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Historicising the gothic corporeal

The body is a potential marker of monstrosity, identifying those who do not fit into the body politic. Irregularity and the grotesque have been associated with Gothic architecture and are also indicative of wayward flesh and its deformities. Through an investigation of the body and its oppression by the church, the medical profession and the state, this book reveals the actual horrors lying beneath fictional horror in settings as diverse as the monastic community, slave plantation, operating theatre, Jewish ghetto and battlefield trench. Original readings of canonical Gothic literary and film texts include The Castle of Otranto, The Monk, Frankenstein, Dracula and Nosferatu. This collection of fictionalised dangerous bodies will be traced back to the effects of the English Reformation, Spanish Inquisition, French Revolution, Caribbean slavery, Victorian medical malpractice, European anti-Semitism and finally warfare, ranging from the Crimean up to the Vietnam War. Dangerous Bodies demonstrates how the Gothic corpus is haunted by a tangible sense of corporeality, often at its most visceral. Chapters set out to vocalise specific body parts such as skin, genitals, the nose and eyes, as well as blood. The endangered or dangerous body lies at the centre of the clash between victim and persecutor and has generated tales of terror and narratives of horror, which function to either salve, purge or dangerously perpetuate such oppositions. This ground-breaking book will be of interest to academics and students of Gothic studies, gender and film studies and especially to readers interested in the relationship between history and literature.

The afterlives of Ophelia in Japanese pop culture
Yukari Yoshihara

Hayao Miyazaki , Ponyo (London: StudioCanal, 2010). 36 Studio Ghibli , ‘Gakeno ueno Ponyo’, , accessed 3 August 2018. See also Lynley Stance and Daniel Hare , ‘Film Study: Ponyo by Hayao Miyazaki’, , accessed 3 August 2018

in Shakespeare and the supernatural
Film theory’s foundation in medievalism
Bettina Bildhauer

pedigree in philosophy, sociology and art history, among them Béla Balázs, Walter Benjamin, Siegfried Kracauer and Erwin Panofsky. They all enthusiastically elaborated on the link (or contrast) between film and the Middle Ages. 1 The central idea of early film studies – that (silent) film is a purely visual medium that opens up a new way of seeing – was based on the analogous assumption of medieval art as

in Medieval film
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Serving the people in Fruit Chan’s Dumplings
Glennis Byron

Hong Kong films and film studies since the early 1990s, engaging with anxieties about the Handover, about ‘going home’ to a world both alien and familiar. In the run up to the Handover the situation appeared unique. As Ackbar Abbas observed, ‘The colonized state, while politically subordinate, is in many crucial respects not in a dependent subaltern position, but is in fact more advanced – in terms of

in Globalgothic
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The a-chronology of medieval film
Bettina Bildhauer and Anke Bernau

medieval films while also emphasising their relevance for film studies and medievalism in general. In this, it makes possible a move away from the frequent critical dismissal of medieval film, which is justified by its perceived failure to measure up in terms of content to academic standards of historical veracity, or (often in terms of genre) to a sufficiently sophisticated or up-to-date standard of entertainment

in Medieval film
Linguistic difference and cinematic medievalism
Carol O’Sullivan

The question of language is at once perennially present and strangely absent within film studies, which has tended as a discipline to think of film as language, rather than as a medium which incorporates language as an expressive resource. 1 This chapter is part of a larger project discussing the problems posed to film, since the advent of sound film, by foreign language (that is

in Medieval film
Andrew Higson

the arguments I have developed elsewhere about period films with British connections. 1 I work from the perspectives of film studies rather than medieval studies (so, for instance, when I refer to the epic, it is the epic film genre rather than the literary genre that I have in mind). As a film historian I am more interested in historical specificity than grand theory, and seek to examine textuality

in Medieval film
Cosmopolitanism and the psychoanalysis of groups
Jackie Stacey

Freedom. For recent analysis within European film studies, see Stephan Schindler and Lutz Koepnick, The Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present; and Tim Bergfelder, ‘Love beyond the nation: cosmopolitanism and transnational desire in cinema’.   2 See, for example, Farhad Dalal, ‘A transcultural perspective in psychodynamic psychotherapy.’   3 Cosmopolitanism used to refer to a worldly and sophisticated European intellectual ethos, and its recent return in a more globalised form in academic, political and corporate discourse

in Writing otherwise
Kelly Jones

livecast with its ‘not-quite-liveness’ (10) has encouraged a revision of the ways in which we understand and experience liveness. To this end, Barker presents a comprehensive survey regarding critical debates in the fields of theatre and performance studies, television studies, film studies, music studies, sports psychology, comedy studies, and virtual performance, as he demonstrates that the concept of ‘liveness’ has attracted considerable critical attention within the scholarly disciplines attached to these various media. ‘Liveness matters’, he writes, ‘[b]ut how it

in Adapting Frankenstein
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Sam George and Bill Hughes

analysing in its own right. This, perhaps, puts our objects in the realm of cultural studies rather than literary or film studies per se . But we also believe that, among those we have sampled (a tiny fraction of this massively prolific area), there are some – sparkly – gems. Some vampire fictions have a stylistic competence and ingenuity and a certain daring that raises them above many contemporary

in Open Graves, Open Minds