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Tom Ryall

Post-war films 1 – genre and British cinema 5 The British cinema emerged from the war period with a high critical reputation, a degree of audience appeal, and with the Rank group well established as a large vertically integrated company ready to challenge the Hollywood majors in the international marketplace. Yet, the early post-war years saw the industry coping with a turbulent period of uncertainty dramatised by a trade war with Hollywood during which the American majors withheld their films from the British market for several months. The uncertainty, however

in Anthony Asquith
Mark Hobart
Bulletin of the John Rylands Library
Sylvie Magerstädt

Expanse and spectacle: the postmillennial revival of a genre Part V In this final part, I will explore the widespread revival and remarkable success of serial television dramas set in antiquity. Described by some scholars as the fourth wave of the peplum (see Cornelius, 2011) the revival of the genre in cinema in the early 2000s, following the success of Gladiator (2000), was replicated by notable television productions that followed in its wake. Moreover, as this section will demonstrate, the emancipation of TV antiquity from its cinematic counterpart

in TV antiquity
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Genre as Practice
Timothy Jones

The term ‘Gothic’ is used in critical writing to describe an ever-increasing variety of texts that are not popularly recognisable as such. This article suggests Gothic texts ought to be read in terms of their genre, and that genre can be understood as the practical logic of habitus, formulated by Bourdieu.

Gothic Studies
Jeffrey Richards

plays: ‘I had a voice the microphone loved’ he recalled. All the serials over thirty years were produced by Martyn C. Webster (1903–83). He became a master of the genre of radio thriller, producing in addition to Paul Temple, the Appointment with Fear series, the Philip Odell serials and some of the Sherlock Holmes plays with Carleton Hobbs and Norman Shelley. Enyd Williams recalled him as ‘an enchanting human being. He was quite a small, dapper man and he had

in Cinema and radio in Britain and America, 1920–60
Russell J. A. Kilbourn

4003 Baxter-A literature:Layout 1 9/9/13 13:03 Page 247 13 THE QUESTION OF GENRE IN W. G. SEBALD’S ‘PROSE’ (TOWARDS A POST-MEMORIAL LITERATURE OF RESTITUTION) Russell J. A. Kilbourn Artists create potentials for the future by exploiting the resources of the past. In literature, the most important carrier of past resources – the central organ of memory – is genre. (Bakhtin in Morson and Emerson 1990: 288) INTRODUCTION Writing in The New Republic in 1998, James Wood noted that the first appearance of The Emigrants caused him to recall ‘Walter Benjamin

in A literature of restitution
Affect, the Gas Pump and US Horror Films (1956–73)
Chuck Jackson

Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

Film Studies
REC and the contemporary horror film
Agnieszka Soltysik Monnet

; they seem to thrive on systematically re-inventing themselves wholesale, overturning familiar conventions, and exploring a wide range of generic hybrid forms (e.g. combining with comedy, computer game platforms and teen romance narratives). Nevertheless, as Brigid Cherry argues in Horror , there is one factor that ‘remains constant’ in the genre (with the exception of parody

in Monstrous media/spectral subjects