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Khaki Gothic and Comedy
Sunday Swift

On first glance, M*A*S*H (1972–83) might not be the ideal text for Gothic analysis. Aesthetically, the traditional dark castles surrounded by black forests in the moonlight are replaced by muted khaki and green canvas Army tents, and the tinny canned laughter punctuating the sardonic jokes echo longer than the terrified screams in the night. Gothic and war are uneasy bedfellows; it is the inclusion of comedy, however, that determines just how horrific the result can be. Using M*A*S*H as a primary example to explore what I refer to as Khaki Gothic this paper will explore how, utilising Gothic tropes, comedy can disguise, diffuse and intensify the horrors of war.

Gothic Studies
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Marie Mulvey-Roberts

relationship between vampire and war in novels, films and short stories from the Crimean War (1853–6), through to the Russo-Turkish conflict (1877–8), First World War (1914–18) and up to the Vietnam War (1959–75). In the act of parasitically feeding off a living body, the vampire functions as an appropriate trope for the draining effects of war on the body politic. Just as war lends itself to Gothicisation, as

in Dangerous bodies
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Historicising the gothic corporeal

The body is a potential marker of monstrosity, identifying those who do not fit into the body politic. Irregularity and the grotesque have been associated with Gothic architecture and are also indicative of wayward flesh and its deformities. Through an investigation of the body and its oppression by the church, the medical profession and the state, this book reveals the actual horrors lying beneath fictional horror in settings as diverse as the monastic community, slave plantation, operating theatre, Jewish ghetto and battlefield trench. Original readings of canonical Gothic literary and film texts include The Castle of Otranto, The Monk, Frankenstein, Dracula and Nosferatu. This collection of fictionalised dangerous bodies will be traced back to the effects of the English Reformation, Spanish Inquisition, French Revolution, Caribbean slavery, Victorian medical malpractice, European anti-Semitism and finally warfare, ranging from the Crimean up to the Vietnam War. Dangerous Bodies demonstrates how the Gothic corpus is haunted by a tangible sense of corporeality, often at its most visceral. Chapters set out to vocalise specific body parts such as skin, genitals, the nose and eyes, as well as blood. The endangered or dangerous body lies at the centre of the clash between victim and persecutor and has generated tales of terror and narratives of horror, which function to either salve, purge or dangerously perpetuate such oppositions. This ground-breaking book will be of interest to academics and students of Gothic studies, gender and film studies and especially to readers interested in the relationship between history and literature.

Transnational harvest horror and racial vulnerability at the turn of the millennium
Sara Wasson

‘machine’ of the story’s title includes the factory processing of living flesh and the wider social and structural violence within which the murder occurs. Jesse justifies his actions with reference to the Vietnam War, describing how in this fictional world front-line troops were maintained with the bodies of the dead through organ transplants: ‘“Got to keep the war machine running!” they told us. Then there wasn’t enough. We finally had to get our own casualties. The NCOs told us to get what we needed off our own. They wouldn’t let us take nothing off the whites

in Transplantation Gothic
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Marie Mulvey-Roberts

traced to the effects of the English Reformation, Spanish Inquisition, the French Revolution, Caribbean slavery, Victorian medical malpractice, European anti-Semitism and warfare from the Crimean up to the Vietnam War. These forces of institutional terror have served as incubators for historical monstrosities, which will be mapped onto a number of literary and film texts. Chapters are organised around Horace Walpole

in Dangerous bodies
On the cultural afterlife of the war dead
Elisabeth Bronfen

the censorship implicit in embedding journalists with fighting troops, it is fruitful to recall that the first of his zombie films, Night of the Living Dead , had already explicitly referenced the cultural influence of the Vietnam War. When the film came out in 1968, the American (and international) audience was more than familiar with search and destroy missions and could

in Monstrous media/spectral subjects
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Andrew Smith and Anna Barton

-generic transposition, such as the relocating of Austen within a contemporary Indian context, the redeployment of Conrad’s narrative within the Vietnam War and the appropriation of Shelley and James into the populist contexts of the horror genre. In ‘True histories of the Elephant Man: storytelling and theatricality in adaptations of the life of Joseph Merrick’ Benjamin Poore takes the example of ‘The Elephant Man’ as a test case for how Victorian narratives have been developed in a neo-Victorian theatrical context. After outlining

in Interventions
American gothic to globalgothic
James Campbell

towards the nation’s military-industrial complex. The most striking instance of the latter follows the discovery of two dead soldiers affiliated with the Project, as it prompts David and store clerk Ollie Weeks to compare them to American soldiers who collected human ears during the Vietnam War, and to Nazi war criminals (139). Nothing is offered to justify the excessive readings of the text’s paranoid

in Globalgothic
Nineteenth–century fiction and the cinema
Richard J. Hand

in a wealth of other contexts including journalism, not least in covering the 1994 genocide in Rwanda to the twenty-first-century crises in the Middle East and Afghanistan. Conrad’s exploration of the unjust barbarity of colonial exploitation has become a powerful metaphor for modern war: Apocalypse Now (Francis Ford Coppola, 1979) effectively uses the novella as the source for an exploration of the Vietnam War (although, notoriously, Conrad is not cited anywhere in the credits). The ‘Conradian journey’ also

in Interventions
Jonathan Rayner

, though basically decent, tend to avoid conflict. I think that’s very Australian’. 12 Sons of Anzac: The Odd Angry Shot The sense of Australian male characters being prey to the forces of history which appears in Between Wars is developed into a persistent theme within the ensemble films which address Australian war experience. Before the wars fought under colonial rule were examined in Breaker Morant (1980) and Gallipoli (Peter Weir, 1981), Australia’s involvement in the Vietnam War provided the

in Contemporary Australian cinema