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thus provides power systems’ necessary dark antithesis’ (Davenport-Hines 1998 : 3). Furthermore, the burgeoning of interest in Gothic as a literary style, even in the West, is still comparatively recent. Gothic novels did occasionally achieve publication in Russian translation in the later part of the Soviet era and there is now, in post-Soviet Russia, a ‘Gothic novel’ series emanating from the Moscow

in European Gothic

was also close, at least for a while, to Goronwy Rees whom Burgess tried to recruit as a Soviet spy. What was later called ‘the climate of treason’ was familiar to Bowen long before the war began. When it did begin, she found herself facing two ways: on the one side lay London and the milieu in which she had matured as an artist, on the other Ireland which she had first left at

in Dissolute characters
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Migrant bodies and uncanny skin

disrupting the boundaries between past and present. The excavation itself was carried out in a hurry as war with Germany became inevitable. Charles Phillips had taken over from Brown as head of the excavation after it became clear that the find was substantial. His 1956 account of the dig shows how impressed he was by the glamorous objects he unearthed, and how clearly they spoke to him. He recounts the first visit made to the site by Thomas Kendrick, then keeper of British and Medieval Antiquities at the British Museum (a post later taken over by

in Mid-century gothic
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German nuclear cinema in neoliberal times

achieve cultural resonance beyond their topical moment. If The China Syndrome retains its claim to cultural relevance, it is perhaps less as a film about nuclear disasters and more as an entry in the cycle of post-Watergate conspiracy films, alongside Alan Pakula’s The Parallax View (1974) and Sydney Pollack’s Three Days of the Condor (1975). As a specific

in Neoliberal Gothic
Clive Barker and the spectre of realism

psychiatrist's own crimes is most interesting of all; but a psychiatrist discussing his own crimes with a patient who then turns into a post-mortal monster and takes up squatting rights in an underground den of kindred beings … it is hard not to feel that a large loss of storytelling nerve has occurred here somewhere. Likewise, a suburban housewife who picks up men in a bar and lures

in Clive Barker
The painful nearness of things

feet down the lane. In wartime, the public were repeatedly warned that the danger of these death-dealing things depended on their small scale and apparent harmlessness; such objects invited domestication, only to reveal their true scope and agency once they had achieved close contact with their human victim. In bombs, the thing-world offers a treacherous intimacy, and it was this intimacy which was repeatedly examined and interrogated in the culture of the immediate post-war period. By then, the war was over but another type of weapon was

in Mid-century gothic
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‘could be the signal moment for which Harrison had been waiting – posted as he could be, as she pictured him, by some multiplication of his personality all round the house. 18 , 19 Following so quickly on the ‘thousands of fluctuations’ which she and Robert had experienced in that ‘nature of Nature’ to which they as lovers had access in avoiding the countryside, Harrison

in Dissolute characters
Dreams of belonging in Cornish nationalist and New Age environmental writing

. The use of Cornwall’s ghosts takes place in the context of specific economic conditions. Following the decline of the mining industry, the tourist industry increasingly promoted Cornwall as a romantic and mystical place, as we have seen, while Cornish Revivalists similarly looked back to a pre-industrial Celtic Cornwall. Philip Payton has observed how some Revivalists aimed to facilitate a post

in Rocks of nation
Monstrous becomings in Abel Ferrara’s Body Snatchers

the looming ‘menace’ of communism and as a critique of conformity (McCarthyist or New Age), Ferrara’s Body Snatchers takes place in a post-Desert Storm, late industrial US landscape very much removed, at least on its glossy transformational surface, from the strict ‘us’ versus ‘them’motif. In fact, in a cultural landscape defined by economies of modulation in which, as Brian

in Monstrous adaptations
Australian films in the 1990s
Jonathan Rayner

perceived freedom of Australian citizenship. This reappraisal of national divisions in line with contemporary Australian links with Asia is seen in contrast to remarks made by Colin’s father to Midori’s husband, cursing him with the ‘bad Karma’ spawned by the Second World War. The film’s caricatured portrayal of the Afghan family, whose sadism is linked explicitly to the war with the Soviet Union, is reinforced by racist remarks (referring to the ‘yodelling’ of the muezzin in the local mosque) made by the cops investigating

in Contemporary Australian cinema