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Horror acting in the 1970s British television drama
Richard J. Hand

- plague of rats. In writing about female Gothic adaptations on television, Helen Wheatley describes ‘the threatening, cage-like, labyrinthine and, ultimately, un-homely domestic spaces’ (Wheatley, 2005 : 156) that are characteristic of her chosen genre. We can see that Thriller and some other examples of 1970s horror plays create a similar mood and function to their suspenseful drama, but target a socioeconomic place rather than a domestic space

in Genre and performance
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

geometry perhaps). The cultural and aesthetic dimensions of Candyman (and its relation to ‘The Forbidden’) draw attention to moments of heightened emotion in the text that clearly evoke the female Gothic, the melodrama and the romance. The aesthetics of Candyman – particularly in terms of its overall atmosphere and the seductive eloquence of the monster – taken together with a loosening of traditional

in Monstrous adaptations
Peter Hutchings

young, innocent schoolteacher, Marianne Danielle, is lured to the Castle Meinster where she encounters the vampire Baron and his mother, the Baroness. For the first time in his Hammer horror work, Fisher has a female as his central protagonist, and in depicting her attempts to uncover the mystery of the Castle Meinster, the film is more than a little reminiscent of that other Fisher ‘female gothic’ So Long at the Fair

in Terence Fisher