The article notes a trend towards low-key naturalism in twenty-first-century independent
queer cinema. Focusing on work by Andrew Haigh, Travis Mathews and Ira Sachs, it argues
that this observational style is welded to a highly meta-cinematic engagement with
traditions of representing non-straight people. The article coins the term ‘New Gay
Sincerity’ to account for this style, relating it to Jim Collins’s and
Warren Buckland’s writing on post-postmodern ‘new sincerity’. At its
crux, this new style centres itself in realism to record non-metropolitan, intimate and
quotidian gay lives, while acknowledging the high-style postmodernism of oppositional
1990s New Queer Cinema.
plot devices. In the case of the latter film, actors from the Comédie
Française were also used to depict the Breton fishermen – a
technique which apparently placed limitations upon the attempted realism of
the film. 10 Despite this, the
pictorialist aspect of the film remains impressive, and the same appears to
have been the case with L’Arlésienne , which combined a
melodramatic plot with an impressionistic portrayal of the
This strategy is guided by principled realism. It is realist because it acknowledges
the central role of power in international politics, affirms that sovereign states are the best
hope for a peaceful world, and clearly defines our national interests… We are also
realistic and understand that the American way of life cannot be imposed upon others, nor is it
the inevitable culmination of progress .
The White House, ‘National Security Strategy of the United States of America’
( The White House, 2017
The aim of this article is twofold. On the one hand, it offers a survey of found footage horror since the turn of the millennium that begins with The Blair Witch Project (1999) and ends with Devils Due (2014). It identifies notable thematic strands and common formal characteristics in order to show that there is some sense of coherence in the finished look and feel of the films generally discussed under this rubric. On the other hand, the article seeks to reassess the popular misunderstanding that found footage constitutes a distinctive subgenre by repositioning it as a framing technique with specific narrative and stylistic effects.
Mahawatte explores George Eliot‘s use of the Gothic in Middlemarch (1871–72) and in particular the literary connections between Dorothea Casaubon and the heroine of the Gothic novel. He argues that Eliot has a conflicting relationship with this figure, at once wanting to satirize her, and yet also deploying Gothic images and resonances to add an authenticity of affect to her social commentary. Using Jerold E. Hogle‘s idea that the Gothic re-fakes what is already read as a copy, Mahawatte presents Dorothea as a quasi-reproduction of Sophia Lee‘s heroines in The Recess; or, A Tale of Other Times (1783–85) and also as part of a Gothic process within a social realist novel.
Harris and Ronald Fraser. Of crucial importance for Reisz (and
subsequently, Lindsay Anderson, whose first feature was an adaptation of
This Sporting Life ) was the work of younger, second generation
kitchen sink novelists such as Alan Sillitoe (b. 1928) and David Storey (b.
1933) who were just starting to emerge as important regional voices from the
Midlands and Northern England. 5
‘Though the new realism they offered, and
Cruelty, Darkness and the Body in Janice Galloway, Alison Kennedy and Louise Welsh
This essay seeks to define a Gothic tendency in the ‘viscerality’ of some recent and prominent Scottish women writers: Janice Galloway, Alison Kennedy and Louise Welsh. The argument addresses an alienating tension in this ‘viscerality’ between a fabular form and the impression of a new realism of social surfaces. This is a Gothic of cruelty and violent representation of the body, which opens a Scottish urban culture, portrayed as a synecdoche for divided consciousness, to fables of sexual and political alienation.
Professional Integrity in Peril at the Fin de Siècle
This essay positions the drug-using doctor at the intersection between traditional Gothic horror and a new fin-de-siècle medical realism, embedding the cultural anxieties at the fin de siècle in relation to the ethical and theological boundaries of scientific knowledge. The objective is to provide a framework for reading and interpreting the medico-gothic narrative of addiction. The essay examines the writings of three pioneering physician-scientists: one historical – Sigmund Freud – and two fictional – Dr Jekyll, in Robert Louis Stevenson‘s Strange Case of DrJekyll and Mr Hyde (1886), and Dr Seward in Bram Stoker‘s Dracula (1897).
Victor Frankenstein relates his narrative ‘marking the dates with accuracy’, determined that his improbable story will be believed. Through examining the time references, this essay reveals the extent to which the novel is preoccupied with realism and temporal accuracy and demonstrates why the time scheme of Frankenstein is a problem for critics. The narrative can be charted via a consistent and extensive system of time references provided by the three narrators. At a point near the end, Shelley is momentarily vague. Previous decisions on how to deal with this difficulty are opened up to scrutiny, and a detailed chronology of the 1831 version is proposed. Readings which have based their arguments for political or biographical significance on embedded numerology are reexamined using the new chronology.
Surfaces and Subtexts in the Popular Modernism of Agatha
Christie‘s Hercule Poirot Series
In Detective Writers in England, Christie claims a detective story is an escape from the
realism of everyday life; however, her Poirot series represents anxieties about the
conditions of modernity through the conventions, images, and tones of the classic Gothic,
a genre well established as providing a balance between escapism and historical commentary
(xiii). While the earlier Poirot texts juxtapose the trappings of the Gothic– séances,
curses, ghosts– against a rational modern world and produce a comical effect when these
conventions are revealed as staged, as the conditions of modernity weigh upon Christie,
particularly during World War II, her Poirot texts take on an increasingly sinister
quality in which history itself is coded in Gothic terms.