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Tattoos, the Mark of Cain and fan culture
Karin Beeler

INTRODUCTION The highly popular American fantasy detective serial Supernatural (filmed in British Columbia, Canada) 1 has generated a good deal of interplay between production elements, intertextual connections and fans. Supernatural ’s positioning of characters ( mise en scène ), the show’s reliance on other texts such as literary or film narratives that become part of a particular Supernatural episode or story arc, and the role of fans and consumer culture help create a permeable boundary between fact

in Tattoos in crime and detective narratives
Men apart
Marja Warehime

particular. However, unlike Bertrand Tavernier’s 1984 Un dimanche à la campagne, which marked a nostalgic return to the values of the tradition of quality (Powrie 1997: 13, 47–8), Pialat’s films subvert the traditional forms in which they are cast. Sous le soleil de Satan Nothing could have seemed more astonishing than Pialat’s decision to follow Police with an adaptation of Georges Bernanos’s 1926 novel Sous le soleil de Satan. A novel of the ‘supernatural incarnate’ – complete with a false miracle – written by a fervent Catholic, it had impressed contemporary critics

in Maurice Pialat
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Horror acting in the 1970s British television drama
Richard J. Hand

British television drama in the 1970s had a special interest in the genre of horror. Examples of horror television included works with a supernatural theme, such as the BBC’s A Ghost Story for Christmas series (1971-78), most familiarly featuring adaptations of the short stories of M. R. James, but also works by Nigel Kneale for both the BBC (The Stone Tape [1972]) and ITV (Beasts [1976]). Of

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

understands that she will have to ‘find a way to apply twentieth-century medicine using only the methods and equipment of the eighteenth century’ (‘The Way Out’, S1E3). But Claire’s reliance on scientific methods runs contrary not only to the hegemonic gender norms of the time period, but also the dogma of the Church relying on religious faith to heal the sick as well as the supernatural mysticism of Scottish folklore. In the

in Diagnosing history
Science, faith, the law, and the contested body and mind in The Frankenstein Chronicles and The Alienist
Wright Andrea

supernatural, they suture quite innovative forms. There is, perhaps, not just a fear of scientific progress expressed, but also a preoccupation with morbid spectacle that speaks to deep-seated human attraction to its own mortality and vulnerability. Sarah Artt astutely points out that ‘ Penny Dreadful and Black Mirror confirm that we are still very much living in the age of Frankenstein: a period of fascination with the body

in Diagnosing history
Representations of mental illness in the period dramas of Steven Knight
Ward Dan

threatened and almost inflicted upon her. In the gallows scene, Polly’s immediate horror turns to a kind of euphoria as she begins communicating with visions, imploring that they use the hanging rope to pull her up to heaven. After she is saved at the last minute by Tommy’s manoeuvring, she initially struggles to cope with the banalities of everyday life, retreating into substance abuse and a flirtation with the supernatural

in Diagnosing history
Complicating simplicity in Doctor Who
Benedict Morrison

were part of the same schedule as popular anthology series such as A Ghost Story for Christmas (BBC, 1971–78), Supernatural (BBC, 1977) and The Rivals of Sherlock Holmes (ITV, 1971; 1973). 7 At this point, Masterson seeks to reclaim authority. A cut reinstates him as the sole occupant of the frame; a static close-up reconfirms that the shots which privilege the sheriff are less fluid than those that favour the Doctor. This formal reintroduction of predictable order

in Complexity / simplicity
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The Innocents (1961)
Neil Sinyard

on the music-box which Miss Giddens discovers in the attic during the game of hide and seek, and where she also discovers the miniature of Peter Quint. Flora will hum it on two occasions immediately prior to the appearance of the ghosts – implying that it was Miss Jessel who taught her the tune, but the tune itself being a useful portent, or warning, of imminent supernatural visitation. As the credits come up, we see two

in Jack Clayton
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"The Pest House," "Hell House," and "The Murder House"
Julia M. Wright

medical doctor who insists on reason and empiricism is a case in point: Ben exemplifies a kind of Enlightenment modernity that is doomed to fail before the pre-modern truth of the supernatural and the Catholic Church. While Enlightenment historiography imagines, like its later manifestation in Darwin’s theory of evolution, steady progress and improvement across time, this optimistic view of history

in Men with stakes
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Modernity and the cinematic past
Peter Buse, Núria Triana Toribio, and Andy Willis

. This film presents principal generic traits of horror without recourse to the supernatural. Horror in this foreclosed and yet modern Madrid resides in nothing otherworldly, but in the quotidian itself. Cutreficción, with its intentional juxtaposition of the march of progress with the flotsam and jetsam of the outmoded, is much better placed to make this social critique than any film of the cine social hamstrung by the conventions of realism. Notes 1 2 3 4 See Heredero and Santamarina (2002, 115). It is imperative to stress that these popular films have in Spanish

in The cinema of Álex de la Iglesia