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Defining the Relationships between Gothic and the Postcolonial
William Hughes
and
Andrew Smith

The Gothic has historically maintained an intimacy with colonial issues, and in consequence with the potential for disruption and redefinition vested in the relationships between Self and Other, controlling and repressed, subaltern milieu and dominant outsider culture. Such things are the context of obvious, visible irruptions of the colonial Orientalist exotic into the genre, whether these be the absolutist power and pagan excesses of Beckford‘s Vathek (1786), the Moorish demonic temptations of Zofloya (1806) or the perverse, corrupting influence of a western invader upon a primitivised European in the ImmaleeIsadora episodes of Maturin‘s Melmoth the Wanderer (1820). These are, in a sense, horrors beyond, the exoticism of time and space distancing the problematic text from the comfortable, identifiable world of the contemporary and the homely a reassurance comforting even in a reading of the Irish episodes of Melmoth the Wanderer, where geographical marginality anticipates a borderland as distant from metropolitan sensibilities as effective as those of later writers such as Hope Hodgson, Machen or Rolt. The colonial is both kept at a distance and in a state of suggestive vagueness, of resemblance rather than obvious representation, its horrors accessible though thankfully not immanent.

Gothic Studies

Humour can be theorised as integral to the genre even if there are some films that do not provoke laughter. Romantic comedy has been described as a narrative of the heterosexual couple with a happy ending in which humour does not necessarily play an important part. The comic, protective, erotically-charged space is the space of romantic comedy. This book proposes a revised theory of romantic comedy and then tests its validity through the analysis of texts, but these films must not be expected to fully embody the theory. It proposes a change of approach in two different but closely linked directions. On the one hand, a comic perspective is a fundamental ingredient of what we understand by romantic comedy; on the other, the genre does not have a specific ideology but, more broadly, it deals with the themes of love and romance, intimacy and friendship, sexual choice and orientation. The book discusses two films directed by two of the most prestigious figures in the history of Hollywood comedy: Ernst Lubitsch and Billy Wilder. Lubitsch's To Be or Not to Be became part of the canon as one of the most brilliant comedies in the history of Hollywood in so far as its romantic comedy elements remained invisible. Wilder's Kiss Me, Stupid was almost universally rejected because its satire was too base, too obscene, too vulgar. Discussing Alfred Hitchcock's Rear Window and Woody Allen's Crimes and Misdemeanors, the book attempts to move beyond the borders of comedy.

Brian McFarlane

Today two years later, Chris Mullins astutely noted that whereas a story of suppressed emotions might be ‘perfectly suited to the intimacy of close-ups and the relevant restraint of film acting’, 16 this is distinct from singers having to announce to the audience what they are feeling. Perhaps only a composer with so sturdy a film background would have ventured to transpose the tender subtleties of Brief Encounter into the inevitable grandeurs of the operatic stage. However, given the crucial differences in the requirements of the two media, he seems to have been

in The never-ending Brief Encounter
James Zborowski

deliberately solicits his gaze. When Babe turns to Deeds at the end of her performance of ‘Swanee River’, she is not seeking high praise for any skill displayed in her performance; it is a continuation of an invitation to intimacy, of presenting oneself to another openly, and without pride or dissimulation. Bonnie’s smile is different, and she is seeking acknowledgement of a different sort, which Geoff duly provides. His first words to her: ‘Hello professional’. When Babe Bennett makes music in the park with Deeds, she abandons her professional aim of mining him for moments

in Classical Hollywood cinema
Abstract only
Chris Beasley
and
Heather Brook

: 365). Indeed, movies featuring male-to-male friendships are almost ubiquitous. As noted in chapter 7, there is no need for a masculine Bechdel-Wallace test. As Walt Hickey (2014b) quips, ‘[y]ou’d be hard pressed to think of a single film that doesn’t have a scene where two men have a conversation that isn’t about a woman. Plots need to advance, after all.’ What distinguishes bromances from the broader representation of male-to-male friendships in movies is that the bromance connotes an overt demonstration of intimacy. It is this recent twist towards specifically

in The cultural politics of contemporary Hollywood film
Sylvie Magerstädt

stimulating portrayal of the ancient world? The case studies in this book will provide answers to this question by emphasising the features that are arguably distinct to television, namely seriality, complexity and intimacy. In addition, recent developments in technology have created new opportunities for representing the ancient world on-screen, including some of the elements that were for so long the unique selling point of cinema. This book aims to explore these developments and outline TV antiquity  3 the trajectory of antiquity through television history. It will

in TV antiquity
Smiths fans (and me) in the late 1980s
Karl Maton

kind of religious character who can solve all their problems with a wave of a syllable’.14 I want the one I can’t have Fans’ feelings of intense intimacy were, however, cross-cut by a sense of Morrissey’s aloofness. Despite being ‘a close personal friend’ who knew each individual fan, he remained somehow always a little distant and unknowable – there was always more to discover, something was being held back: ‘His personality is a secret which he has managed to keep private’ (Paul). Morrissey was thereby often viewed as what Richard Schickel describes as an

in Why pamper life's complexities?
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Myrna Loy and William Powell
Kathrina Glitre

Myrna Loy and William Powell 65 3 Making marriage fun: Myrna Loy and William Powell There had been romantic couples before, but Loy and Powell were something new and original. They actually made marital comedy palatable. (George Cukor, quoted by Kotsilibas-Davis and Loy 1988: 69) When people remember Myrna Loy and William Powell, they inevitably think of their roles as Nick and Nora Charles in The Thin Man films.1 Cukor’s reaction to the pairing is typical. Jacobs felt The Thin Man highlighted the ‘intimacy and companionship of married life’ (1969: 534) and

in Hollywood romantic comedy States of the union, 1934–65
Affect and artifice in the melodramas of Isabel Coixet
Belén Vidal

woman’s film by refusing to spectacularise female suffering or to fall back on clichéd class images. Although numerous scenes highlight the intimacy between Ann and her daughters, the film sidesteps the emphasis on maternal sacrifice. Early in the narrative, we see Ann’s mother indulging in a good cry while watching Mildred Pierce (Michael Curtiz, 1945) on television. But when Ann finds her later

in Contemporary Spanish cinema and genre
Abstract only
Jack Holland

of intimacy. That process, in this period, has been remarkable, and it inspired this book’s writing. To begin with, therefore, before turning to evaluate the enduring challenge of studying the Trump presidency, this conclusion recaps and summarises some of the ground covered and arguments developed. The phenomenon that these arguments help to conceptualise will long outlast Trump’s tenure. After that, in its second section, the conclusion does necessarily highlight the importance of popular culture and fictional television right now in the contemporary era that is

in Fictional television and American Politics