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Peter Marks

Gilliam’s long-time love of Grimm fairy tales, the general topic of the script was tantalising. So, no doubt, was the prospect of work, even if it entailed returning to the Hollywood system. While not normally the focus of filmmakers catering for adult audiences, fairy tales are more than mere children’s stories. Jack Zipes shows how the fairy tale evolved from earthy oral folk tales that represented and

in Terry Gilliam
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Author: Peter Marks

This book argues the centrality of hybridity to Terry Gilliam's films. Gilliam had a collaborative approach to filmmaking and a desire to provoke audiences to their own interpretations as other forms of intertextual practice. Placing Gilliam in the category of cinematic fantasist does some preliminary critical work, but crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an extraordinary variety of genres. These include medieval comedy; children's historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Gilliam's work with Monty Python assured him a revered place in the history of that medium in Britain. As a result, the Python films, And Now for Something Completely Different, The Holy Grail, Life of Brian and The Meaning of Life, along with his own, Jabberwocky, Time Bandits, and Brazil, show him moving successfully into the British film industry. Most of his films have been adaptations of literary texts, and Jabberwocky forges an extended tale of monsters and market forces. The Adventures of Baron Munchausen builds on some tales from the original texts, constructing a complex examination of fantasy, representation and mortality. Taking crucial ingredients from medieval and older mythologies, the screenplay of The Fisher King resituates them and reworks them for modern America. Gilliam's complex interaction with Britain and America explains his ambiguous place in accounts of American and British films.

The Allusive Languages of Myth, Fairy Tale and Monstrosity in The Falconer
Sarah Dunnigan

This essay examines how Alice Thompson‘s novel, The Falconer (2008), creates a richly allusive Gothic weave by analysing its symbolic languages of myth, nature, and monstrosity, and how it reimagines and reinterprets other modes and texts associated with the Gothic, namely Du Maurier‘s Rebecca and the Bluebeard fairy tale, as well as Scottish ballad tradition and popular fairy belief. Mirroring the trope of metamorphosis which thematically and stylistically informs the novel, the essay also explores how these allusively poetic uses of Gothic become politicised in the portrayal of German Nazism and of traumatic historical memory.

Gothic Studies
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Running into the forest in Russian fairy tales
Shannon Scott

death. Furthermore, like the Grey Wolf, Baba Yaga is never rattled by violence or brutality, either her own or that of others, inflicting no moral judgements on human behaviour with the exception of the behaviours that break her own unique code of ethics. And yet, despite her ferocious demeanour, Baba Yaga often assists the hero or heroine in their quest, as the Grey Wolf does for Ivan Tsarevich. Fairy tales or folktales featuring Baba Yaga and the Grey Wolf were popular, and continue to be so, in Russian culture. Alexander Afanas’ev, who collected

in In the company of wolves
Hans Christian Andersen and Selma Lagerlöf
Maria Holmgren Troy and Sofia Wijkmark

translated authors in the world along with Shakespeare and Karl Marx”’. 1 He travelled widely in Europe and Asia Minor, contributed to genres such as travel writing, drama, autobiography, poetry and fictional prose of different kinds and gained international recognition during his lifetime. Both then and today, he was and is most appreciated as a writer of fairy tales and stories for children or, more accurately, a crossover audience, and the first part of this chapter will focus on three of his most famous fairy tales

in Nordic Gothic
The representation of incest in children’s literature
Alice Mills

. Lissar’s long-enduring distress at her father’s brutal attentions is powerfully evoked, as is their physical cost in terms of bodily hurt and eventual miscarriage. In Donkeyskin, Deerskin , Allerleirauh: The reality of the fairy tale, 9 Helen Pilinovsky argues that the queen, Lissar’s mother, was abused by her own father, since he sought to repel her suitors and died of a broken heart once she married

in Incest in contemporary literature
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Peter Marks

activated ideas for the eventual film. Having taken inspiration from one classic text, Gilliam chose to inter-weave it with a classic literary form, the fairy tale. In a comment that reaches back to his childhood and forward nearly thirty years to The Brothers Grimm , he states that ‘I was trying to make a real Grimm’s fairy tale, which are very bloody.’ 12 Gilliam reworked the traditional fairy tale

in Terry Gilliam
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The ‘Gothic green’ in Goethe and Eichendorff
Heather I. Sullivan

Idyllic gardens so lush and blooming as to seem almost mystical take on an ominously Gothic tone when their grounds or plant life are revealed to have startling power over the human beings who enter their space or alter their layout. In this manner, Joseph von Eichendorff's 1819 romantic fairy tale, The Marble Statue , with its enchanted yet threatening garden of Venus, and Johann Wolfgang Goethe's famously enigmatic novel from 1809, Elective Affinities , with its transformation of the Baron's lands into a vast English garden that results in

in EcoGothic gardens in the long nineteenth century
Commodification, corporeality and paranormal romance in Angela Carter’s beast tales
Bill Hughes

the vampires of paranormal romance, have emphasised the subjectivity of the werewolf, casting them as victims of ineluctable urges and as lovers, very often female. 1 This turn was anticipated by Angela Carter in her ‘beast tales’, by which I mean ‘Peter and the Wolf’ and most of the tales in the 1979 collection of transformed fairy tales, The Bloody Chamber and Other Stories . In these tales, metamorphoses between animal (often wolf) and human explore what costs are incurred in being animated, conscious flesh

in In the company of wolves
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Costume, performance and power in 1953
Lisa Mullen

costume expressed this problematic attempt to reconcile the future and the past, as the very materiality of mid-century apparel began first to enable, and then to demand, new definitions of authenticity, class and national identity. These new definitions inform key cultural artefacts of the period, from Powell and Pressburger’s 1948 fairy tale The Red Shoes to Iris Murdoch’s first novel Under the Net (1954); and from the 1951 Ealing comedy The Man in the White Suit to Gloriana itself, as well as finding expression in the accoutrements of both the Coronation and

in Mid-century gothic