James Baldwin and the Broken Silences of Black Queer
McKinley E Melton
James Baldwin writes within and against the testimonial tradition emerging from the Black
Church, challenging the institution’s refusal to acknowledge the voices and experiences of
black queer men. Baldwin’s autobiographical novel, Go Tell It on the Mountain, creates a
space for Baldwin’s testimony to be expressed, and also lays the foundation for a
tradition of black queer artists to follow. In the contemporary moment, poet Danez Smith
inhabits Baldwin’s legacy, offering continuing critiques of the rigidity of conservative
Christian ideologies, while publishing and performing poetry that gives voice to their own
experiences, and those of the black queer community at large. These testimonies ultimately
function as a means of rhetorical resistance, which not only articulates black queer lives
and identities, but affirms them.
Adapting the metaphor of psychopathology to look back at the mad, monstrous 80s
Love is hard
to find/In the church of the poison mind.
This chapter examines American
Psycho (2000) and Donnie Darko (2001), two films that
look back at aspects of the American experience in the 1980s. These
titles represent only two out of a larger series of recent
‘Monstrous 80s’ films
If he is known for anything other than his writings, James Baldwin is best known for his
work as a civil rights activist. What is often overlooked is Baldwin’s work toward uniting
two under-represented and oppressed groups: African Americans and homosexuals. With his
first novel, Go Tell It on the Mountain, Baldwin began a career of speaking about and for
homosexuals and their relationship with the institutions of African-American communities.
Through its focus on a sensitive, church-going teenager, Go Tell It on the Mountain
dramatizes the strain imposed upon homosexual members of African-American communities
within the Pentecostal Church through its religious beliefs.
Catholicism as System in Charles Maturin‘s Melmoth the Wanderer
Dermot A. Ryan
This essay casts a new light on the anti-Catholicism of Charles Robert Maturin‘s gothic novel Melmoth the Wanderer by reading it as part of a larger assault on systems in the wake of the French Revolution. Maturin‘s attack on the stupendous system of Catholicism contributes to a broader conservative polemic against all forms of international governance. Melmoth the Wanderer‘s portrait of the Church offers us an early instance of modern conservatisms archnemesis: an international system that conspires to rule the world.
James Baldwin, the Religious Right, and the Moral
In the 1980s, James Baldwin recognized that a major transformation had occurred in the
socio-political functions of religion. His critique adapted accordingly, focusing on the
ways in which religion—particularly white evangelical Christianity—had morphed into a
movement deeply enmeshed with mass media, conservativepolitics, and late capitalism.
Religion in the Reagan era was leveraged, sold, and consumed in ways never before seen,
from charismatic televangelists, to Christian-themed amusement parks, to mega-churches.
The new movement was often characterized as the “religious right” or the “Moral Majority”
and was central to both Reagan’s political coalition as well as the broader culture wars.
For Baldwin, this development had wide-ranging ramifications for society and the
individual. This article draws on Baldwin’s final major essay, “To Crush the Serpent”
(1987), to examine the author’s evolving thoughts on religion, salvation, and
transgression in the context of the Reagan era.
Clarice Greco, Mariana Marques de Lima and Tissiana Nogueira Pereira
these narratives are analysed, which will be parsed out in topics. The first topic has to do with Record TV’s initiative to focus on a niche audience as a strategy to compete with the hegemony of Globo’s telenovelas. The second topic expatiates on the connection between the network owners and the Universal Church of the Kingdom of God (UCKG), one of the branches of the Evangelical faith that has attracted many followers in Brazil in recent years. The third and final topic relates those two previous points to the emergence of a conservative audience who consume
Lacanian discourse has a complex and multiplies determined relationship with
Catholicism, and Robert Bresson has the reputation of being the cinema's
greatest Catholic director. Few Catholic artists, however, have found the
institutional life of 'their' Church a congenial or inspirational
topic, and its declining importance in Bresson's later work is not of
itself particularly surprising. Pascal's wager on the existence of God has
what contemporary linguistics might call a performative effect, for it is only
thanks to the wager that God's existence becomes certain and available to
the believer. Bresson's first film, Affaires publiques, is in many
ways as unBressonian a work as could be imagined. Bresson from Journal
onwards works to all intents and purposes outside genre, with the exception of
those parts of Pickpocket and the inserts in Le Diable
probablement that are close to the documentary. In 1947, Bresson went to
Rome to work on a screenplay of the life of St Ignatius Loyola, founder of the
Jesuits, which was never to be filmed. Un Condamné à mort s'est
échappé, released in 1956, was and remains Bresson's most commercially
successful and critically best-received film, though curiously for a very long
time it was unavailable in Britain. Bresson's next two films, his first in
colour, are also his first true adaptations from Dostoevsky. Bresson's
final film, shot in the summer of 1982 and released in 1983, brought to an end
the longest gap in his work since that separating Journal from Les
Dames, more than thirty years before.
basis of the church’s authority. Reluctantly, the pope agrees that
Galileo must be shown the instruments of torture. On 22 June 1633, as
Virginia prays for her father’s abjuration, the tolling of the big
bell of St Marcus solemnly announces his recantation. Galileo enters, a
broken man, to Andrea’s eternal disgust: ‘Pity the country that
has no heroes!’ cries the boy. ‘No. Pity the country that needs
heroes’, replies Galileo
of the bureaucracy, of the
police, of the Church, of intellectuals, of the media). The reality of Italy
was a reality of disunity set against an ideal ‘fascist’ Italy of cultural and
economic homogeneity for which language was an indicator (‘Italian’ a
sign for unity, the nation; plural languages a sign of differences, backwardness, opposition to the nation for reasons of class). The contradictory
aspect is that however realistic dialect may be it was a sign of separation
and isolation, especially so in conditions where Italian was being promoted as dominant and
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.