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American Gothic television in the 1960s
Helen Wheatley

) Here the political identity of the United States, questions of national guilt and conspiracy, the treatment of Native American communities, the legacy of slavery and, more latterly, American foreign policy, dominate our understanding of the American Gothic. However, while this depiction of the American Gothic is compelling, there are others who see the national Gothic narrative as

in Gothic television
Helen Wheatley

true fin de siècle spirit of cultural pessimism and spiritual malaise’ ( 1997 : 208), is joined by other cultural commentators in unpacking the Gothic’s renaissance in the US during the final decade of the twentieth century. For instance, Mark Edmundson finds the discourses of the Gothic present in ‘media renderings of the O.J. Simpson case, in [America’s] political discourse, in our modes of therapy

in Gothic television
Rhe Gothic and death in Russian realism
Katherine Bowers

in it the drop of mysticism which might have flooded the whole understanding with its dark waters’ (1982: 88). 4 Throughout the nineteenth century, scientific thought was bound up with philosophical and political positions, a coupling that manifested in literature. Ivan Turgenev’s Bazarov, the nihilist and atheist hero of Fathers and Sons (1862), proudly

in The Gothic and death
The heritage of horror on British television
Helen Wheatley

eventually dwindled in popularity during the 1980s. With a few notable exceptions it would appear that quotidian horror had become deeply unfashionable in a decade where television drama was dominated by nostalgic, big-budget classic drama series which were less problematic for an export market, and socio-politically aware serial drama which had an inherent ‘seriousness’ at polar opposite to the Gothic

in Gothic television
Sound, horror and radio
Richard J. Hand

‘dramatic’ – not just the obviously dramatic genres. (Hand and Traynor, 2011 : 9) The immediacy of ‘breaking news’, political and sports broadcasting could place the listener ‘in the action’ like a witness at the event or a spectator in the stadium. In the USA, some events have become the stuff of legend

in Listen in terror
Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.

Abstract only
Jonathan Rayner

regimentation of treatment in the service of a primary political objective: to define and broadcast an expedient, respectable and marketable form of Australian identity at a crucial moment in the development of national consciousness. It is to the credit of the emergent filmmakers and the diversity of their individual work that alternatives, opposites and challenges to the stated or unstated rubric for Australian cinema have continued to appear. The evolution of home-grown genres, which adapt or hybridise existing narrative or

in Contemporary Australian cinema
Adapting the metaphor of psychopathology to look back at the mad, monstrous 80s
Ruth Goldberg

/Contra affair, a cultural memory which has been almost entirely suppressed in terms of popular consciousness, but which resurfaces in the two films to drive home a cynically political teaching. The purposeful references to the scandalous and surreal political situation unfolding in the background give these otherwise lightweight films their edge – suggesting that perhaps these misfit protagonists are direct

in Monstrous adaptations
Jonathan Rayner

, whether historical or contemporary, rural or urban, conservative or radical are dominated by the majority masculine presence. By reiteration of the stereotype and exclusion of an alternative, the national character becomes circumscribed in social, sexual, moral and political terms: the essential Australian is male, working-class, sardonic, laconic, loyal to his mates, unimpressed by rank, an improvisor, non-conformist, and so on. These virtues are defined and refined under the hard conditions of

in Contemporary Australian cinema
An introduction
Richard J. Hand and Jay McRoy

) As a genre, horror abounds with mythic resonance. The essays that follow engage generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre’s obsession with corporeal transformation and narratological rearticulation. Additionally, they illustrate

in Monstrous adaptations