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Parodies and Price
Richard J. Hand

In the 1960s, there were isolated examples of horror radio, such as J. L. Galloway’s ‘The Dark’ (29 July 1962) produced by John Tydeman. This is a thirty-minute drama which presents, from the perspective of a ship, a storm that has raged for six weeks and, centrally, a lighthouse in which the two stranded keepers’ irritation with each other grows into murderous contempt

in Listen in terror
Chiharu Yoshioka

The Gothic is the discourse which embodies the dialectic of the Enlightenment, with its potential to push the frontier of reason into the mythologized darkness. Embarking on the use of genre fiction as political discourse and finding a voice to tell a story of her generation, Carter made a major breakthrough in her career. Making use of the Gothic palimpsest, Carters Marianne leaves behind the sphere of (feminine) ‘interiority’-the psychic spaces of desire and anxiety for the (supposedly masculine) catharsis in the Other world, as a sixties heroine of sensibility. Heroes and Villains calls for the reconstruction of enlightenment at the ‘post-modern’ ruins of civilization.

Gothic Studies
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Some reflections on the relationship between television and theatre
Stephen Lacey

between the theatre of the late 1950s and 1960s and television drama of the 1960s and 1970s. I am particularly interested in how some of the key terms in the development of television drama (especially ‘Brechtian’ and ‘the popular’) might be illuminated when placed in the context of theatre theory and practice, and to pursue some connections between Joan Littlewood’s Theatre Workshop and popular television comedy. Both the theatre of the late 1950s and the television of the mid-1960s have been characterised in terms of their relationship to social realism (see Lacey

in Popular television drama
The Books of Blood and the horror of 1980s Britain
Darryl Jones

familiar feature in bookstores and public libraries, and increasingly so on television from the mid-1960s. Published in 30 annual volumes between 1959 and 1989, and altogether selling some 5.6 million copies, Herbert Van Thal's Pan Books of Horror Stories series was one of the most distinctive British publishing phenomena of the postwar decades. 2 Their lurid covers were a

in Clive Barker
Dreams of belonging in Cornish nationalist and New Age environmental writing
Shelley Trower

This chapter looks at tales of living, or at least moving stones – especially those known as prehistoric monuments – and how these support regional or national identity, focusing on the period from the 1960s to the present. Prehistoric monuments are often not clearly separable from the land on which they are situated, partly because their construction is usually determined

in Rocks of nation
Peter Hutchings

wedded to a sense of the grotesque and the absurd, and the horror films it produced stand as a testament both to the heterogeneity of British horror cinema and to the way in which a range of British horror films differ from and in certain respects offer a challenge to what might be termed the Hammer hegemony. Of all the British film companies that sought to emulate Hammer’s success in the horror genre throughout the 1960s and early 1970s, Amicus was one of the most prolific and distinctive

in Hammer and beyond
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William Hughes

become, for many twentieth-century practitioners and those enquirers who consulted them, little more than another form of fortune-telling. This was a context, and a reputation, against which the lingering presence of the British Phrenological Society – which continued to offer classes in phrenology well into the 1960s – would struggle in vain. 13 Even Frances Hedderly, who managed the dispersal of the society's papers to various academic archives, was to turn increasingly to mystical rather than scientific company

in The dome of thought
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Horror production
Peter Hutchings

1964–66 By the mid-1960s the British horror film, largely because of Hammer’s unprecedented success, had become firmly associated in the public’s mind with period settings. What one finds between 1964 (the year of The Gorgon ) and 1966 is a cluster of films which seek, presumably in the commercial interests of product differentiation, to relocate horror in a recognisable present-day world while at the same time appealing to the already established market for that period horror

in Hammer and beyond
The episodic situation comedy revisited
Barry Langford

The question of what counts as an innovative feature in the development of a sitcom is difficult because in some ways we are talking about a framework so simple and so easy to recognise that the sitcom is, literally, child’s play. (Feuer 2001 :69) This essay takes a second look at the apparent simplicities of the situation comedy, comparing some ‘classic’ 1960s and 1970s British sitcoms with a more recent example, The Office (BBC 2001–3), with the aim of clarifying the relationship of narrative form to ideological and historical content. I have

in Popular television drama
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Bodies dis(re)membered: Gothic and the transplant imaginary
Sara Wasson

to be legally and physiologically complex (see Chapter 1 ). Instead, following Margaret Lock, I find the term ‘cadaveric donor’ – in wide use from the 1960s until recently – to be a usefully liminal term for a liminal state. I avoid the term ‘organ retrieval’ because it inaccurately naturalises the process, implying that tissue is being restored to its original site and masking surgical realities of extraction. I do use the term ‘procurement’ since that is overwhelmingly the term in circulation in medical contexts, but I regularly alternate it with ‘surgical

in Transplantation Gothic