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Queer As Folk and the geo-ideological inscription of gay sexuality
Peter Billingham

In this essay I explore the ways in which, within a geo-ideological analysis of the controversial Channel 4 drama series Queer As Folk, one may view fundamental issues regarding the politics of the representation of gay sexuality. My use of a popular cultural colloquialism, ‘kinky sex’, is deliberately, ironically provocative. Within that term are potent subtextual signifiers of erotic otherness and exotic marginalised positions: the ‘kink’ is simultaneously ‘bent’ (a diminutive pejorative of homosexuals) whilst, as a deviation from a restrictive normative

in Popular television drama
American Gothic television in the 1960s
Helen Wheatley

) Here the political identity of the United States, questions of national guilt and conspiracy, the treatment of Native American communities, the legacy of slavery and, more latterly, American foreign policy, dominate our understanding of the American Gothic. However, while this depiction of the American Gothic is compelling, there are others who see the national Gothic narrative as

in Gothic television
Helen Wheatley

true fin de siècle spirit of cultural pessimism and spiritual malaise’ ( 1997 : 208), is joined by other cultural commentators in unpacking the Gothic’s renaissance in the US during the final decade of the twentieth century. For instance, Mark Edmundson finds the discourses of the Gothic present in ‘media renderings of the O.J. Simpson case, in [America’s] political discourse, in our modes of therapy

in Gothic television
The heritage of horror on British television
Helen Wheatley

eventually dwindled in popularity during the 1980s. With a few notable exceptions it would appear that quotidian horror had become deeply unfashionable in a decade where television drama was dominated by nostalgic, big-budget classic drama series which were less problematic for an export market, and socio-politically aware serial drama which had an inherent ‘seriousness’ at polar opposite to the Gothic

in Gothic television
Critical perspectives

This book aims to provide resources for critical thinking on key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It explores the continuing popularity of the situation comedy, and makes a convincing case for considering sitcom as a key popular genre. By offering a sense of how 'real' audiences respond to, and engage with, actual programmes in specific social situations, dominant conceptions of the social meanings of Carla Lane's Butterflies and Jimmy Perry and David Croft's Dad's Army are challenged and renegotiated. The book takes up Queer As Folk to focus on its status as an authored intervention in debates about the representation of homosexuality. It demonstrates that The Prisoner series inhabits contradictions by unpacking the complex question of the series's authorship, and the inadequacy of attributing its meanings to its creator, star performer or production team, for example. The book argues that The Demon Headmaster makes a significant contribution to the project of exploring and defining questions of ethics and justice in social organisation, in part, by claiming children's culture as a space of experimentation, resistance and subversion. It looks at the ways in which television drama embodies assumptions about its audience, and pursues this in a sophisticated way in relation to late twentieth-century television adaptations of 'the female Gothic'. The struggle between the BBC power-base in London and its satellite Departments in Northern Ireland, Scotland, and Wales is also dealt with.

Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.

Jonathan Bignell and Stephen Lacey

restrictions that the genre conventions of this popular television form entails provide a productive tension which makes possible an exploration of the politics of the genre and of the characteristic pairings and groupings of characters that it focuses on. In the seemingly very different context of the television adaptation of a literary source, included in a different part of the book, Helen Wheatley’s analysis of Rebecca (ITV/Carlton 1997), The Wyvern Mystery (BBC 2000) and The Woman in White (BBC 1997) distinguishes the gendered concerns of the Gothic as a mode that

in Popular television drama
Adapting the metaphor of psychopathology to look back at the mad, monstrous 80s
Ruth Goldberg

/Contra affair, a cultural memory which has been almost entirely suppressed in terms of popular consciousness, but which resurfaces in the two films to drive home a cynically political teaching. The purposeful references to the scandalous and surreal political situation unfolding in the background give these otherwise lightweight films their edge – suggesting that perhaps these misfit protagonists are direct

in Monstrous adaptations
Abstract only
Jonathan Rayner

regimentation of treatment in the service of a primary political objective: to define and broadcast an expedient, respectable and marketable form of Australian identity at a crucial moment in the development of national consciousness. It is to the credit of the emergent filmmakers and the diversity of their individual work that alternatives, opposites and challenges to the stated or unstated rubric for Australian cinema have continued to appear. The evolution of home-grown genres, which adapt or hybridise existing narrative or

in Contemporary Australian cinema
An introduction
Richard J. Hand and Jay McRoy

) As a genre, horror abounds with mythic resonance. The essays that follow engage generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre’s obsession with corporeal transformation and narratological rearticulation. Additionally, they illustrate

in Monstrous adaptations