numerous programmes to change the economic
structure of Korean society, including one to increase agricultural
production, particularly rice, the main staple of the region. In addition,
Japan put various cultural programmes into effect to demoralise Koreans as
colonial subjects. Japan’s cultural control over Koreans aimed to root
out their sense of nationalidentity as demonstrated by the prohibition of
the Korean language in
sisters’ bodies by taking them to have a medical
examination to prove that they are still virgins – that their own
internal space, and with it family honour, is therefore still intact. Gender
imbricates not only with space, but also with nationalidentity:
Samia’s mother is told that her daughters are bringing shame on the
family by behaving as if they are French girls. Their gender means that they
are caught between two ways of
The journey North is a recurrent motif throughout the Gothic literary tradition, often representing a journey back in time to a more primitive location where conventional rules do not apply. Within the context of contemporary Scottish Gothic this journey continues to involve a temporal regression. The North of Scotland, and specifically the Highlands, is still a Gothic location, allowing for an interrogation of the homogenising notion of ‘national identity’. In this article the journey North is explored in the work of contemporary writers and film directors including Iain Banks, Alan Warner, David Mackenzie, and Neil Marshall.
This essay examines the proliferation of visual representations of Robert Louis Stevenson‘s Strange Case of Dr Jekyll and Mr Hyde (1886), considering the question of what links contemporary (Scottish?) Gothic to its problematic origins. After a survey of cinematic and graphic adaptations, the essay focuses on Steven Moffatt‘s Jekyll (BBC, 2007), which combines the post-Darwinian anxieties surrounding Stevensons tale of human regression with a much more contemporary interrogation of the ‘human’ against the backdrop of complex globalised scientific conspiracies. Significantly, the production draws on the Scottish origin of the text, re-proposing the question of (national) identity and authenticity against the threat of globalisation.
Bram Stoker‘s ‘Carpet of Death’ and Ireland‘s Horrible Beauty
This article examines Irish bogland as Gothic landscapes in Bram Stoker‘s The Snake‘s Pass (1890). Conjoining the constituent elements of the Irish bog with the EcoGothic as a literary and cultural mode, the ‘Bog Gothic’ illustrates bogland as untamed wasteland that resists incorporation into modernity and colonialism. This article argues that investigating bogland in The Snakes Pass will draw attention to the ways in which Irish bogs are situated precariously among issues of national identity, colonial consciousness and environmental history, which ultimately results in the marginalisation and degradation of these ubiquitous and emblematic landscapes of Ireland.
James Baldwin and the "Closeted-ness" of American
This article reads the work of James Baldwin in dialogue with that of Eve Kosofsky
Sedgwick. Taking its cue from Baldwin’s claim that Americans “live […] with something in
[their] closet” that they “pretend […] is not there,” it explores his depiction of a
United States characterized by the “closeted-ness” of its racial discourse. In doing so,
the article draws on Sedgwick’s work concerning how the containment of discourses
pertaining to sexuality hinges on the closeting of non-heteronormative sexual practices.
Reconceptualizing Sedgwick’s ideas in the context of a black, queer writer like Baldwin,
however, problematizes her own insistence on the “historical gay specificity” of the
epistemology she traces. To this end, this article does not simply posit a racial
counterpart to the homosexual closet. Rather, reflecting Baldwin’s insistence that “the
sexual question and the racial question have always been entwined,” I highlight here the
interpretive possibilities opened up by intersectional analyses that view race, sexuality,
and national identity as coextensive, reciprocal epistemologies.
Searching for Black Queer Domesticity at Chez Baldwin
Magdalena J. Zaborowska
This essay argues for the importance of James Baldwin’s last house, located in St. Paul-de-Vence in the south of France, to his late works written during the productive period of 1971–87: No Name in the Street (1972), If Beale Street Could Talk (1974), The Devil Finds Work (1976), Just Above My Head (1979), The Evidence of Things Not Seen (1985), and the unpublished play The Welcome Table (1987). That period ushered in a new Baldwin, more complex and mature as an author, who became disillusioned while growing older as a black queer American who had no choice but to live abroad to get his work done and to feel safe. Having established his most enduring household at “Chez Baldwin,” as the property was known locally, the writer engaged in literary genre experimentation and challenged normative binaries of race, gender, and sexuality with his conceptions of spatially contingent national identity. The late Baldwin created unprecedented models of black queer domesticity and humanism that, having been excluded from U.S. cultural narratives until recently, offer novel ways to reconceptualize what it means to be an American intellectual in the twenty-first-century world.
This book seeks to offer a rather wider frame of analysis than is typically adopted in accounts of the nature and significance of The Smiths. It focuses on the Catholic and broader religious dimensions of The Smiths. The book explores the theme of suicide in the songs of The Smiths. It also seeks to examine how the kitchen-sink dramas of the early 1960s influenced Morrissey's writing. The book proposes that beyond the literal references in his lyrics there lies a sensibility at the heart of these films akin to the one found in his poetic impulse. The book expands the argument with some concluding thoughts on how cinema has 'returned the favour' by employing The Smiths' songs in various ways. It examines the particular forms of national identity that are imagined in the work of The Smiths. The book ranges from class, sexuality, Catholicism, and Thatcherism to musical poetics and fandom. It then focuses on lyrics, interviews, the city of Manchester, cultural iconography, and the cult of Morrissey. The distinctive sense of Englishness that pervades the lyrics, interviews, and cover art of the band is located within a specific tradition of popular culture from which they have drawn and to which they have contributed a great deal. The book breaches the standard confines of music history, rock biography, and pop culture studies to give a sustained critical analysis of the band that is timely and illuminating.
This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.
The volume encompasses seventeen chapters, each devoted to an individual actor
who represents a diverse aspect of post-war British cinematic stardom. The
approach is one of a cinephile academic and although the time frame ranges from
the 1940s to the 1980s, the focal point is the 1950s. It was in this decade that
the film industry faced increasing competition from television and the
involvement of Hollywood monies in UK-based pictures. By the end of that period,
the ‘star system’ maintained by the Rank Organisation and Associated British
Picture Corporation (ABPC) was being succeeded by independent productions using
Pinewood and Elstree Studios and censorship was being relaxed. Many actors took
the opportunity to escape, or even transcend, their previous casting limitations
or stereotyping. Of the subject matter, Jack Hawkins, John Mills, Kenneth
More are ‘senior leads’, Laurence Harvey and Stanley Baker are ‘younger leads’
and the ‘leading ladies’ section contains chapters on Sylvia Syms and Diana
Dors. ‘The comics’ details the work of Norman Wisdom, Terry-Thomas and Leslie
Phillips. The careers of Sidney James, James Robertson Justice, Margaret
Rutherford and Hattie Jacques are considered in terms of the art of the leading
character actor and the work concludes with tributes to Peter Finch and Peter