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Tissue transfer in literature, film, and medicine
Author: Sara Wasson

This book is a shadow cultural history of transplantation as mediated through medical writing, science fiction, life writing and visual arts in a Gothic mode, from the nineteenth century to the present. Works in these genres explore the experience of donors or suppliers, recipients and practitioners, and simultaneously express transfer-related suffering and are complicit in its erasure. Examining texts from Europe, North America and India, the book resists exoticising predatorial tissue economies and considers fantasies of harvest as both product and symbol of ‘slow violence’ (Rob Nixon), precarity and structural ruination under neoliberal capitalism. Gothic tropes, intertextualities and narrative conventions are used in life writing to express the affective and conceptual challenges of post-transplant being, and used in medical writing to manage the ambiguities of hybrid bodies, as a ‘clinical necropoetics’. In their efforts to articulate bioengineered hybridity, these works are not only anxious but speculative. Works discussed include nineteenth-century Gothic, early twentieth-century fiction and film, 1970s American hospital organ theft horror in literature and film, turn-of-the-millennium fiction and film of organ sale, postmillennial science fiction dystopias, life writing and scientific writing from the nineteenth century to the present. Throughout, Gothic representations engage contemporary debates around the management of chronic illness, the changing economics of healthcare and the biopolitics of organ procurement and transplantation – in sum, the strange times and weird spaces of tissue mobilities. The book will be of interest to academics and students researching Gothic studies, science fiction, critical medical humanities and cultural studies of transplantation.

Abstract only
Author: Peter Marks

This book argues the centrality of hybridity to Terry Gilliam's films. Gilliam had a collaborative approach to filmmaking and a desire to provoke audiences to their own interpretations as other forms of intertextual practice. Placing Gilliam in the category of cinematic fantasist does some preliminary critical work, but crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an extraordinary variety of genres. These include medieval comedy; children's historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Gilliam's work with Monty Python assured him a revered place in the history of that medium in Britain. As a result, the Python films, And Now for Something Completely Different, The Holy Grail, Life of Brian and The Meaning of Life, along with his own, Jabberwocky, Time Bandits, and Brazil, show him moving successfully into the British film industry. Most of his films have been adaptations of literary texts, and Jabberwocky forges an extended tale of monsters and market forces. The Adventures of Baron Munchausen builds on some tales from the original texts, constructing a complex examination of fantasy, representation and mortality. Taking crucial ingredients from medieval and older mythologies, the screenplay of The Fisher King resituates them and reworks them for modern America. Gilliam's complex interaction with Britain and America explains his ambiguous place in accounts of American and British films.

An introduction
Editor: Jonathan Rayner

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.

Science fiction and the futures of the body
Alistair Brown

inhabit and, most significantly for the context of the present book, our familial and sexual relations. 3 This chapter looks towards the futures of incest through the lens of science fiction. By examining the depiction of incest in three narratives concerned with different posthuman technologies of reproduction and embodiment – androids ( Abiogenesis ), genetic cloning ( Plan for Chaos ), and artificial

in Incest in contemporary literature
Negotiating with the Daleks
Jonathan Bignell

This essay connects a study of the commissioning and production processes of the well-known science-fiction drama series Doctor Who with the larger theoretical question of the understandings of ‘quality’ guiding its production and reception. The serial most fully discussed is ‘The Daleks’ (BBC 1963), which ensured Doctor Who’s survival by attracting significant audiences with a futuristic science fiction adventure. 1 As James Chapman has noted ( 2002 :3–4), the evaluation and justification of quality in British television drama has focused on its social

in Popular television drama
Mary Shelley’s motivic novel as adjacent adaptation
Kyle William Bishop

intersects with existing narrative structures, as often occurs in television. Due to the episodic nature of television serials, adaptations of Frankenstein that appear as part of existing narrative arcs must take a more fragmented approach to translating Shelley’s tale to the small screen. In a number of science-fiction, fantasy, and horror television shows, motivic elements from Frankenstein – characters, plot points, symbols, and themes – tend to appear in one, almost ubiquitous episode. Rather than taking place over the course of the entire

in Adapting Frankenstein
Horror and generic hybridity
Andy W. Smith

The decade of the 1990s was characterised by a range of science fiction, fantasy and horror films that constituted a revival in the respective genres, both in terms of critical acclaim and box office takings. The development of cinematic effects during this period, with regards to creating fantastical worlds and gruesome monsters, led to the eventual dominance of computer

in Monstrous adaptations
An afterword
Richard J. Hand

, they have continued to need, despise and adore each other in their tale of creation, destruction, and pursuit. Just as the old seafarer in Samuel Taylor Coleridge’s Rime of the Ancient Mariner (1798) is cursed to tell his sorry tale again and again – and burden the listener in the process – so popular culture has endlessly retold the story of Frankenstein . Like all great myths and legends, Frankenstein thrives through its adaptability. Frankenstein has straddled the modern genres of horror and science fiction more successfully than any other single tale, but

in Adapting Frankenstein
Abstract only
Corporate medical horror in late twentieth-century American transfer fiction
Sara Wasson

corporate and financial imperatives as central drivers for predation. ‘The hospital itself harboured considerable violence’: fantasies of medical predation and profit The US saw rapid public acceptance of the concept of brain death (though acceptance is still not universal), but none the less the late 1960s and 1970s saw anxieties about the new death manifest in a range of media. 29 The New York Times , for example, warned in 1967 that ‘One need not be a science fiction writer to envision the possibility of future murder rings supplying healthy organs for black

in Transplantation Gothic
Vampires and gay men in Poppy Z. Brite’s Lost Souls
William Hughes

. 5 Ibid., p. 90. 6 Ibid., p. 103. 7 The 1992 Lambda Award for Gay Men’s Science Fiction/Fantasy went to China Mountain Zhang by Maureen F. McHugh. See

in Queering the Gothic