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From Mary Shelley and Sir John Franklin to Margaret Atwood and Dan Simmons
Catherine Lanone

how the lost Franklin expedition has been repeatedly turned into a topos of textual haunting, casting a disturbing light less on the past than on present decay, pollution and global warming. Evolving from a cliché and a myth, the Franklin story has turned into an ecoGothic paradigm. Arctic exploration as a monstrous venture The representation of the Arctic was

in Ecogothic
Open Access (free)
The early British films of Joseph Losey
Neil Sinyard

, either on script, casting, cutting, music or on anything else. The result, whether the film succeeds or not, whether one likes the film or not, at least it’s something I can defend as being mine. It is all of one piece.’ As a film-struck teenager, I saw The Servant when it was first released and can recall being utterly bowled over by it. At that time, infected by a fashionable disdain towards British

in British cinema of the 1950s
Lisa Shaw

of Afro-Brazilian identity in the casting of the chanchadas is endorsed by their soundtracks, which similarly ‘whiten’ Brazilian demographic and musical realities. As Stam writes, ‘given their Brazilian origins, their Rio de Janeiro setting, and their samba subject, the musicals shockingly underrepresent the black presence. [… It is] as if Brazilian producers, not unlike their Hollywood counterparts, wanted to have black

in Screening songs in Hispanic and Lusophone cinema
Abstract only
From music hall to celluloid
Philip Gillett

appealed to northern, working-class audiences. Two Mancunian offerings, Somewhere in Camp (d. John E. Blakeley, 1940) and Somewhere on Leave (d. John E. Blakeley, 1942) drew the largest audiences at the Majestic, Macclesfield, in 1942 and 1943 respectively. 10 Although made at Riverside Studios in London, Home Sweet Home (d. John E. Blakeley, 1945) is a typical Mancunian product in its casting and scenario. It gives scope for stage business and

in The British working class in postwar film
Open Access (free)
Quentin Crisp as Orlando’s Elizabeth I
Glyn Davis

with people with HIV/AIDS, the Queen Mum for her alleged reputation as a fan of a party and a tipple. For Sally Potter, however, Crisp’s persona squared neatly with the role of Elizabeth I. In an interview with Penny Florence, she discussed her casting decisions: [W] ith Quentin, there are so many ways in which he’s right for the part

in The British monarchy on screen
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Settler colonies, ethno-religious violence and historical documentation: comparative reflections on Southeast Asia and Ireland
Ben Kiernan

-century cases illustrate my first two points: the contributions to continuing violence of both recidivist perpetrators and vengeful victims. Third, the 1641 depositions may fairly be characterised, without casting any doubt on their accuracy, as an example of a ‘single-purpose’ archive, rather than the product of general documentation of routine official or other activity. As Clarke notes, in 1641–47 the clerical Commission for the Despoiled Subject collected all 3,500 depositions pursuant to a very specific ‘official duty’ – ‘registering the losses of despoiled Protestants

in Ireland, 1641
Will Higbee

, reflected in the filmic text itself. With its relatively large budget, high-profile release at the Cannes festival and casting of Serrault in the starring role, Assassin(s) appeared to signal Kassovitz’s arrival in mainstream French cinema following the cross-over success of La Haine . The film essentially reworks popular American genre cinema (the violent neo noir thriller) using the established trope

in Mathieu Kassovitz
The role of news and online blogs in constructing political personas
Julia Gallagher and V. Y. Mudimbe

, yet they were primarily aimed at Ivoirian (local and diaspora) audiences. The internet became a site where counter-narratives to mainstream Western news and alternative images of the crisis and its protagonists were created and circulated, and the internet has also provided a platform in which opposing readings of the Ivoirian post-electoral crisis could emerge. In the websites and blogs linked to the LMP, international pressure was transformed into a political opportunity. By casting Laurent Gbagbo as the victim of French neo

in Images of Africa
Alexandra Walsham

alleged that Catholicism imprisoned its followers. 8 Simultaneously, from the very beginning Protestantism placed considerable emphasis on the Pauline theme of casting off the old man, ‘which is corrupt according to the deceitful lusts’, and putting on a new one, ‘created in righteousness and true holiness’. 9 Derived from 2 Corinthians 5:17, the idea of becoming a ‘new creature’ in Christ played a significant part in the self-identity of early evangelicals. 10 While many absorbed reformed ideas

in Religion and life cycles in early modern England
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Julian Mitchell’s Another Country
Jonathan Bolton

“a foppish, Modiglianesque pin-up” with “artfully tousled hair.”  8 Both Girelli and Adair fail, however, to appreciate what is arguably the play's major achievement—the manner in which Mitchell combines in Guy Bennett, and in the casting of first Rupert Everett and then Colin Firth and Daniel Day-Lewis, fashionably striking physical features with elements of charm, disaffection and what music historian Simon Reynolds calls the “non-conformist bohemianism” enshrined in the post-punk counterculture

in The Blunt Affair