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Nineteenth-century stage Cleopatras and Victorian views of ancient Egypt
Molly Youngkin

-century productions of Antony and Cleopatra reinforced imperialist pride by highlighting how Britain might emulate Rome in its defeat of Egypt. Spectacle was a key component well before the nineteenth century, since the surviving Folio includes ‘hints for performance’ that included ‘bold stage business, use of music, [and] occasions for pageantry’; David Garrick's 1759 production, the first after a century-long lull in performances of the play, was ‘lavish’. 8 In the nineteenth century, competition among larger theatres for

in Victorian literary culture and ancient Egypt
Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

horror innovations to exhaustion. In the introduction to his book-length study on British horror cinema, Peter Hutchings quotes from a 1964 British press clipping which sums up Hammer’s lowbrow reputation with the critical press during the studio’s heyday: Certain branches of the British cinema are able to weather any crisis: they do not so much rise above it as sink beneath it, to a subterranean level where the storms over quotas and television competition cannot affect them. This sub

in Adapting Frankenstein
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Graphic children’s texts and the twenty-first-century monster
Jessica Straley

about swinging baseball bats with a ‘BASH!’ The next page tells us: ‘Huffing and puffing, mad about NOTHING, their ten favorite words were NO, NO, NO, NO, NO, NO, NO, NO, NO, and NO!’ Grouch, Grump, and Gloom ’n’ Doom fight, complain, and throw tantrums in their ongoing competition to determine who is the most monstrous – or naughtiest – child. Their contest culminates in their plan to ‘make a MONSTER monster. The biggest, baddest monster EVER!’ McDonnell adds an ironic inversion of Shelley’s text when the threesome is disappointed not at their creation’s monstrosity

in Adapting Frankenstein
The rise of Nordic Gothic
Yvonne Leffler and Johan Höglund

competition between colonial empires coloured popular discourse in general and Gothic writing in particular. In fact, Gothic experienced a renaissance, particularly in Britain, at this time. Some seminal Gothic texts that influenced Nordic writers’ novels are Stevenson's aforementioned The Strange Case of Dr. Jekyll and Mr. Hyde , Bram Stoker's Dracula (1897), Florence Maryatt's provocative Blood of the Vampire (1897), Edgar Allan Poe's American short horror stories and Arthur Conan Doyle's stories about Sherlock Holmes. 10

in Nordic Gothic
Gothic imagery in Dutch feminist fiction
Agnes Andeweg

Dorrestein explores the feminist notion of sisterhood through both the autobiographical narrative about her sister’s suicide and the fictional story of Godelieve, revealing the ambivalences that constitute (second-wave) feminism. By using the Gothic, Dorrestein finds modes to express the unspeakable rivalry and competition between sisters – including sisters in the feminist sense. Perpetual Motion is a hybrid

in Gothic kinship
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The vampire and neoliberal subjectivity
Aspasia Stephanou

Hogan’s The Strain Trilogy (2009–12), vampirism has come to represent the neoliberal subject’s compulsion to devour and consume in a dangerous world based on exploitation, competition, consumerism, profit and growth. More particularly, Jody Scott’s novel and Jim Jarmusch’s latest film, Only Lovers Left Alive (2013), are vivid examples of neoliberal subjectivities that

in Neoliberal Gothic
Diamonds and curious collectables in the fin-de-siècle fiction of Richard Marsh
Jessica Allsop

imperial control increased dramatically’ in the late nineteenth century, ushering in a phase of ‘competition for empire’, the effect of which on Britain as ‘the leading imperial power’ was significant as considerable sections of Africa and South Asia were added to the British Empire; this expansion yielded new materials and new markets and helped defend older ones.8 Alongside this expansion, however, a series of events combined to question the security and stability of Britain’s Empire, including ‘[t]he Berlin Conference of 1885, the failure of British Troops at the

in Richard Marsh, popular fiction and literary culture, 1890–1915
Jim Cheshire

qualities of his art.’ 39 In fact Wailes’s reputation does not seem to have declined significantly within the period covered by this study. It seems likely that his market share decreased in the 1860s amid new competition, but the firm continued as Wailes and Strang until about 1914. 40 The variety of Wailes’s windows equals the scale of his output. In the early 1840s he could produce competent large figures, medallions containing

in Stained Glass and the Victorian Gothic Revival
The ghost story on British television
Helen Wheatley

’s and ITV’s strategies for competition took the production of television drama as being the indicator of popularity and quality, and the anthology format was to become an integral part of this competition for viewers and cultural kudos. In drama the BBC persisted long after the arrival of ITV with a policy which

in Gothic television
The material production of American literature in nineteenth-century Britain
Katie McGettigan

, British publishers had some legal claim (through case law) to copyright of these prior or simultaneous publications. 5 Even after the copyright window closed, some publishers would pay for advanced sheets in the hope of securing sales by issuing their edition more quickly, or tempting purchasers to buy the ‘author’s’ or ‘authorized’ edition. These editions faced competition from unauthorised reprints. Though they may not have been permitted by the author or original publisher, such publications were often not

in Interventions