been popular in
Gothic marketing but since the popularity of the GameofThrones
TV series (2011–) and Daenerys Targaryen’s three dragons,
the theme has taken on a new lease of life. Dragon motifs also draw on
Celtic aspects of Goth and Gothic literature (with the Mabinogion
being a key text). Fairy waifs clad in purple and black, sword-wielding
bat-winged women-warriors and lissome vampirellas
and the heroine continues on with her father-figure
uncle (and possibly her biological father, the series hints), for whom
she did search. Arya Stark in the early seasons of GameofThrones (2011–) is another example, and she only looks
for her mother because her father has been executed. In the gothic, this
quest motif is complicated by the father’s role as a
representative of the larger social
GameofThrones . And, of course, one of the critiques of terming any era as ‘golden’ is that the moniker is so frequently and inconsistently invoked, in lieu of agreed criteria, and is inspired in part by the heuristic biases of privileging the recent. Nonetheless, for Robert Thompson, the aesthetic flowering of the 1980s was unexpected, as sows’ ears turned to silk purses. 35 He notes that the 1950s were really a golden age for mass-distributed theatre, whereas the era of quality television in the 1980s and early 1990s employed the crucial serial form for scripted
, Bananas, Beaches and Bases: Making Feminist Sense
of International Politics (Berkeley: University of California Press, 2014); Ann
Tickner, Gender In International Relations: Feminist Perspectives on Achieving Global
Security (New York: Columbia University Press, 1992).
Phil Ramsey, Stephen Baker and Robert Porter, ‘Screen
production on the “biggest set in the world”: Northern Ireland Screen and the
case of GameofThrones ’, Media, Culture & Society , 41(6)
(2019), 845–62, p. 855
time. See, for instance, the plotlines of Call the Midwife and Grantchester,
where a sentimental backdrop does episodically give some attention to
issues of poverty, sexism and other post-war social themes.
The two standout sensations of recent blockbuster scope – Harry Potter
and GameofThrones – also fit this narrative, both recycling any number of
staples constitutive of a mythologised Britishness. The former assumes the
always well-spoken, boarding-school aesthetic of a becoming white adolescence, albeit set in a decontextualised present, while the latter
Spectres of the past in recent Northern Irish cinema and television
Caroline Magennis, ‘“That’s
not so comfortable for you, is it?”: The spectre of misogyny in The
Fall ’, in Fionnuala Dillane, Naomi McAreavey and Emilie Pine (eds), The Body
in Pain in Irish Literature and Culture (London Palgrave Macmillan, 2016), pp.
217–34, p. 217.
Ipek A Celik Rappas, ‘From Titanic to GameofThrones : Promoting Belfast as a Global Media Capital’, Media, Culture
& Society , 41(4) (2019), 539–56, p. 541
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.