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Richardson‘s Gothic Bodies

In Sir Charles Grandison, Richardson anticipates the imaginary Italy of the Gothic novel. The categories of gender and nationality that Richardson constructs in the division of the ‘Names of the Principal Persons’ into ‘Men’, ‘Women’ and ‘Italians’ intersect with categories of health and illness to reinforce the opposition of a sensible, enlightened England, home of liberty and social stability, against a passionate, unstable and irrational Catholic Italy, home of wounded, mad and dangerous ‘Italians’. While the Gothic novel relies on landscape descriptions, banditti and abandoned castles to create a sense of terror, in Sir Charles Grandison, the Gothic is located, not in Italy, imaginary or otherwise, but in the bodies of the Italian characters.

Gothic Studies
Rape and Marriage in Go Tell It on the Mountain

To consider how James Baldwin resisted racialized notions of sexuality in his first novel, Go Tell It on the Mountain, I employ a number of black feminist critics—including Saidiya Hartman, Patricia Williams, Hortense Spillers, and Patricia Hill Collins—to analyze three under-studied minor characters: Deborah, Esther, and Richard. Those three characters are best understood as figures of heterosexual nonconformity who articulate sophisticated and important critiques of rape and marriage in America at the turn of the twentieth century. Baldwin thus wrote subversive theories of race and sexuality into the margins of the novel, making its style inextricable from its politics. Baldwin’s use of marginal voices was a deft and intentional artistic choice that was emancipatory for his characters and that remains enduringly relevant to American sexual politics. In this particularly polarizing transition from the Obama era to the Donald J. Trump presidency, I revisit Baldwin’s ability to subtly translate political ideas across fault lines like race, nationality, and sex.

James Baldwin Review
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touched or impressed him, Leconte crosses nationality and generation, before finally expressing his admiration for the iconic Jewish-American tragic-comic director and actor. This reluctance, this restless, irritable inability to commit to any one discernable position or to follow any singular influence is perhaps at the heart of Leconte’s diversity as a filmmaker. We have seen that this diversity is part of what irritates

in Patrice Leconte
National identity in The Transporter trilogy

national identity, has varied dramatically over time; borders change, nationalities adapt and the definition of what constitutes a nationality and how society assign people to one country or another changes. Yet, ‘transnationalist’ is a perfect title to assign to Martin as it describes his fictional identity accurately. It is also worth noting that there are no political or

in Crank it up
London River and Des hommes et des dieux

, French is a globalised and mutually secondary lingua franca. In considering London River’s portrayal of language as disconnected from nation(ality), I coin the expression ‘unanchored language’. The unanchored language is one which functions separately from its country of origin, and is thus removed from, or runs parallel to, the purview of traditional language politics. It reflects Sudesh Mishra’s concept of ‘situational laterality’ (2006: 100), described by Maty Ba Saer and Will Higbee as: An attempt to move away from an exclusive focus on the host–home binary in

in Decentring France
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Jonathan Rayner

The nationalities of cinema The acceleration of abstraction, while it is certainly the main factor evident in the historical development of the arts during the twentieth century, is not the only one. The force that counters this estheticism[sic] is our continuing sense of the political dimension of the arts: that is, their direct connection to the community, and their power to explain the structure of society to us. 1 The analysis and discussion of a national cinema represents the pursuit of

in Contemporary Australian cinema
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’ developments in the genre misses out on this fact, that horror films persist in our culture long after their production, via TV, repertory schedules and, more recently, video and DVD, and that at any one time there are different entrance points into the genre. I know from my own experience that my encounter with those BBC horror double-bills is one shared by many of my age and nationality. For me, as for so many others, the 1970s

in Terence Fisher
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language choice is rarely arbitrary. Instead, multilingualism is a central thematic concern and, frequently, a plot device in itself. As Carol O’Sullivan explains, ‘subtitled foreign dialogue is no longer used merely as ornament, to mark location or nationality, but becomes a vehicle for plot and character development’ (2008: 84). Languages are not simply modes of communication, but sociocultural elements and tools that can be used to exert authority, infiltrate cultural groups and manipulate others. In a wide range of situations, the ability to understand and speak

in Decentring France
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Journal – are no more help to him than the British nationality of the Tipton Three in Guantánamo . Like those earlier films, A Mighty Heart shows Winterbottom in characteristically committed mode. Other directors may make sleeker films, films with fewer rough edges, but one regularly senses again in this new film the potent concern with issues of contemporary significance. Whereas it was a matter of the appalling privations

in Michael Winterbottom
Spanish horror

2006 ]), a question that, as we shall see, has transformed academic understanding of horror film in recent years. Genre, then, as a set of formal characteristics that function as triggers of recognition for competent audiences, intersects in complex and unstable ways with a number of different factors: nationality, history, industry and sexuality. In this chapter I argue that Pan’s Labyrinth deserves

in Spanish cinema 1973–2010