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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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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.

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Gothic television – texts and contexts
Helen Wheatley

, architecture and landscape studies, theatre studies, film studies, cultural studies, and so on. Rather surprisingly however, given this proliferation of Gothic narratives and imagery across popular culture and criticism, very little sustained attention has been paid to what we might term ‘Gothic television’ until this point. This book sets out to fill this gap, to offer an analysis of where and how the genre

in Gothic television
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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
Women, domesticity and the female Gothic adaptation on television
Helen Wheatley

. Hayward , S. ( 1996 ), Key Concepts in Film Studies, London and New York : Routledge . Hobson , D. ( 1982 ), Crossroads – The Drama of a Soap, London : Methuen . Joyrich , L. ( 1992 ), ‘ All that television allows: TV melodrama, postmodernism, and consumer culture ’, in L. Spigel and D. Mann (eds), Private Screenings: Television and the Female Consumer, Minneapolis : University of Minnesota Press . Kaveney , R. (ed.) ( 2002 ), Reading the Vampire Slayer: An Unofficial Guide to Buffy and Angel, London and New York : Taurus Parke

in Popular television drama
The contrasting fortunes of Northern Irish, Scottish and Welsh television drama in the 1990s
Steve Blandford

Life (1996–97). For a series that stuck around for so long in a decade that saw so much attention to an Irish agenda in British politics, Ballykissangel has received remarkably little serious critical attention. What exists has tended to consider the series, not unreasonably, in relation to the ‘heritage’ tradition that has received so much attention within film studies. In the context of work such as Ronan Bennett’s Love Lies Bleeding (BBC 1993) and lesser examples from three decades of ‘troubles’ drama, the view of Ireland and the Irish presented by

in Popular television drama
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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
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W. J. McCormack

obvious title The Vampire Lovers. Does Le Fanu belong midway between the fantasies of Hammar Films and the sickle of revolutionary materialism? Are we to shift from art history to the less stolid virtues of film studies? On the contrary. Once more Le Fanu’s most minute verbal manoeuvres with regard to sacred texts demand the closest attention. As the inattentiveness of at least two

in Dissolute characters
Marie Mulvey-Roberts

. 139 See Patrick Colm Hogan, ‘Narrative Universals, Nationalism, and Sacrificial Terror: From Nosferatu to Nazism’, Film Studies , 8 (Summer 2006 ), 93–105. 140 Davison compares Süss’ rape of Dorothea Sturm with Count Dracula’s ‘symbolic acts of miscegenation in

in Dangerous bodies
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Peter Hutchings

writings on the cinema. At the same time, within the more confined world of academic film studies, ‘auteurism’ is generally perceived as a rather old-fashioned way of thinking about film, one long since superseded by more relevant and exciting approaches. One of the main criticisms of an exclusive focus on the director as source of cinematic meaning and value is that it precludes a proper consideration of

in Terence Fisher