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Laurence Raw

.1 ) as Victor Frankenstein. 1 Eighteen years later an LP recording of the tale was issued in the Super 8 Monsters series with Jackson Beck as the Narrator and Peter Fernandez as Victor. Most recently, Quicksilver Radio Theater created a one-hour adaptation that premiered on American public radio in 2007 and was twice rebroadcast on Frederick Greenhalgh’s valuable Radio Drama Revival podcast in 2009. There are several other English radio adaptations of Frankenstein , originally broadcast on both sides of the Atlantic, readily available, but

in Adapting Frankenstein
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Found Footage Cinema and the Horror of the Real
Neil McRobert

This article examines the post-millennial popularity of the found footage movie, in particular its engagement with the representational codes of non-fiction media. Whilst the majority of critical writings on found footage identify the 11 September attacks on the World Trade Centre as a key visual referent, they too often dwell on the literal re-enactment of the event. This article instead suggests that these films evoke fear by mimicking the aesthetic and formal properties of both mainstream news coverage and amateur recording. As such they create both ontological and epistemological confusion as to the reality of the events depicted. Rather than merely replicating the imagery of terror/ism, these films achieve their terrifying effects by mimicking the audiences media spectatorship of such crisis.

Gothic Studies
James Baldwin in Conversation with Fritz J. Raddatz (1978)
Gianna Zocco

This is the first English-language publication of an interview with James Baldwin conducted by the German writer, editor, and journalist Fritz J. Raddatz in 1978 at Baldwin’s house in St. Paul-de-Vence. In the same year, it was published in German in the weekly newspaper Die Zeit, as well as in a book of Raddatz’s conversations with international writers, and—in Italian translation—in the newspaper La Repubblica. The interview covers various topics characteristic of Baldwin’s interests at the time—among them his thoughts about Jimmy Carter’s presidency, his reasons for planning to return to the United States, his disillusionment after the series of murders of black civil rights activists in the 1960s and 1970s, and the role of love and sexuality in his literary writings. A special emphasis lies on the discussion of possible parallels between Nazi Germany and U.S. racism, with Baldwin most prominently likening the whole city of New York to a concentration camp. Due to copyright reasons, this reprint is based on an English translation of the edited version published in German. A one-hour tape recording of the original English conversation between Raddatz and Baldwin is accessible at the German literary archive in Marbach.

James Baldwin Review
Marie Mulvey-Roberts

Interviewing can be a vampiric act especially when it involves leeching from its subject the fluidic exchange which exists between life and art. The vampire novelist Anne Rice had agreed to let me interview her at Waterstones Bookshop in Bristol, England, on 26 January 1993 about the fourth book in her Vampire Chronicles, The Tale of the Body Thief (1992). In the interview she describes the novel as dealing with the differences between art and life and mortality and immortality. Specifically, the story examines the paradox of choosing to be Undead for the sake of life, and the way in which art opens up a locus for a redemption that is outside of life. In my view, the text is as much about the process of interviewing as about authorship. A more obvious example is Rice‘s well-known novel Interview with the Vampire (1976) in which the hapless interviewer eventually enters into the very narrative he is recording by becoming another Ricean revenant.

Gothic Studies
Paul Blackburn reads Olson’s ‘Maximus, to Gloucester: Letter 15’
Simon Smith

7 Reading Blackburn reading Olson: Paul  Blackburn reads Olson’s ‘Maximus, to Gloucester: Letter 15’ Simon Smith On 2 January 1953 Paul Blackburn dispatched a letter to Charles Olson inviting a contribution from the poet to a recording for an LP Blackburn was editing for Caedmon records at the end of the year: ‘[I] want you to have 15 minutes or better on it …. Will you send me – quickly – something new you would like to read aloud’.1 It appears to be a New Year’s resolution: the letter is zippy, unusually for Blackburn it’s handwritten, and full of suggestions

in Contemporary Olson
REC and the contemporary horror film
Agnieszka Soltysik Monnet

device serves to break the illusion of transparency created by conventional Hollywood narration and to foreground its recording technology, REC 2 brings the camera even more explicitly and thematically into the narrative frame. Dramaturgically, however, the crescendo effect is not as effective in REC 2 as in REC. The little girl is reprieved but her attack no longer commands the

in Monstrous media/spectral subjects
Willem de Blécourt

The way Viehmann told a story, correcting it where she thought it necessary, and then slowly dictating it again, she cannot have managed more than three or, at the most four stories at a time. And a more or less faithful recording did not mean that stories appeared unaltered in subsequent print. The Zwehrn text of the King of the Golden Mountain (KHM 92), for instance, was only included in the 1822

in Tales of magic, tales in print
Willem de Blécourt

Magic flight stories The practice of recording stories related orally started with the brothers Grimm. They were also among the first to annotate their texts, pointing to parallels and predecessors of a particular tale. Fairy tale collecting and research owes its very existence to them. In assessing their texts, however, it makes a difference what kind of authenticity is

in Tales of magic, tales in print
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Writing social engagement 1880–1921

This volume is the first to bring together research on the life and work of the author, activist, and traveller Margaret Harkness, who wrote under the pseudonym ‘John Law’. The collection contextualises Harkness’s political project of observing and recording the lives and priorities of the working classes and urban poor alongside the broader efforts of philanthropists, political campaigners, journalists, and novelists who sought to bring the plight of marginalised communities to light at the end of the nineteenth century. It argues for a recognition of Harkness’s importance in providing testimony to the social and political crises that led to the emergence of British socialism and labour politics during this period. This collection includes considerations of Harkness’s work in London’s East End at the end of the nineteenth century, but moves into the twentieth century and beyond Britain’s borders to examine the significance of her global travel for the purpose of investigating international political trends. This collection gives substance to women’s social engagement and political involvement in a period prior to their formal enfranchisement, and offers insight into the ways this effected shifts in literary style and subject. In offering a detailed picture of Harkness’s own life and illuminating the lives and work of her contemporaries, this volume enriches critical understanding of the complex and dynamic world of the long nineteenth century.

Mary Shelley’s Frankenstein is one of the most popular novels in western literature. It has been adapted and re-assembled in countless forms, from Hammer Horror films to young-adult books and bandes dessinées. Beginning with the idea of the ‘Frankenstein Complex’, this edited collection provides a series of creative readings that explore the elaborate intertextual networks that make up the novel’s remarkable afterlife. It broadens the scope of research on Frankenstein while deepening our understanding of a text that, 200 years after its original publication, continues to intrigue and terrify us in new and unexpected ways.