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Interrogating kinship networks with the thirteenth Doctor
Hannah Hamad

  Doctor Who universe, across its lifespan, has been noteworthy for depicting non-traditional (i.e. non-nuclear) kinship networks (Nicol, 2020 ). As has been well documented by sociologists, the term ‘nuclear family’ usually refers to a kinship unit whose members live in a household comprised of a heteronormative married couple and their biological children. Most commonly, it is associated with hegemonic ideals around Western family life and structure (i.e. that fathers should hold the public sphere provider role of

in Doctor Who – New Dawn
Open Access (free)
Beckett’s media mysticism in and beyond Rough for Theatre II
Balazs Rapcsak

prominent split between the level of diegesis and the script storing and transmitting it. But there is further indication of this ‘rupture of the lines of communication’ (Beckett, 1984 , 70), notably in the following remark: ‘Et dire que tout ça c’est de la fusion thermonucléaire! Toute cette féerie!’ (Beckett, 1978 , 52). This aside immediately follows the lamp gag, and so may also be read as an allusion to the source of electric power (and not just the star-filled sky). The first commercial nuclear power plant in the UK, the Calder Hall reactor in

in Beckett and media
Melodramatic and moral readings of gay conversion therapy in A Place to Call Home
Alley-Young Gordon R.

around the white, middle-class, heteronormative, nuclear, patriarchal family ( Arrow, 2018 ). The working poor, people of colour, and gender/sexual non-conformers were marginalised as social ills ( Arrow, 2018 ). Victorian sexual attitudes (i.e., the female body as morally/physically vulnerable; homosexuality as illness) persisted into the twentieth century ( Brown, 2015 ; Featherstone, 2010 ). The Victorian social order

in Diagnosing history
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Kes, Threads and beyond
David Forrest and Sue Vice

identity-­ formations, including that of ethnicity, which Hines’s writing life did not continue long enough to address fully. Hines’s responsiveness to political contexts meant that he had brought great commitment to writing the screenplay for the 1984 nuclear-­attack drama Threads, for which his script provides the extreme generic and narrative disruption of a nuclear bomb falling on Sheffield and destroying the known western world. Threads was a shocking cautionary tale which prompted widespread political debate on its television broadcast in both the UK and USA. The

in Barry Hines
Colin Gardner

the nuclear age under the dark cloud of HUAC and the Cold War, and was directed by a 38 year-old American veteran of the Stalinist Old Left with little or no film experience. This was adapted into a British-made film that reflected the legacy of Vietnam, Watergate and the Trotskyist/Maoist New Left, directed by a 65-year-old exiled film veteran with a recent Cannes Film Festival Palme d’Or under his belt. This long delay

in Joseph Losey
Pedro Almodóvar’s transnational imaginary
Carla Marcantonio

fatales, identities constructed outside the bounds of the nuclear family – the family at the centre of the discursive strategies of the nation and the affective nexus dramatised by the melodramatic mode. Furthermore, the transvestite characters in each of these films provide a figure of embodiment for these transnational articulations informed, in part, by their iconographic status as femme fatales

in Contemporary Spanish cinema and genre
Homer B. Pettey

Vassilis Vassilikos's 1966 novel, recounts the political assassination of leftist activist Deputy Grigoris Lambrakis after giving an anti-American, anti-nuclear speech in Saloniki (Thessaloniki) on 22 May 1963. Two right-wing thugs in a kamikaze truck struck Lambrakis on the head with a club; the brain injuries he sustained led to his death five days later. The aftermath of the Lambrakis assassination revealed the deep ideological divisions within Greece. The governmental investigation into the assassination revealed unsavory, corrupt connections between the constabulary

in The films of Costa-Gavras
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Author: Jonathan Bolton

The Blunt Affair: Official secrecy and treason in literature, television and film, 1980–89 examines a number of significant plays, films and novels about or related to the Cambridge spies from the time of Anthony Blunt’s unmasking as the “fourth man” in late 1979 to the end of the Cold War. This study argues that these works collectively offer a forceful response to issues at the forefront of British politics and culture in the decade, such as the rise in anti-gay sentiment and policies during the AIDs crisis, nuclear proliferation and CND’s stand against it, state secrecy and the abuse of the Official Secrets Act, Thatcherism and patriotic imperatives. This study also offers a much-needed reassessment of the literary and filmic culture of the decade, arguing that these texts, by writers as diverse as Dennis Potter, Julian Mitchell, Alan Bennett, Tom Stoppard, John le Carré, Robin Chapman and Hugh Whitemore, deserve a more central place in the cultural assessment of the decade.

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

Abstract only
Lez Cooke

Wilson’s novel was ambitious: a futuristic plot (written at the end of the 1950s but set in the 1970s) about an isolated Britain facing a nuclear conflict with a fascist European state. Wilson set his novel within the enclosed world of London Zoo, which he used as a metaphor for the antagonisms, rivalries and political manoeuvring taking place in the wider world: Fictional dystopias, it is often said, reflect the age in which the author is writing rather than the future in which the book is set. Orwell’s Nineteen Eighty-Four is really about 1948. And Angus Wilson’s The

in Troy Kennedy Martin