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Firearm iconography in Western literature and film
Justin A. Joyce

space. Certainly other contemporaneous literary traditions have relied on a foreboding setting, such as Sir Walter Scott’s Waverly novels—the Scottish highlands providing a similarly ominous space for heroic action—as well as a Gothic tradition which Firearm iconography 95 5  Thomas Cole, Scene from “Last of the Mohicans”: Cora Kneeling at the Feet of Tanemund, 1827 imbued all sorts of locations, such as the stately manor, the creaking house, or even the oceangoing frigate, with a pervasive dread. Beyond literature, the ominous quality of the vast American

in Gunslinging justice
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Filming in the 1950s and 60s
Brian Mcfarlane

and David Lean and which, in future retrospective writings would be the happy lot of Michael Powell. Certainly the Hammer phenomenon had then nothing to do with critical attention: as David Pirie in his study of the British Gothic tradition says, ‘at the time outraged critics fell over each other to condemn it [The Curse of Frankenstein, the first in the Hammer horror series].’ 92 In the case of Hammer only the audiences

in Lance Comfort
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Julia M. Wright

response rather than formal unity takes us closer to the larger gothic tradition that is of interest in the present study. Critiquing, parodying, and otherwise interrogating realism and its precursor, verisimilitude, is a well-established feature of the gothic from its very beginnings: discussing the first gothic novel, published in 1764 by Horace Walpole, David B. Morris argues, “In its marvels and

in Men with stakes
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

and even established accounts of horror sub-genres in terms of broad (and thus reductive) psychological processes would seem counterproductive in this context. There are, however, strong links between the visual aesthetics of horror and the preferred underlying textual features of the favourite films which have a gendered dimension. 10 Horror, and the Gothic tradition in particular, has a long

in Monstrous adaptations
Fathers from American Gothic to Point Pleasant
Julia M. Wright

” through which the archangels Michael and Lucifer can stage their final battle. Genealogy – and specifically the patrilineal – is thus deeply embedded in the gothic tradition, even as it changes in response to shifting socioeconomic structures, and continues to play a role in the television series discussed here. The determinisms of genealogy offer an uncomfortable fit with modern ideas of the hero as an

in Men with stakes