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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
Metroland
Peter Childs

Chris’s life. Across the carefully dated three parts, the impact of the Beatles in 1963, the student protests in Paris in 1968, and the Punk movement in 1977 are all overlooked by Christopher at the time, with only the middle one acknowledged at all by his solipsistic narrative. Even in the first part, Christopher is largely indifferent to politics because he agrees with Osborne’s Jimmy Porter that there are no brave causes left. He tells Toni that they are of course part of the Anger Generation and that the fact they are studying John Osborne’s work at school means

in Julian Barnes
Open Access (free)
Bill Prosser

belts, chokers and spiky hair – energetic punk matelot twins. They are smiling, as are arguably nearly half their peers. A further six or seven look nervous, uncertain or quizzical, while one is desperately glum and a couple downright annoyed. A single volte-face head Nothings in particular 95 reflects the equivocal nature of the group as a whole, summing them up in a Siamese physiognomy of comedy and tragedy: one face smiles breezily, but remains bracketed irrevocably with its partner, stiffly down-in-the-mouth. Only a fifth or so of mouths are shown open, and an

in Beckett and nothing
Michael D. Friedman and Alan Dessen

, with rough, leathery material, chains around their necks, dead animals hanging from their belts, and spiked or punk hairstyles. Eileen Atkins’s Tamora ‘looks like a punk queen in a shock of unruly red and orange hair with small ghouls braided into it’, along with ‘a gold ring through one side of her nostril’, overdone make-up, and ‘a gown cinched with a corselet made of what looks like fish scales – a creature who has no doubt oozed from the slime’. This ‘savage, animalistic effect’ (especially in the first two

in Titus Andronicus
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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
Alison Tara Walker

Rock You’ were partially a response to the increasingly male-centred punk culture emerging in the 1970s, as well as a move to encourage audience participation at concerts. Queen’s guitarist, Brian May, recalls that this song was a response to a particular phase in Queen’s career, when the audience was becoming a bigger

in Medieval film
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Anatomy of a metaphor
John M. Ganim

John Payne, ‘Third ear’, L. A. Weekly (17–23 November 2000), p. 61. See also bands such as Corvus Corax, which mix medieval musical style and costumes with both glam and punk rock motifs. 15 Elizabeth Wilson, The Sphinx in the City: Urban Life, The Control of Disorder, and Women (Berkeley

in Medieval film
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Railways on Film and Punk to Black Britain, Chinese Britain on Film and LGBT Britain. More than thirty films can be found in the free collection LGBT Britain, but the label is also used within the VOD and S-​ VOD sections. Arguing that national archives could learn from queer minor archives, I will draw comparisons to the archival practice of the Lesbian Home Movie Project (LHMP) in Maine (Brunow, forthcoming) as well as to the international archive for female and trans visual artists, Bildwechsel in Hamburg (Brunow, 2015). The term ‘minor archives’, drawing on the

in The power of vulnerability