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Peter Hutchings

principal subject matter cannibalism – a theme usually associated with American and Italian horror of the 1970s – and working to locate this within a recognisably class-ridden British social reality, often with extremely disturbing results ( Figure 7.1 ). More recently, two films in the genre have achieved a degree of critical and commercial success. The Company of Wolves (Neil Jordan, 1984) draws on a variety of sources (fairy tales, Breughel, Arthur Rackham, surrealism etc.) in its stylised

in Hammer and beyond
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Elizabeth Ezra

starred in, it is possible to replace these myths with a more accurate assessment of Méliès’s legacy. Myth 1: Méliès made primarily fairy tales and fantasies, characterised by their childlike naiveté As we have seen, Méliès worked within a wide range of genres, which included newsreels, actualités reconstituées , magic acts, political satire, commercial

in Georges Méliès
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Brigitte Rollet

eighteenth-century French literature are also an obvious inspiration. Taking intertextuality in its broadest sense, Chapter 3 will assess the strong literary influence on the tone, genre and content of Serreau’s films and dramas. Fairy-tales and philosophical tales, together with the social and political satire characteristicof seventeenth- and eighteenth-century French literature,are combined with a 1970s’ flavour by the director-dramatistwho addresses issues of gender and race which were not on the agenda of the male French

in Coline Serreau
Liene Ozoliņa

briefly and offered a retrospective assessment of herself with a hint of mockery in her voice, ‘…like a Soviet woman’. The consultation helped her to recover, Īrisa told me, and see that losing a job was ‘well, a fall, but there was a chance to stand up again’. Right after this consultation, Īrisa signed up for several ‘competitiveness-raising’ seminars that the employment agent had offered. A 2-day class on fairy-tale therapy left a particular impression on her. ‘It’s as if my eyes finally opened!’, she exclaimed during one of our conversations. The key idea

in Politics of waiting
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The Neuendettelsau missionaries’ encounter with language and myth in New Guinea
Daniel Midena

Christianity. The contention is that there existed a certain tension between these two points – between the localising and universalising demands of the evangelical project – that characterised Protestant missionary attitudes to evangelism at this time. There are a variety of competing terms in German (and English) at play in this chapter: Mythos , Mythe (myth), Märchen (fairy tale), Sage (saga), Erzählung (story), Geschichte (story, history

in Savage worlds
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Geraldine Cousin

of absolution, this proves hard to find. Carr largely eschews a Christian context, in favour of a background drawn from folk and fairy tales. From this material, and from Shakespearean and Euripidean references, she creates original mythic narratives of an enchanted, frozen time in which women long for the unattainable. The object of their desire is sometimes a man, but they have other, deeper, desires that originated in childhood. Like Lily Matthews, the protagonists of Portia Coughlan and By the Bog of Cats have echoes of Mary Rose. Despite their apparent

in Playing for time
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The melodramatic and the pantomimic
Katherine Newey

History … it is with great concern that we see any deviation from the proprieties illustrative of the course of things and the disturbing devices. … We care not what liberties dramatists take with history, but there is some truth in fairy tales which should not be violated, and least of all when they are converted to Pantomimes, setting before our minds, as they do, in apt resemblances, the doings and undoings, the morals and properties of the great parties in the strife of state. (Examiner, 13 January 1833, pp. 22–3) Leigh Hunt was a great enthusiast for pantomime

in Politics, performance and popular culture
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The Others and its contexts
Ernesto R. Acevedo-Muñoz

about childhood that revisit and reappropriate the conventions of the classic horror film, with various generic intersections with melodrama and fairy tales. Coinciding significantly with the long end of Franco’s regime in the early 1970s, El espíritu de la colmena/Spirit of the Beehive (Víctor Erice, 1973), Furtivos (José Luis Borau, 1975), Cría cuervos/Cria! (Carlos Saura, 1976

in Contemporary Spanish cinema and genre
Hollywood codes and the site of memory in the contemporary film musical
Pietsie Feenstra

. Questioning the genre Analysing musicals leads us automatically to Hollywood, which gave birth to the genre in the 1930s and 1940s (the so-called ‘Golden Era’). The Hollywood musical created some prototypical models for narrative that have been analysed by Rick Altman in his book The American Film Musical (1987). Altman observes three subgenres of the musical: the fairy tale, the

in Contemporary Spanish cinema and genre
Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.