The recent uses of digital technology in war films have sparked a wave of
discussions about new visual aesthetics in the genre. Drawing on the approach of
film discourse analysis, this article critically examines recent claims about
new visual grammar in the war film and investigates to what extent the insertion
of different media channels has affected the persuasive function of the genre.
Through a detailed analysis of Redacted (2007), which
constitutes an extreme case of a fiction filmmaking use of a variety of digital
channels, this article demonstrates that the multimedia format works within
systems of classical film discourse while also generating new patterns of
persuasion tied to new visual technology.
an absolute quality ( 2005 : 9). Similarly, Yannis
Tzioumakis argues that the distinction between independent and mainstream
filmmaking is ultimately impossible to make both in terms of economics and
aesthetics, and suggests that the term ‘American independent
cinema’ is best understood as a discourse which is constructed
indistinctly by filmmakers, producers, trade publications, academics and
film critics, an object of
books and films. In the Alien memories project (Barker et al ., 2015 ), the different age-classifications of the film could clearly have an impact on its availability to various age-groups, and the challenges that they might have to overcome to get a sight of it – as could the circulation of various kinds of associated merchandise and other paratexts.
Whatever the complications and challenges, the declared goal was to generate a richly structured combination of data and discourses . The crucial tests of the method's usefulness would be twofold
of this period – Till Death Us Do
Part (1965–75) and Love Thy Neighbour (1972–76)
– both of which raise questions about the ethics of generating comedy
through depictions of racist attitudes, actions and discourses. The question
of whether ‘race relations’ can ever be considered a
‘laughing matter’ will be examined. Are these particular 1960s
and 1970s situation comedies now no longer either funny or acceptable
Representations of Lower-Class Voices in Ann Radcliffe’s Novels
This paper investigates lower-class voices within the context of anti-Gothic
criticism, using Ann Radcliffe’s novels and early Gothic critic Joseph Addison’s
essays to highlight the ways in which Radcliffe reassigns value to the Gothic
aesthetic. It further emphasizes Radcliffe’s reconfiguration of domestic roles
as she positions patriarchal figures as anti-Gothic critics, the heroine as
reader of gothic narratives, and lowerclass voices and tales as gothic texts.
The Mysteries of Udolpho and Romance of the
Forest subvert critical discourse and its motif of servants’ contagious
irrationality. In Radcliffe’s novels, ‘vulgar’ narratives as superstitious
discourse do not spread fear to susceptible heroines, embodiments of bourgeois
virtue, but demonstrate the ways in which fear is a construct of patriarchal
discourse. Servants and country people, in turn, construct a pedagogy for
reading gothic texts that permit heroines to deconstruct metaphors of ghostly
haunting embedded in their tales and resist patriarchal hegemony and
interpretative authority over gothic texts.
Smith argues that the medical memoirs of Sir Frederick Treves can be read as a Gothic narrative. Treves failure to account for Joseph Merrick (aka ‘The Elephant Man’) in scientific terms is supplanted by an attempt to plot Merrick in relation to literary forms, such as the Gothic. Additionally, Treves uses the Gothic in order to suggest the fears of incarceration and threatened male violence felt by an apparently neurotic woman. It therefore becomes possible to read Treves‘ memoirs as a document which reveals both the particular flavour of the Gothic discourse at the end of the nineteenth century and as a critique of medical practice.
The Powers of Were-Goats in Tommaso Landolfi‘s La pietra lunare (The Moonstone)
Jewell links the were-animals in Tommaso Landolfis novel La pietra lunare to population ecology in the 1930s. Landolfi imagines and narrates a were-population explosion in the specific historical context of the changes fascism brought to rural life when it favored a grain-based economy. When state policy attempts to manage grazing populations and the culture of transhumance, the uncontrolled growth of fast-breeding, broad-ranging, mountain-going were-goats in the novel puts the validity of fascist agricultural policy into question. When in secret at the full moon they couple monstrously and multiply, were-animals thoroughly challenge the effectiveness of discourses of controlled population management.
Repetition, Innovation, and Hollywood‘s Hit Film Formula
This article explores the rise of the Hollywood sequel in the 1970s and 1980s,
analysing contemporary industrial and popular discourses surrounding the sequel,
sequelisation, and film seriality. Drawing on recent sequel scholarship as well as a
wide range of film examples and paratexts it examines how industry insiders, trade
papers, and film critics tried to make sense of the burgeoning sequel trend. The
ensuing discourses and cultural practices, this article argues, not only shaped the
contexts of sequel production and reception at the time but also played into the
movies‘ serialisation strategies and their increasingly self-referential
Arguing that limit transgression is a key feature for understanding the cinematic
performance of, and the controversy around, sexuality in the public sphere, this
contribution focuses on various aspects of limit transgression in relation to
sex cinemas. Following a new cinema history approach and concentrating on the
case of an emerging sex cinema in postwar Belgium (Cinema
Leopold in Ghent, 1945–54), this article looks at various
dimensions of limit transgression in terms of concrete physical and spatial
relations; programming strategies; audience experiences; and a range of
disciplining societal practices and institutional discourses.