le Roi Bombance 207 Berghaus, G. (1995). The Genesis of Futurism: Marinetti’s Early Career and Writings 1899–1909 (Leeds: Society for Italian Studies, no. 168). Berghaus, G. (2001). ‘The Futurist Banquet: Nouvelle Cuisine or Performance Art?’ New Theatre Quarterly, 17, 3

in Back to the Futurists
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Why queer(y) citizenship?
Zalfa Feghali

: University of British Columbia Press,1998); Davidson et al., Border Crossings; Winfried Siemerling, The New North American Studies Reader: Culture, Writing, and the Politics of Re/​Cognition (New York: Routledge, 2005); Ila Nicole Sheren, Portable Borders: Performance Art and Politics on the U.S. Frontera since 1984 (Austin: University of Texas Press, 2015); Rachel St John, Line in the Sand: A History of the Western U.S.-​Mexico Border (Princeton: Princeton University Press, 2011). 23 Levander and Levine, Hemispheric American Studies, p. 3. 24 Gillian Roberts and David

in Crossing borders and queering citizenship
Rebecca Binns

mix of sensibilities and backgrounds would be key to their collaborations together over the coming decades; first in performance art outfits in the 1970s and through their involvement in the Free Festivals movement, and then in Crass, the band Rimbaud formed with Steve Ignorant in 1977. It was also during this period, however, that Vaucher developed the pattern of working alone for extended periods of time. She recalls the supportiveness and flexibility she was shown by staff. I'd be there early in

in Gee Vaucher
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a whole has presented itself … the circus self-image is at heart a paradoxical one since it promotes an idea of itself in the popular imagination as embodying a lifestyle unfettered by conventionality or by social and legal restraint: a freedom which was echoed in performances which foregrounded the illusion of ease. Behind this image lie levels of physical discipline, bodily regulation and hardship which are unrivalled by any other western performance art. 37

in The medium of Leonora Carrington
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David Annwn Jones

Gothic is that at present it remains a popular art form, from graffiti to performance art, from altered books to cinema, and from skull bracelets to prestigious fashion shows held in international museums. It is possible that, partly because of its popularity and ubiquity, it has been largely unnoticed that recent forms of Gothic visual expression comprise vital links between the ‘Sensation’ art shows

in Gothic effigy
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The topos of/for a post-politics of images?
Anne-Laure Amilhat Szary

. The group, which brings with it a renewed hybrid cultural expression, has followed the border-related political struggles for several decades – from the rights of immigrant workers and Chicanx activism claims in the fight against security policies that have affected the region since 2001. Its members have changed their artistic practices from interventions on the landscape to an increasing questioning of the body. Guillermo Gómez-Peña embodied this performance art better than anyone else by helping it spread quickly and well beyond the border line itself. Distancing

in Border images, border narratives
Steven Bruhm

-hood sexuality subtends the readings of a man who remains interesting more for the postmodern indeterminacy of his face and race than for any ‘meanings’ – any interventions into normative sexuality – produced by his ‘art’. If we speak of Jackson and transgressive sexuality, we must be sure to code it as scandal , and to offer no sophisticated or engaged reading of the actual performance art, for such

in Queering the Gothic