Focusing on the productive sense of recognition that queer theorists have articulated in relation to the Gothic, this article proposes that the relationship which has developed between queer theory and Gothic fiction reveals the significant role the genre has played in the construction of ‘queerness’ as an uncanny condition.
Go Tell It on the Mountain sheds light on James Baldwin’s response to his Pentecostal religious inheritance. Baldwin writes protagonist John Grimes’s experience of “salvation” as an act of his own break with his past and the inauguration of a new vocation as authorial witness of his times. This break is premised on the experience of kairos, a form of time that was derived from Baldwin’s experience of Pentecostalism. Through John Grimes’s experience, Baldwin represents a break with the past that begins with the kairotic moment and progresses through the beginnings of self-love and the possibility of freedom enabled by this love. This essay contributes a new perspective on discussions of Baldwin’s representation of time and his relationship to Christianity.
This essay explores a link, previously unremarked, in the Southern Gothic novelist Flannery O’Connors The Violent Bear It Away (1960) between the drunkenness of the novels protagonist and the idiot child he is compelled to baptize. Inspired by the possibility that much of the canon of American literature contains a symbolic economy of alcohol – what John Crowley calls ‘the White Logic’ – I argue that aligning the child with intoxication produces a poetics of addiction that helps explain the redemptive, revelatory climax of the novel in which O’Connors protagonist fulfills his religious destiny. The novel thus calls for a more complex understanding in American Gothic literature of the protean nature of intoxication.
This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.
Before 1906, there were no dedicated venues for the exhibition of film in London. Five years later, cinemas had spread all over the city, and 200,000 people were attending a film show in the city every day. Many in these first cinema audiences were children. Significantly - indeed probably uniquely for the time - cinema was a mass entertainment deliberated aimed at, and priced within the range of, the young. Decades later, some of these children left memoirs (published or unpublished), or were interviewed by oral historians. This body of evidence on the experience of cinema-going before the First World War has been hitherto ignored by film historians. This essay examines this testimony from London audience members, which is constructed around the various stages of the act of going to the cinema. The testimony demonstrates that the experience and the enjoyment of the social space that the cinema provided were at least as important as the entertainment projected on the screen. The early cinema demands greater recognition for its function as a social sphere, and particularly as a welcoming place for children.
What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
Fantasy and the supernatural are everyday expressions of the imaginative experiences of Malaysian and Singaporean women writers who use the Gothic to explore and expose the contradictions within their societies, constraints upon peoples lives, and most specifically, womens roles. In tales of wealthy families and their bondmaids, growing up, investment, education, marriages, the supernatural and fantasy run everywhere alongside realistic factual accounts to critique contradictions, and highlight little ironies, some of which have been generated by or supported by the,colonial presence, and some of which emanate from their own cultural traditions. Many cultural and individual contradictions are generated by recognition of the need to simultaneously maintain what is valuable in tradition, benefit from what was brought by colonialism, and move on to create new ways of being. Through the gaps and fissures of colonial homes and those of grand Chinese or Malay families leak tales of repression and silencing legitimated by cultural, economic and gendered differences. The repressed return, as they do in all good Gothic tales, to bring cultural and personal discrepancies to the notice of the living.
Of the crises and conflicts considered in this book, Bosnia has generated the greatest controversy. There is even some disagreement over the date on which the war began: the Bosnian Serbs argue that it started on 1 March 1992, with the shooting of a guest at a Serbian wedding in Sarajevo; others maintain that it began with the recognition by the European Community (EC) of
132 5 The stranger: performing ‘out-of-placeness’ in the UK and Europe In a rapidly expanding field of scholarship concerning performance and migration, this chapter animates the figure of the stranger to consider the function of (mis)recognition and undecidability in a range of solo performances made in relation to contemporary border regimes. Recent works including Alison Jeffers’ Refugees, Theatre and Crisis (2011), Yana Meerzon’s Performing Exile, Performing Self (2012), Victoria Sam’s Immigration and Contemporary British Theatre (2012) and Agnes
marginalité et la collectivité. Ces contradictions doivent mener celui ou celle qui regarde à prendre d ’ autres positions … à se mettre en mouvement individuellement et collectivement. 1 (Stoll 2004 : 33) The recognition of the inherently discursive functions of art provides a central context for the multiple