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Changing Icons, Changing Times

The article surveys two centuries of Gothic Revivals in the architecture and popular culture of the United States, from the Carpenter Gothic of 1830-1860 through the castle-building of the Gilded Age and the Gothic Revival structures of the early twentieth century to todays Renaissance Faires. American Gothic is fantastic, ‘reviving’ a time and place that never existed on those shores. The earlier Gothic Revival castles represented an aristocratic and anti-democratic tradition, while in the twentieth century, Gothic revival styles are postmodern and ephemeral. These outward manifestations of the Gothic image in America show how fascination with the medieval was transformed from a pastime of the wealthy few to the masscult many, one way in which North America has appropriated and transformed the European Middle Ages through serious architectural practice and market-driven parody of the Gothic.

Gothic Studies
An Introduction

This essay introduces this special issue on ‘Romanticism and the “New Gothic”’, which contains revisions of essays presented at a special seminar at the 1999 joint conferences of the International Gothic Association (IGA) and the North American Society for the Study of Romanticism (NASSR) held in Halifax, Nova Scotia. Hogle argues that the ‘Gothic’ as a highly counterfeit and generically mixed mode in the eighteenth century was a quite new, rather than revived old, aesthetic which allowed for the disguised projection - or really abjection - of current middle-class cultural fears into symbols that only seemed antiquated, supernatural, or monstrous on the surface. Romantic writers thus faced this mode as a symbolic location where feared anomalies of their own moment could be faced and displaced, and such writers reacted to this possibility using some similar and quite different techniques. Post-Romantic writers, in turn, ranging from Emily Dickinson all the way to the writers and directors of modern films with Gothic elements, have since proceeded to make the Gothic quite new again, in memory of and reaction to Romantic-era uses of the new Gothic. This recurrent remaking of the Gothic comes less from the survival of certain features and more from the cultural purposes of displacing new fears into symbols that recall both the eighteenth-century Gothic and Romantic redactions of it. The papers in this special issue cover different points in this history of a complex relationship among aesthetic modes.

Gothic Studies
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’s paranoid doubts evaporated and (as usual) gave way to enthusiastic commitment. In late April, early May 1973, prior to its release in Britain, he submitted to numerous interviews with press journalists and recorded others for radio and television. 62 Later he, McDowell and Price flew to New York to repeat the exercise with the North American press. The most thorough and insightful of these interviews (such as Robinson’s for The Times 63 and Rex Reed

in Lindsay Anderson

’s imaginative input had revitalised and re-envisioned his play. Release The film’s release in North America swiftly followed its completion, but British screenings did not. Impatient to let the work be shown to domestic audiences and doubting that Landau’s company would organise a season, Anderson wrote to Plaschkes in May 1975 proposing that they organise a ‘Pirate Press Show’ to remedy the

in Lindsay Anderson
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Alan Watts and the visionary tradition

movement.1 The mystical philosophy espoused in Emerson’s essay, ‘The OverSoul’ (1841) – which posited an affinity between humanity and divinity, with nature as the bridge – was particularly important. Here Eastern wisdom, particularly the speculations of Hinduism, is made Coupe 01 22/3/07 01:05 Page 23 ‘This is IT’ 23 accessible to educated North Americans in enthusiastic but elegant prose which is rhetorically very powerful: The Supreme Critic on the errors of the past and the present, and the only prophet of that which must be, is that great nature in which we

in Beat sound, Beat vision
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Brasilidade and the rise of the music documentary

on brasilidade , race and even on the value of Brazilian music is constructed in Coração vagabundo , a mixture of biopic and concert movie that charts Caetano Veloso’s 2003 tour of Brazil, North America and Japan. Veloso is known in Brazil for continuously defying his audience’s expectations by exploring new musical paths, and this aspect of his work is well captured in this film. It opens with a flashback

in Screening songs in Hispanic and Lusophone cinema
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An American independent film made by Mexicans

companies, the North American location, with most of the film shot and set in Memphis, and the use of (American) English. In addition, although the film relies on a multinational cast, with the American Sean Penn, the Australian Naomi Watts, the Puerto Rican-born Benicio del Toro, the British Eddie Marsan, and the Anglo-French actress Charlotte Gainsbourg, they are all actors who have largely formed their careers in the USA (with the exception of Gainsbourg, whose casting helps place the film within the art cinema end of independent filmmaking). The film’s themes

in The three amigos

stories. It is made by a transnational director, and features transnational stars (Brad Pitt, Cate Blanchett, and Gael García Bernal).8 It can also be seen as a film that fits within the concept of a cinema of globalisation, as explained above. Babel takes some of the most pressing contemporary social issues in its attempt to make a film about ‘the world’; nevertheless, as befitting a Hollywood world cinema text, it privileges a North American point of view, even when it appears not to. While the film has a focus on non-Western cultures, the shadow of US socio

in The three amigos
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Beyond the politics of identity?

broader social and political context but which in terms of the televisual is signified through reference to aesthetics. There is no question that twentieth-century movements such as feminism, anti-racism, and gay and lesbian or queer liberation have had significant, albeit varying, degrees of impact across a wide range of different institutions in both Britain and North America, including those of television and of the academy. Yet in an essay evaluating the ‘progress/progressiveness’ of gendering within recent television drama with reference to The X-Files (1994

in Beyond representation
Penélope Cruz and Javier Bardem acting strangely

balance between critiquing and colluding in North-American cinema’s representation of European cities in terms of mere pictures or as ‘cities of containment’, commodities, ‘objects’ (Schonfield 2000 ). Later we shall see that this positioning at a point of ideological ambivalence echoes the patterns of sexual politics in which their characters are enmeshed. As Schonfield suggests

in Spanish cinema 1973–2010