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Defining the Relationships between Gothic and the Postcolonial
William Hughes
Andrew Smith

The Gothic has historically maintained an intimacy with colonial issues, and in consequence with the potential for disruption and redefinition vested in the relationships between Self and Other, controlling and repressed, subaltern milieu and dominant outsider culture. Such things are the context of obvious, visible irruptions of the colonial Orientalist exotic into the genre, whether these be the absolutist power and pagan excesses of Beckford‘s Vathek (1786), the Moorish demonic temptations of Zofloya (1806) or the perverse, corrupting influence of a western invader upon a primitivised European in the ImmaleeIsadora episodes of Maturin‘s Melmoth the Wanderer (1820). These are, in a sense, horrors beyond, the exoticism of time and space distancing the problematic text from the comfortable, identifiable world of the contemporary and the homely a reassurance comforting even in a reading of the Irish episodes of Melmoth the Wanderer, where geographical marginality anticipates a borderland as distant from metropolitan sensibilities as effective as those of later writers such as Hope Hodgson, Machen or Rolt. The colonial is both kept at a distance and in a state of suggestive vagueness, of resemblance rather than obvious representation, its horrors accessible though thankfully not immanent.

Gothic Studies
The Wicker Man, contemporary Paganism and Dracula reversed
Laurel Zwissler

signalling established physical intimacy. If Lee’s Summerisle is the inverted tarot card of Lee’s Dracula, it makes significant sense that he is not interested in Howie sexually. If The Wicker Man is the inverted tarot card of Hammer’s Dracula films, it also follows that the sex in the film is explicitly consensual and joyful, often initiated by women. This last point is crucial in

in Folk horror on film
The Gothic, death, and modernity
Carol Margaret Davison

literary dead’ ( 2008 : 51). This proliferation of historically fixated cultural forms ‘quest[ed] for intimacy with the dead’ more generally (Westover, 2012 : 8), engendering what Paul Westover has nicely called ‘Necromanticism’, ‘a complex of antiquarian revival, book-love, ghost-hunting, and monument-building that emerged in the age of revolutions and mass print’ (3). In ‘Past

in The Gothic and death
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Women, domesticity and the Gothic adaptation
Helen Wheatley

: by bringing the narrative of domestic fear and paranoia back into the home from the late 1940s onwards, the closeness between the threatened heroine and the viewer of the text is reestablished or intensified on television, as a domestic medium. Playing on television’s sense of intimacy, female Gothic fictions made for this medium are re-domesticated, and consequently emphasise the dual anxieties of

in Gothic television
Negotiating with the Daleks
Jonathan Bignell

. ‘The Daleks’ makes use of the intimacy available to multi-character, multi-camera performance ‘as if live’ in the restricted space of the television studio, but also provides opportunities for spectacle, thus connecting the serial with both conventional television naturalism and cinematic science fiction. Building fan audiences and developing a ‘cult’ aesthetic in niche programmes were not very significant in the ‘era of scarcity’ (Ellis 2000 : 39–60) when two channels provided a restricted diet of programming for mass audiences. But the emergence of a culture of

in Popular television drama
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Listening in terror
Richard J. Hand

for this book. The passion he reveals is detectable in other writers who have created works of audio horror and have found the form liberating or have discovered a way to optimise its effect, as these statements make clear: I think radio’s strength is one of intimacy. If someone’s listening on headphones, it’s like they

in Listen in terror
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

indicators of nationality and culture inherent in the short story which bring a sense of intimacy to readers familiar with Britain’s history and recent past. On a number of subtextual levels ‘The Forbidden’ taps into both folk and high culture. As regards the former, the events in the story take place in the week leading up to Bonfire or Guy Fawkes Night. Traditionally celebrated to commemorate the foiling

in Monstrous adaptations
Australian films in the 1990s
Jonathan Rayner

aberration of Dawn’s and Gordon’s intimacy is also rendered visually. Flo’s importance to Gordon is shown by the shrinking of her face, reflected in a oval hall mirror seen in the middle distance, when she leaves her husband. The self-absorption Gordon has encouraged in Dawn is seen in the exaggeration of her hands in close-up, and the associated diminution of her face in a makeup mirror, as she applies nail varnish. In noting such features alongside the weirdness of the characters and their situation, Steve Jenkins presupposes a

in Contemporary Australian cinema
Appointment with Fear
Richard J. Hand

, it is during the intermission of this broadcast that the aforementioned ‘No Escape’ is given the road safety award; the decision to present ‘Nightmare’, another tale of the road, is an effective one. The sense of intimacy of being inside a car can determine acting style, and it can also be effective if the audience is listening to a car radio. The contemporary writer Oliver Emanuel, whose disturbing

in Listen in terror
Horror audio in the digital age
Richard J. Hand

’ collectively. After experiencing it on your own, you might share it with a friend, and then talk about it with them and compare experiences. (Fuel, 2011 ) Although none of the Everyday Moments are generic works of horror, their sense of intimacy and focus makes them works of particular intensity that can be somewhat uncanny. For

in Listen in terror