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Queering the Gothic Parody of Arsenic and Old Lace
Jason Haslam

Frank Capras Arsenic and Old Lace (1944), based on Joseph Kesselrings popular Broadway play, has been largely ignored by critics and Capra-philes. The film is generally perceived of as existing outside of the corpus of Capras other films, such as Its a Wonderful Life, Mr Deeds Goes to Town, and Mr Smith Goes to Washington. As Thomas Schatz states, the feeling about Arsenic is that it is little more than a serving of canned theater, an entertaining and straightforward recreation,of the stage play with virtually none of the style or substance of earlier Capra-directed pictures. Victor Scherle and William Turner Levy note that ‘Capra left the play essentially unchanged and did not embellish it with any special social significance’. In his extensive biography of the director, Joseph McBride goes so far as to state that the filming of Arsenic signals the beginning of a ‘flight from ideas’ which would continue for most of Capras career.

Gothic Studies
Open Access (free)
Barry Atkins

sentimentality in recreating the milieu of Frank Capra’s film It’s a Wonderful Life (1946).2 A joke is being played out here at the expense of many of the common assumptions that are made about the players of computer games – that they are male, immature, are only interested in women in terms of breast-size, and what they mean by ‘better than life’ shows the banality of an imagination stunted by the encounter with computer games rather than somehow nurtured chap6.p65 141 13/02/03, 14:24 142 More than a game by it. The computer game as effective simulation becomes a

in More than a game
Coupland and postmodern spirituality
Andrew Tate

the postmodern ‘God’ of this particular narrative, Coupland allows his characters more than one ‘second chance’. Bauman, similarly, has observed that postmodernity ‘does not know of’ a world with an ‘inbuilt finality and irreversibility of choices’.56 Indeed, it is evident that this happy ending quite explicitly owes as much to Frank Capra’s It’s a Wonderful Life (1947) as it does to New Testament eschatology. The ‘You are the first generation raised without religion’ 155 celebrated film narrates a crisis in its hero’s life, as a depressed George Bailey (James

in Douglas Coupland
Abstract only
Notes on voice and collaboration
Marianne Hirsch and Leo Spitzer

historian, and as someone less directly and immediately involved, as the in-law, in fact, promised to provide some necessary distance and balance. Dominick La Capra has written on historians’ transferential relationship to the subjects they work on, on the personal investments they are not trained to acknowledge and reveal.11 With two of us working together, we had a chance to acknowledge these investments, and to act as checks on one another’s. At the same time, the deeply familial nature of the project makes it so overlaid with unconscious processes on every level that

in Writing otherwise
Open Access (free)
Bill Prosser

terrible doodler’, its editors were duped well enough to award him a prize of ten shillings. The contest cashed in on a worldwide craze for doodling in the late 1930s following Frank Capra’s 1936 film Mr Deeds Goes to Town. A comedy, this revolves around Gary Cooper’s amateur musician outsmarting city-slickers set to steal his inherited fortune. Charged that his obsessional tuba-playing is a symptom of insanity he argues that everyone has harmless illogical pastimes, which are even evident here, in the courtroom. The judge, for example, is an ‘O-filler’,15 and the expert

in Beckett and nothing
Open Access (free)
Christopher Morgan

discursive remarks on this idea of science contributing to the reawakening of spiritual hope can be found in his essay ‘Undod’ or ‘Unity’ (1988) in which he points to Fritjof Capra’s The Tao of Physics as a book ‘which is full of hope of regaining the old faith of the West in unity of being through the most recent discoveries and theories in the world of physics’ (33). It is worth quoting at some length Thomas’s remarks concerning this hoped-for synthesis: Gradually in the course of this century the realization has grown that matter is not half as solid as the materialists

in R. S. Thomas
Tourette’s and urban space in Motherless Brooklyn
James Peacock

able, we have seen, more successfully to complete the mourning process, to ‘work through’ trauma (La Capra, 2001 : 70). Thus Pella Marsh simultaneously ‘dreams her way back’ to Brooklyn and moves on. This chapter and the next explore the ways Fortress and its predecessor problematise and retard the process of moving on by continually ‘acting out’ the losses of childhood (LaCapra

in Jonathan Lethem
Bryce Lease

ethical and political agent,’ ‘acting out’ is defined by a tendency to relive the past – to be haunted by its ghosts, caught up in its nightmares  – in a repetitive, compulsive or uncritical manner (La Capra, 2001: 142–4). As the performances I analyze suggest, ‘working through’ is not a linear, totalizing or teleological process that ultimately transcends or annuls ‘acting out.’ Rather, these performances, in effect, make visible the scars and residues from the past that continue to shape the present without attempting to either valorize or conceal trauma in the

in After ’89
Allusion, anti-pastoral, and four centuries of pastoral invitations
Hannibal Hamlin

Theocritus (in the Greek 84 Coming of Age: New and Selected Poems (Bloomington: Indiana University Press, 1959), 56. 85 Robert Frost, A Boy’s Will (New York: Henry Holt and Company, 1915), 56–7. 86 Eros and Psyche: A Poem in Twelve Books (London: George Bell and Sons, 1894), 78. MUP_Armitage_Ralegh.indd 193 07/10/2013 14:09 194 Hannibal Hamlin too, since ‘caper’ comes from capra or goat). Since Pan sings this song ‘his pipe laid by’, Spenser is also present: in The Shepheardes Calender the rejected Colin Clout ‘broke his oaten pype’ in frustration, even though he

in Literary and visual Ralegh