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The dance of global darkness
Steven Bruhm

, 44 . 1 : 43–8 . ____. 2000c. ‘Inner Material/Material’ . The Drama Review , 44 . 1 : 36–42 . Klein , Susan Blakely . 1988 . Ankuko Buto: The Premodern and Postmodern Influence on the Dance of Utter Darkness. Ithaca, NY : Cornell East Asia Program . Lunberry , Clark . 2006 . ‘East meets West meets East: Dreaming

in Globalgothic
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Globalising the supernatural in contemporary Thai horror film
Katarzyna Ancuta

specifically Thai spiritual entities, such as phii krasue (the filth-eating spirit in the shape of a flying female head with entrails) or phii pob (the liver-devouring hungry ghost), whose representations do not fare well beyond Thailand, or South-East Asia. Thai horror comedies utilise local modes of narrative and frequently rely on the personal charisma of local comedians, the value of which is usually

in Globalgothic
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German nuclear cinema in neoliberal times
Steffen Hantke

’. Conclusion: monetising failure Read as a continuous narrative, all three films taken in sequence tell the story of the gradual neoliberalisation of West/Germany, each with a different deployment of gothic tropes in service of various thematic concerns. As several East Asian economies, Britain and the USA were pursuing a dramatic turn towards neoliberal

in Neoliberal Gothic