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The Books of Blood and the horror of 1980s Britain

’ (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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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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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
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appearance so as to resemble a Mephistopheles figure. He has a forked tongue, horns that protrude from his forehead and tapering, sharp fangs. Yet this ‘devil’ is a splatter-punk version of Satan, a row of metal studs inserted into his crown to create an infernal Mohican crest. Erik Sprague, ‘The Lizardman’, is also well known because of his body modification, again with sharpened teeth, split tongue

in Gothic effigy
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‘Ariachne’s broken woof’

. Cymbeline’s subjects wore cross-gendered clothes recycled from blankets, army surplus and lace tutus in a style loosely evocative of ‘shabby chic’ punk that suggested an inventive potential for renewal through the integration of diverse source materials. The script reflected a layering of influences: Latin, Italian and French were spoken, with the English text projected upstage. Attention was drawn to

in Interweaving myths in Shakespeare and his contemporaries
Instead of a conclusion

Escalus’s interrogation of Elbow and Pompey may look like a distraction, but as Elbow’s comic accusations warn, Pompey’s prunes and promiscuity suggest that his punishment, and Lucio’s own, is coming. What no audience could have predicted is how it fits the crime: Lucio reveals the false friar as the real Duke, who readily condemns him to real marriage with his – also nameless – pregnant punk, one of

in Interweaving myths in Shakespeare and his contemporaries
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The pursuit of justice in Russian documentary theatre

even to have seen the exhibition in the first place. Again, the defendants were found guilty and had their prison sentences suspended in favour of issuing them with significant fines. It was the third and final day of the event that caused the biggest stir, as The Moscow Trials team began their restaging of the 2013 trial against three members of the punk-rock activist collective Pussy Riot. In a protest action that has since become world famous, five members of the activist group entered the Cathedral of Christ the Saviour in central Moscow on 21 February 2012. Once

in Witness onstage
Open Access (free)
Working memory

‘post’ in postindustrial suggests a period after something else. But other ‘posts’ (postmodern, post-­traumatic, postpartum, post-punk) remind us that, even if we are situated chronologically after something, we are not necessarily over it. Working memory The production of postindustrial space is one historically specific iteration of a process I call working memory. If memory refers to a connection forged between past and present, then working memory suggests, most obviously, a connection between past and present forms of work. How might workers in a so

in Street theatre and the production of postindustrial space

sex organ’s pubic hair? Wildly grown, unkempt pubic hair indexes the hippie attitude of natural spontaneity; yuppies prefer the disciplinary procedure of a French garden (one shaves the hair on both sides close to the legs, so that all that remains is a narrow band in the middle with a clear-cut shave line); in the punk attitude, the vagina is wholly shaven and furnished with rings … Is this not yet another version of the Levi-Straussian semiotic triangle of ‘raw’ wild hair, well-kept ‘baked’ hair and shaved ‘boiled’ hair? 62 She might then

in The last taboo
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Tattoos, transgenics, and tech-noir in Dark angel

individual, albeit socially-engineered, identity for her. The barcode denotes ownership of the subject, and their role as a function of an organisation. Likewise, the barcode functions both as a military group tattoo and a secret society tattoo. 5 Dark angel translates this ‘secret society’ body-mark into a cyber- or bio-punk context, and uses barcodes to indicate membership of a covert subgroup concerned with quasi-military actions and/or assassinations. The genetic barcode tattoos in Dark angel remain unique and individual. 6 Dark angel

in Tattoos in crime and detective narratives