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Monstrous becomings in Abel Ferrara’s Body Snatchers

exhibiting extreme delusional fixations. People afraid to sleep. People afraid to deal with family members. Afraid of family members. Exhibiting paranoia about others, about other people’s identities. People afraid of themselves. All of a sudden I’ve got a camp full of very displaced people. The use of the term

in Monstrous adaptations
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. Of course, this does not mean that the question of national identity is unimportant, but it does need to be recognised that ‘Britishness’ is not some stable essence waiting to be discovered in its various manifestations by perceptive critics. Instead it exists as a set of ideas and discourses that circulate within a number of different contexts and which are subject to contestation and endless renegotiation. A revealing

in Terence Fisher
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Jonathan Rayner

. The value of the images themselves has been seen to be contestable, in the context of the gallery’s exhibition of photographs and in Nina’s job. Early in the film we see her questioning a businessman to prove that he has given nearly worthless paintings to charitable organisations (themselves owned by his parent company) and claimed huge tax write-offs in compensation. Through the course of her investigation and her evaluation of testimonies and reports of the drowning, Nina comes to view personal and social identity as

in Contemporary Australian cinema
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"The Pest House," "Hell House," and "The Murder House"

landscapes and synthetic identities.” 4 Sconce is concerned here with the different valuations of the “media occult,” but my concern is rather with the narrativization of its arrival, in which Baudrillard’s hyperreal is, I would suggest, the gothic shadow of the technological progress celebrated by the Enlightenment. As Hogle has noted, Baudrillard’s larger argument about

in Men with stakes
Fathers from American Gothic to Point Pleasant

takes the trope of the counterfeit back to the ghost of Hamlet’s father to trace the ways in which the gothic is allied with an anxiety over the industrial age’s emphasis on reproduction as copying, replacing the longstanding model in which identity and property are transmitted patrilineally from one generation to the next. 1 The gothic as a mode, or aesthetic style, thus emerges in tandem with an

in Men with stakes
Jonathan Rayner

in collective comprehension) and consensual acceptance (consenting to the group identity) of the images of nationality conveyed. However, within this apparent homogeneity of representation and interpretation, certain significant divergences are discernible. As with the period films, the perception of orthodoxy and conservatism is belied by the texts’ formal challenges or ironic tone. Distinctions emerge between the treatments of past and contemporary events and societies, and between the beliefs associated with

in Contemporary Australian cinema
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Carnivàle, Supernatural, and Millennium

“hero’s search for a father” in gothic television tends to be a quest to find this “idol” and expose it as such, particularly in Carnivàle, Millennium , and Supernatural , three series in which the “real” is exposed as a counterfeit or fake, particularly in relation to the place of the father as traditional authority and source of identity. Moreover, in these gothic series, the father is not only

in Men with stakes

constructed image that shields him from those around him and promotes a false, comforting identity. This image fits the plush hollowness of the limo in which he and manager Lou Rosen (David Hyde Pierce, pre- Frasier , but Niles Crane-like) travel to the audition for On The Radio , a sitcom about a radio personality that he hopes will transform him from mere radio celebrity to a television star. For the

in Terry Gilliam

there is an open ending. It is plausible to believe that Sam’s identity has simply been eradicated at the end of the film, and that Brazil charts the impossibility of rebellion. Gilliam’s sense that audiences must construct their own readings allows for this possibility, as well as others. Gilliam began work in the late 1970s on what initially was called The Ministry of

in Terry Gilliam