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Towards an American ecofeminist Gothic
Emily Carr

status’ (79); about the extinction of wildebeests who, with their ‘big, cubistic heads and mismatched features’ are ‘dying over and over again against the indifferent fence with the water just beyond it’ (39–40); in praise of the shark and former punk-metal headliner Wendy Williams, who in middle age moves ‘from the right to be smutty to the right to die violently by her own hand’ (100); and about her

in Ecogothic
Transformations, vampires and language in Buffy the Vampire Slayer
Malgorzata Drewniok

Drusilla and Wesley) they avoid superficiality. 25 Spike transgresses human/vampire boundaries. As a newly turned vampire he returns as a threat to his mother. As a punk vampire (his first appearance on the show) he upsets the status quo in Sunnydale, threatening both the Scoobies and the Order of Aurelius. 26 And later, as an ensouled vampire and one of the

in Open Graves, Open Minds
Social commentary of 1980s Britain in Clive Barker’s Weaveworld
Edward Timothy Wallington

-powerful male, while O’Hara would be the irrational, emotional beauty who needed to be tamed or rescued. 27 Anita Roddick founded the highly successful chain of environmentally friendly Body Shop stores in 1976. Vivienne Westwood gained fame for successfully marketing punk

in Clive Barker
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Michael Haneke’s Funny Games and globalisation’s new uncanny
Barry Murnane

a competitive streak and a general mistrust running through the family. Once the piece of music has been identified, Ann and George eject the disc abruptly in order to continue the game of one-upmanship, while there is some concern that the opponent may have been cheating. This interaction is interrupted by the extradiagetic explosion of John Zorn’s aggressive cacophony of industrial-punk while

in Globalgothic
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David Annwn Jones

who developed their style and aesthetics within the late Punk rock scene from the early 1980s onwards. As in the case of Gothic art, Goth visual expression has been linked to a wide array of influences, Nancy Kilpatrick stating that Goth artists are joined to Michaelangelo, William Blake and the Pre-Raphaelite brotherhood ‘at the soul level’ (Kilpatrick, 2005 : 225). Yet, as well as conceding here the general free

in Gothic effigy
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David Annwn Jones

. Modern Goth style emerged out of a mélange of heavy rock necromantic imagery culled from the group Black Sabbath, the post-Punk style of Siouxsie and the Banshees and similar bands, and the experimentation of The Batcave club in the early 1980s. Starting with black bodices, dark T shirts, fishnet stockings, dog-collars and skull and cross jewellery, this style was soon augmented with Medieval detailing

in Gothic effigy
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David Annwn Jones

Nephilim are often regarded as rituals, the latter band’s 2012 album being entitled Ceromonies . Emerging from a crowded vista of subculture dance in the late 1970s – mainstream freeform, heavy metal pre-mosh headbanging and shoulder flips, the vestiges of Punk leaping and pogo, nascent Dark Glam moves – Goth dance developed and isolated several moves from rock/hippie and metal dance (particularly

in Gothic effigy
The Books of Blood and the horror of 1980s Britain
Darryl Jones

’ (4: 14, 15). The hands mount a full-scale attack on the YMCA, in a passage narrated from the perspective of Boswell, a Rastafarian, the story's representative of the Black British communities so centrally affected by the 1981 riots, on which the story comments obliquely (‘The Body Politic’ also includes a cameo from an inadvertently murderous punk). The story's closing line is

in Clive Barker
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David Annwn Jones

Punk culture as well as mainstream acts like the Rolling Stones for the New Musical Express magazine, Corbijn went on to shoot expressive portraits of Goth group members in a stark, challenging style, sometimes employing reversed shades and grainy, bleached-out textures. Mick Mercer’s stark, playful and imaginative images of Goth singers and rock groups are also rightfully celebrated

in Gothic effigy
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David Annwn Jones

death. Red Gothic lettering was used for the opening titles in Hammer’s Dracula (1958). For more recent generations, the occulted, staunch and somewhat taboo nature of these forms also appealed to heavy metal, Punk and Gothic artists to use on album covers, posters and other publicity. Yvonne Schwemer-Scheddin writes: ‘For current music and youth cults, blackletter is a means of proclaiming multiple

in Gothic effigy