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Andrew Smith

By exploring how laughter is represented in Kipling‘s ghost stories this article attempts a re-evaluation of how colonial and postcolonial identities can be theorised within the Gothic. Laughter, and the disorientation that it provokes, is accorded a Gothic function that destabilises images of colonial authority.

Gothic Studies
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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Scoring Statham
Shelley O’Brien

are accompanied by the sound of heavy, laboured breathing. The effect is disorientating and it is a stylistic feature that returns on several occasions throughout the narrative. On-screen, time is variously slowed down and speeded up as electronic synthesised sounds begin to intrude and we are introduced to this stumbling figure. It is Chev Chelios. Palmer neatly sums up the image of Jason

in Crank it up
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Linnie Blake

provocative relation … exploring its problems and possibilities, testing its norms and conventions, and in turn being tested by it,’ the representational strategies deployed by these genre texts can thus be seen to differ from ‘stereotypical conceptions of mimesis,’ enabling in their thematic machinery and visual lexicon, as well as their narrative drive, ‘an often disconcerting exploration of disorientation, its symptomatic dimensions, and possible ways of responding to them.’8 And in so doing, they can be seen to proffer a critique of ideologies of liberty American

in The wounds of nations
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Sam Rohdie

the fact that they are amplified excessively results in a real so exessive that it becomes abnormal and infernal. What was important to French Nouvelle Vague critics of Cahiers du cinéma in the late 1950s and early 1960s about Fuller’s work is its stylistic extravagance combined with its obscurity, even the absence of any obvious thematic other than one related to that extravagance (disorientation, lack of identity

in Montage
Phil Powrie

fetish, and their meanings expand. Most of all, the Goodis signature is the sudden and disorientating image that creeps up on you, and tatoos itself into the narrative. (Goodis 1983 : ix) Beineix’s version of Goodis’s world depends to a large extent on striking images, some of which are changes to the novel. For example, Gérard gives

in Jean-Jacques Beineix
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Blier’s ‘second career'
Sue Harris

about self in the third person), and dramatic enactment. In Merci la vie the layering concept disorientates the spectator: we have a sense that we are watching a film within a film, but even this film seems to be part of another temporal and spatial mode. Here, the episodic dramatic situations of the earlier comic work are superseded by techniques of fragmentation and abstraction: movement between colour and black and white

in Bertrand Blier
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High epic style and politicising camp
Susan Hayward

feminine. She shows that there is more space between feminine and masculine gendered identities than we might think; there is space for more, for a greater range of gendered identities. She signifies the fluidity of sexual characteristics because she holds them together in one performance. As such she disorientates. The female androgyne does not simply dress as a man. She performs androgyny – an in

in The films of Luc Besson
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Horror and the avant-garde in the cinema of Ken Jacobs
Marianne Shaneen

down a bottomless rabbit hole into a bewildering perceptual wonderland where previous understandings of space and time no longer apply. In making film new and strange again, Jacobs harks back to the disorientation Victorians might have felt the first time they rode on a train, listened to a disembodied voice on the telephone, or first viewed ‘moving pictures’. Jacobs

in Monstrous adaptations