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Lorraine Yeung

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.

Film Studies
Memories of childrens cinema-going in London before the First World War
Luke McKernan

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 Decades later, some of these children left memoirs (published or unpublished), or were interviewed by oral historians.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.

Film Studies
Abstract only
Constantine Verevis

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).

Film Studies
Televised historical portrayals of women’s shifting roles in medicine
Fogel Jennifer M. and Sutherland Serenity

Claire Randall Fraser (Caitriona Balfe), the heroine in Diana Gabaldon’s time-travelling book series Outlander and its television adaptation, practises as a nurse, healer, and physician in backdrops where women have historically struggled for recognition as bona fide medical practitioners. In settings such as eighteenth-century Jacobin Scotland, pre-Revolutionary France, colonial America, World

in Diagnosing history
Martin Harries

the proscenium as theatrical frame is not, as Haerdter may be read to suggest, a concession to an outmoded theatrical naturalism but, instead, exemplary of Beckett's recognition of the altered situation of post-war theatre in a transformed media surround. The proscenium was not, after 1945, what it had been. 6 Beckett's deliberate uses of the apparatus of the theatre respond to the proscenium-like frame of the cinema, a resemblance stressed (for instance) by the curtains that open two otherwise very different films

in Beckett and media
Gender, nostalgia, and the making of historical heroines
Aeleah Soine

a bridge between local and global audiences is evident in Morocco . While the Rif War of 1921 is undeniably regional in its historical resonance, the focus of the series on Red Cross nurses evokes widespread global recognition of an icon that is by intent interchangeably local, national, and international. The same might be said of Charité in Germany, as few non-Germans might boast recognition of Berlin in the

in Diagnosing history
The good doctor of When the Boat Comes In
James Leggott

unionisation of his workforce, and thus of significant benefit to the health and wellbeing of the Gallowshields community. Another wealthy industrialist comes to Billy’s rescue by providing him free space for a new clinic, an act that is partly conscience-salving in recognition of the way factory pollution has endangered public health, but also a cunning way to push down dividends. A story arc across the three final episodes concerns

in Diagnosing history
Simplicity and complexity in Father Ted
Karen Quigley

any other episode’ (Linehan and Mathews 1999 : 232). Nevertheless, the popularity of this episode with viewers has seen it broadcast on Irish and/or British television (usually Channel 4) every Christmas from its first broadcast in 1996 until today. In the first part of the episode, Ted saves himself, Dougal and six other priests from certain scandal when they become trapped in the lingerie section of a large department store while Christmas shopping, and he is presented with the prestigious Golden Cleric award in recognition

in Complexity / simplicity
Abstract only
Byrne Katherine, Taddeo Julie Anne, and Leggott James

. Just as social class dictates how disease spreads and is treated in La Peste , gender dominates the medical narratives in Diana Gabaldon’s time-travelling book series Outlander (1991–) and its current television adaptation. Claire Randall Fraser practices medicine in backdrops where women fought for recognition as bona fide practitioners, as shown in Fogel and Sutherland’s chapter. In settings such as eighteenth-century Jacobin Scotland

in Diagnosing history
James Zborowski

drawing upon Meir Sternberg), and suggest that The Wire 's degree of narrational communicativeness perhaps appears lower than it is because of another feature of the series correctly identified by Lavik: its stylistic self-effacingness and sobriety, which Bordwell would characterise as a low degree of ‘self-consciousness’ – this being a measure of the ‘extent [to which] the narration display[s] a recognition that it is addressing an audience’ ( 1985 : 58). A second reason to reject the idea that ‘redundancy’ straightforwardly reduces complexity

in Complexity / simplicity