The Gothic is the discourse which embodies the dialectic of the Enlightenment, with its potential to push the frontier of reason into the mythologized darkness. Embarking on the use of genre fiction as political discourse and finding a voice to tell a story of her generation, Carter made a major breakthrough in her career. Making use of the Gothic palimpsest, Carters Marianne leaves behind the sphere of (feminine) ‘interiority’-the psychic spaces of desire and anxiety for the (supposedly masculine) catharsis in the Other world, as a sixties heroine of sensibility. Heroes and Villains calls for the reconstruction of enlightenment at the ‘post-modern’ ruins of civilization.
Superficial paganism and false ecology in The Wicker Man
Hardy et al., The Wicker Man , scene 10,
Brown, Inside The Wicker Man , p. 167; A.
Catterall and S. Wells, Your Face Here: British Cult Movies Since
theSixties (London: Fourth Estate, 2002), p. 141
History of Medicine ,
39 (July 1984 ), 339–55, 350. All
subsequent references are to this edition and are given in the
William Crookes, ‘Address’, in
Report of theSixty-Eighth Meeting of the British Association
for the Advancement of Science, Held in Bristol in September
reflexive as the
fiction’s commentary on revealed truth is discernible
Uncle Silas has its less precise biblical
allusions also. In thesixty-third chapter, and narrating how she
went passively to the room where her relatives would lie in wait for
her life, Maud refers clearly to a famous passage in St
Paul’s Epistle to the Hebrews. Once again
and counter-cultural movements of the time. Ann Douglas has
contextualised the popular horror texts of the time in these
thrillers, parental characters, like many of the authors who
create them, are baby-boomers, creatures of thesixties
Dreams of belonging in Cornish nationalist and New Age environmental writing
more mundane, rational England. The ‘Sixties’ had
seen the flowering of new kinds of ‘alternative’
lifestyles and forms of spirituality, and the ‘Celtic
nations’ were considered in this context as an alternative space
from the conventionalities of England, where artistic freedom and
spirituality could flourish. 14 By the 1970s, participants in various forms of
spiritual – often ‘Celtic’ – practices
. ( 1983 ), ‘ Dr Who: ideology and the reading of a popular narrative text ’, Australian Journal of Screen Theory, 13/14 , 69–100 .
Gillatt , G. ( 1998 ), Doctor Who – From A To Z, London : BBC Books .
Howe , D. , M. Stammers and S. J. Walker ( 1993 ), Doctor Who – TheSixties, London : Virgin .
Tulloch , J. and H. Jenkins ( 1995 ), Science Fiction Audiences: Watching Doctor Who and Star Trek , London : Routledge .
the film (we initially see it in the trunk of the Red Shark next to the
drugs, and Duke later inhales ether through a smaller version) 41 but here it
seems to represent the death of the American Dream, or one version of
it. ‘We’re all wired into a survival trip now’,
Duke’s voice-over tells the audience in another extended assessment
taken from the book, 42 ‘no more of the speed that fuelled the
Sylvia, Blaydon takes us to see the other woman in his life: Aunt Clara.
Carr gives us a description of the characters, once again succinct yet
highly instructive for the director and performers. The actors are
informed that Blaydon’s ‘manner is on edge, but of an
arch and jocose gallantry ’. This is the first time we will
meet Aunt Clara, and thesixty-five year old lady is described as having