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Migrant bodies and uncanny skin
Lisa Mullen

. Yet in doing so, her curatorial practice depended on an erasure of cultural specificity at a time when an ‘exotic’ identity could still turn waves of scattered people into undifferentiated ‘foreigners’. Post-war ‘displaced persons’ were still much in the news; in 1945, there were between twenty and thirty million stateless refugees in Europe, ‘myriads of desperate, sick and starving people’, as Lord Reading put it in a House of Lords debate. 59 A year later, this figure was estimated to be down to 500,000 and the UNO’s short-lived Special Committee on Refugees and

in Mid-century gothic
An afterword
Richard J. Hand

Bride of Clintonstein ( A Double Take Presidential Primary Rib , July 2016). Outside of the USA, a major news story with political impact has been the UK’s referendum about whether to remain in the European Union. It was a heated campaign which resulted – in June 2016 – in the decision to leave the EU. Generally, pundits assumed that the anti-EU campaign (‘Brexit’) would lose and the arguments and rhetoric they deployed (principally in regard to immigrants and refugees) were seized upon by critics with articles in British newspapers such as Dan

in Adapting Frankenstein
Brutishness, discrimination and the lower-class wolf-man from The Wolf Man to True Blood
Victoria Amador

already volunteering for service in the Second World War, and many studios were short on handsome leading men. That may have led to casting Chaney as the clearly improbable son of the Welsh scientist and lord of the manor Sir John Talbot, portrayed with typical sophistication by Claude Rains. America was still neutral in the war in 1941 as well, so one might also see the story of the US lad going to Britain to aid that country as a warning against involvement in the war. A further interpretation, given the number of refugees working in Hollywood at that time, could also

in In the company of wolves
Nordic Gothic and colonialism
Johan Höglund

settling territory inhabited by the indigenous Sámi and the Greenland Inuits. In addition, it studies how the influx of Middle Eastern culture into the Nordic region, brought on by large number of war refugees from the region, needs to be understood as part of a postcolonial/neocolonial geopolitics. Finally, it considers how Nordic film, literature, music and art negotiates this long and complex imperial history. Although all colonialism can be concisely defined, in the words of Ania Loomba, as ‘the conquest and control of other people's land and

in Nordic Gothic
Sofia Wijkmark

horror of the supernatural. The horror of Strandberg's novel is acted out on multiple levels. As a parallel to the supernatural plot and the uncanniness of dementia, runs the socially realistic, but definitely no less horrific plot of spending one's old age at the mercy of a profit-driven company. The point is proven by the character Sucdi, a nurse at Tallskuggan and a refugee from Somalia, one of the most war-ridden countries in the world. Her father has decided to return to his home country, even though his children live in Sweden, and it means

in Nordic Gothic
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Uncanny assemblage and embodied scripts in tissue recipient horror
Sara Wasson

… naturalise those interlopers, those refugees, those necessary parasites as Orlac’s hands ! … You tormented them so as to make them lose all recollection of their former owner, to appropriate them to yourself and fashion them in the likeness of your own dead hands!’ (p. 253, emphasis in original) In this extraordinary passage Orlac’s version of tissue incorporation is condemned as pathological because it seeks to erase the otherness of the received tissue. In a highly Derridean move, Orlac’s erasure of otherness is presented as a lamentable violence, injurious to

in Transplantation Gothic
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German nuclear cinema in neoliberal times
Steffen Hantke

novel itself bears out this critique. Keeping the actual nuclear accident itself off stage, Pausewang focuses on her female teenage protagonist, who starts out as one of the myriad refugees from the affected region. Janna-Berta then becomes herself contaminated during a downpour on her way to safety and spends some time in a refugee camp near Schweinfurth where she loses all her

in Neoliberal Gothic
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Gregory Nava’s Bordertown and the dark side of NAFTA
Agnieszka Soltysik Monnet

– a space of constant traffic and despair. A third gothic space in the film is the shanty-town outside Juárez where migrant indigenous people like Eva and her mother live. Unable to afford housing in the city, internal economic refugees such as the indigenous populations of Oaxaca are forced to construct homes from debris and to steal electricity, at a high risk of electrocution

in Neoliberal Gothic
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Capitalising (on) ghosts in German postdramatic theatre
Barry Murnane

contradictory moments of ethnic violence and liberalism in the Balkans, Žižek considers nationalisms and the streams of political refugees escaping the violence of civil war to be the uncanny mirror images of capitalism’s universalist and liberalist logic of a global financial order and its concomitant culture: ‘The emergence of ethnic causes breaks the narcissistic spell of the West

in Neoliberal Gothic
W. J. McCormack

has been recognised as the founder of the Enlightenment school of history, in whose Dictionary (1697–1702) even the great Erasmus was not exempt from a revelation of illegitimacy. 9 In this proto-deconstructivist manner, as in the coining of the English term ‘refugee’, Huguenots moving from the Low Countries to Britain and Ireland sponsored a restlessness of spirit at odds

in Dissolute characters