characters have had to get used to their brutal new reality. Equally slowly, this has enabled the show to begin to play with the boundaries between zombie and human, suggesting that interpretations can vary, that appropriate treatment is contentious, and that a spectrum of positions is apparent, rather than a hard binary divide between those who are human and those who are not.
This blurring, and the questions it raises, help to mark out The Walking Dead as a great show and one of pedagogical and political value. Gradually, the undead become a background condition: an
Bernstein, Basil, ‘On the
Classification and Framing of Educational Knowledge’, in
M. F. D. Young (editor) Knowledge and Control: New Directions
for the Sociology of Education (London: Collier
Macmillan), 1971, p. 56.
Lütticken, Sven, ‘Undead
. Then there are International Relations authors who are not entirely forgotten but who have slid into partial oblivion. They live the life of the undead. Their texts are twilight classics, whose arguments are surrounded by myth and misunderstanding. One of these is Norman Angell, who warned against the threat of impending catastrophe on the eve of World War I. He began his most famous book, The Great Illusion [ 1910 ], with a warning: namely, that growing tension among Europe’s Great Powers made war likely. And if war should break out, Angell continued, the result
into the sun, The moil of death upon them.
They inhabit a necropolis and emerge as the undead for the wedding feast. Again, the representation seems more reliant upon a stereotypical vision of the lowest classes, biblical in the scale of their misery, contaminating all that they touch and the air that they breathe.
If Aurora Leigh represents the lower classes en masse as the gothic ‘Other’, it must find a different way of representing Marian Erle, one of the same class, yet with a spotless soul. In terms of poetry versus prose, the question is
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema. Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.