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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