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Alexandra Warwick

This article examines the prevalence of Gothic in contemporary culture and criticism. It suggests that the description Gothic’ has become widespread in the aftermath of Derrida‘s work Spectres of Marx and that this threatens to undermine Gothics usefulness as a critical category. In examining contemporary culture it identifies the notions of trauma and mourning in the popular imagination as having contributed to a condition where Gothic no longer expresses the anxiety of the fragmented subject, but reaches towards a valorisation of damaged subjectivity.

Gothic Studies
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Scott Wilson

11 All is war Attack at dawn with sonic horns Quranic forms and phonic guns Sufi surfing on boards of steel Laser sim tars coded zikar Love and hate approach the state The statue of liberty falls prostrate ... Dream team salahuddin The citizens they build a mosque on ground zero (Fun’da’mental, ‘All is War’, 2006) 11 September 2001 The epoch in which America has been known as the Great Satan is more or less the same as the epoch of the naming of rogue states generally. Consolidated by the end of the cold war, that epoch has, according to Jacques Derrida, been

in Great Satan’s rage
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Signature, event, context
Steven Marsh

’s cameo appearances in his own films), the identifying stylistic flourish of the cineaste. In contrast with the North American critics’ concept, Jacques Derrida’s notion of the signature, while sharing the former’s view of it as distinctive excess, focuses upon its function within what he terms ‘spacing’, i.e. the gap – the temporal deferral of the present, the spatial displacement of presence

in Hispanic and Lusophone women filmmakers
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Veep, Homeland, and Scandal
Elisabeth Bronfen

Troubling vision of feminine countersovereignty Democracy, as Jacques Derrida has argued, has always wanted two incompatible things. On the one hand, it is predicated on a limited inclusion, welcoming only those perceived as being citizens, brothers, and compeers, while excluding all others, in particular persons deemed to be rogue. On the other, democracy also wants to open itself up to all those excluded, even though this gesture of hospitable incorporation remains limited and conditional. Salient for this tension, he notes, is that ‘it is typical for

in Serial Shakespeare
genre in Franju’s longs métrages
Kate Ince

, whose reputations in the 1960s were built partly on the successful incorporation of elements of film noir and the suspense thriller into their early work. To do this I shall rely on the idea of genre as a ‘mark’ made influential in contemporary genre theory by Jacques Derrida’s essay ‘The law of genre’ ( 1980 ). In his essay, Derrida points out that in order to belong to a particular genre, texts have to be marked as so

in Georges Franju
Haunting and community
Deborah Martin

3 La mujer sin cabeza: haunting and community1 This spectral someone other looks at us […] (Derrida 1994, 6) If historical and political allegory are suppressed, partial or even absent in Martel’s first two feature films, it is La mujer sin cabeza, which the director has described as ‘mi película más argentina’ (‘my most Argentine film’, Enríquez 2008) that appears to allude to the Argentine dictatorship of 1976–82 and to those ‘disappeared’ by that regime, and which follows the Argentine left-intellectual tendency to propose parallels between the violence and

in The cinema of Lucrecia Martel
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Music, iteration and translation in La leyenda del tiempo
Parvati Nair

the film centres around the hope that his spectral presence may sing through others, either those who are presumably ‘born’ to flamenco and so acquire it from birth, as does Israel, or those who take classes and strive to learn to perform the song, as Makiko does. The conceptual route for this analysis is forged from linking key concepts in the work of three theorists, Jacques Derrida, James Clifford and Judith Butler. Firstly

in Screening songs in Hispanic and Lusophone cinema
Histories under the sign of the feminine, pre- and post- the Portuguese revolution of 1974
Rui Gonçalves Miranda

, 2006a : 151).This is achieved by re-engendering (see Ferreira, 1997) the histories of conflict surrounding the individuals as well as the national community with a double refocusing 1 through the directors Cardoso and Medeiros and through the characters Evita and Antónia and her daughter Amélia. The analysis of these films will be framed by Jacques Derrida’s discussion of the ‘feminine’, namely in his

in Hispanic and Lusophone women filmmakers
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Celestino Deleyto

in more intricate ways than before but remain, however vaguely defined and however provisional, still groups. In this sense, Jacques Derrida’s theory of genre goes one step further. In his article ‘La loi du genre/The Law of Genre’, Derrida argues that genericity is inescapable, that all texts are generic and that they all bear the imprint of their own genericity. For him genre criticism has always been concerned with norms

in The secret life of romantic comedy
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.