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Nordic Gothic and colonialism
Johan Höglund

’ aim to make the Sámi central to the narrative. Because the man who has died is discovered to be a French citizen, the young and ambitious French police officer Kahina Zadi is sent to Kiruna to liaise with the Swedish police. Because Kahina is an outsider, she gives the opportunity for the series to explain the geography, climate and ongoing power struggle between the Swedish and the Sámi in the region. Moreover, Kahina is also second-generation Algerian Berber and has first-hand experience of the racism that colonialism produces. She is picked up

in Nordic Gothic
Dandies, cross-dressers and freaks in late-Victorian Gothic
Catherine Spooner

: His costume was reminiscent of the Algerians’ whom one finds all over France, and who are the most persistent, insolent and amusing of pedlars. … This individual was like the originals, and yet unlike, – he was less gaudy, and a good deal dingier, than his Gallic prototypes are apt to be. Then he wore a burnoose, – the yellow, grimy-looking article of

in Fashioning Gothic bodies
Having one’s cake and eating it too
Marie-Luise Kohlke

Oliver Twist ’ (Flanagan, 2010 : 3). The deliberate inclusion of the emotive terms of terror and jihad, and the ranging of ‘civilised’ western powers and cultural authorities against indigenous resistance fighters, specifically Abd al-Qadir or Amir Abd al-Qādir al-Jazā’irī (1808–83), constructs uncanny reverse temporal echoes. A descendent of the Prophet Muhammad and an Islamist scholar and poet, al-Qadir became ‘the most important leader of the rebellion’ when France invaded Algeria in 1830, attaining numerous

in Interventions
Marie Mulvey-Roberts

and the Cinema , p. 151. 122 In du Maurier’s Trilby , Taffy Wynne paints Algerian Jews, ‘just as they really are’; p. 124. 123 This could be a tongue-in-cheek reference to the times when Klaus Kinski was having a

in Dangerous bodies