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Colonial Structures and the Gothic Genre in Contemporary Puerto Rican Narrative
Sandra M. Casanova-Vizcaíno

This article analyses the representation of several colonial structures in the Caribbean reconfiguration of the Gothic genre, specifically in two works of contemporary Puerto Ricanfiction: Miss Florences Trunk: Fragments for a Romantic Trash Novel (1991) by Ana Lydia Vega and Over My Dead Body (2012) by Marta Aponte Alsina. In these novellas, specifically through the main characters reading of diaries and confessions, we are presented with a description of the physical structures. At the same time, the colonial structure also emerges, a context in which slavery, sexual abuse and mulataje are described as ubiquitous sources of terror.

Gothic Studies
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Comedy-drama in 1990s British cinema
Author: Nigel Mather

This book explores the interactions of comedy and drama within a group of significant and influential films released during the decade of the 1990s. It examines a group of British films from this period which engage with economic and social issues in unusual and compelling ways. Brassed Off and The Full Monty are two films invoking very different cultural traditions as possible activities for unemployed males and troubled communities in modern British society. The book then discusses a number of contemporary British films focusing upon the experiences of British-Asian and African-Caribbean characters and their efforts to feel 'at home' in Western and British society. It features an extensive analysis of East is East, a comedy-drama about the cultural and ideological tensions surfacing between members of a British-Asian family living in Salford, circa 1971. Next, the book includes case studies of Four Weddings and a Funeral, Notting Hill, and Love Actually. It investigates the ways in which humour is deployed for dramatic and emotional effect in the context of scenarios dealing with such seemingly non-comic subjects as mass unemployment, failed or uneasy relationships, bitter family disputes, or instances of racial tension and conflict in British society. The book demonstrates that the interaction of comic and dramatic modes of narration within the films discussed proved to be a dynamic creative mechanism in 1990s British cinema, facilitating and enabling the construction of innovative and genuinely exploratory narratives about characters who are striving to realise particular aspirations and hopes within a complex culture.

Darrell M. Newton

Americanisation, Star hoped to set up a production company to make a small number of British programmes. Additional competition for Black audiences began with a ‘Black cable TV’ that became part of north London’s cable packages. The Afro-Caribbean Channel (ACC) had planned to bring not videos, but Black programming from Britain, Africa, the Caribbean, and America to the homes of north Londoners. Viewers of the channel would be able to watch documentaries, news, music, and light entertainment in 20,000 homes, broadcasting six hours a day, from 6 p.m. to midnight. Black Briton

in Paving the empire road
Darrell M. Newton

)1 When considering the sentiments of Henry as he spoke to audiences over the BBC’s Caribbean Services, it is likely that this opinion reflected the concerns of many West Indian immigrants at the time. Much like John Elliot’s teleplay A Man from the Sun (BBC, 1956) attempted to highlight the post-war immigration issue from the fictional perspective of actor Errol John’s character Cleve, BBC radio programmes, and the broadcast policies that supported them, occasionally provided actual opportunities for actual perspectives on Britain. Whether guests were students, famed

in Paving the empire road
Darrell M. Newton

the West Indies. A report from the Manley administration on the economic impact of these settlers led to the establishment of the British Caribbean Welfare Service on 5 June 1956, under the control of Ivo de Souza, Welfare Liaison Officer for the British Caribbean Welfare Service and the CO. According to figures compiled by de Souza’s office, the total number of West Indians entering the UK in 1955 was around 25,000 with an equal number expected in 1956. The number of West Indians in the country in that year totalled approximately 55,000 to 60,000, as compared to a

in Paving the empire road
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London’s racial geography, 1960–80
Caspar Melville

considered thereby illegitimate presences in the city experienced public space differently to white Londoners? And, finally, how did this feed into the development of musical multicultures in the city? Answering these questions involves a brief examination of migration from the Caribbean, which peaked in the years between 1948 and 1962 (although it did continue thereafter), and the patterns of settlement that took West Indian migrants into particular parts of the inner city. Here, in areas like Notting Hill, Hackney and Brixton, we see the emergence of what Hall et al

in It’s a London thing
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‘Tears of laughter': comedy-drama in 1990s British cinema
Nigel Mather

. The chapter concludes with case studies of Brassed Off (Mark Herman, 1996) and The Full Monty (Peter Cattaneo, 1997), two films invoking very different cultural traditions as possible activities for unemployed males and troubled communities in modern British society. Chapter 2 discusses a number of contemporary British films focusing upon the experiences of British-Asian and African-Caribbean

in Tears of laughter
Black Feet in the Snow (BBC, 1974)
Sally Shaw

Power movement, its visceral depiction of racial discrimination and its critique of Britain’s colonial past. However, the stage play’s radicalism also extended to its form—an innovative mix of Caribbean orature and Brechtian elements. Two years after its first stage performance, Black Feet in the Snow was filmed for BBC2’s Open Door community strand in 1974. The television adaptation was unusual

in Screen plays
Darrell M. Newton

empire road Boscoe Holder and his wife Sheila Clarke. His group, the West African Rhythm Brothers, was the subject of a 1951 memo from the BBC Controller of Television, Cecil McGiven, to producer Bill Ward. The memo suggested that the group be included on upcoming broadcast of the show Caribbean Cabaret and that the performance be as ‘loud and savage’ as possible for viewers.9 In a memo from the television controller to the head of live television entertainment in 1951, the West African Rhythm Brothers were to be included within a broadcast somehow, despite a limited

in Paving the empire road
BBC television and Black Britons

This book provides an institutional case study of the BBC Television Service, as it undertook the responsibility of creating programmes that addressed the impact of black Britons, their attempts to establish citizenship within England and subsequent issues of race relations and colour prejudice. Beginning in the 1930s and into the post millennium, the book provides a historical analysis of policies invoked, and practices undertaken, as the Service attempted to assist white Britons in understanding the impact of African-Caribbeans on their lives, and their assimilation into constructs of Britishness. Management soon approved talks and scientific studies as a means of examining racial tensions, as ITV challenged the discourses of British broadcasting. Soon after, BBC 2 began broadcasting, and more issues of race appeared on the TV screens, each reflecting sometimes comedic, somewhat dystopic, often problematic circumstances of integration. In the years that followed, however, social tensions, such as those demonstrated by the Nottingham and Notting Hill riots, led to transmissions that included a series of news specials on Britain's Colour Bar, and docudramas, such as A Man From the Sun, which attempted to frame the immigrant experience for British television audiences, but from the African-Caribbean point of view. Subsequent chapters include an extensive analysis of television programming, along with personal interviews. Topics include current representations of race, the future of British television, and its impact upon multiethnic audiences. Also detailed are the efforts of Black Britons working within the British media as employees of the BBC, writers, producers and actors.