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The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.

Film and television

Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides an interdisciplinary account of performance in film and television and examines a much neglected area in people's understanding of how popular genres and performance intersect on screen. The advent of star studies certainly challenged the traditional notion of the director as the single or most important creative force in a film. Genre theory emerged as an academic area in the 1960s and 1970s, partly as a reaction to the auteurism of the period and partly as a way of addressing popular cinematic forms. Television studies have also developed catalogues of genres, some specific to the medium and some that refer to familiar cinematic genres. The book describes certain acting patterns in the classic noirs Maltese Falcon, The Big Sleep, Out of the Past and the neo-noirs Chinatown. British television drama in the 1970s had a special interest in the genre of horror. There is no film genre to which performance is as crucial as it is to the biopic. To explore comedy performance is to acknowledge that there is something that defines a performance as 'comic'. The book also examines drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.

From woman’s film to global melodrama
Kinga Földváry

The chapter presents a brief overview of the various interpretations and definitions of melodrama, reflecting on the term’s associations with music, excessive emotions and the centrality of the female body, and arguing for a more complex understanding of the melodramatic mode, liberating it from the common criticism of triviality and stylistic excess. The examples range from a so-called woman’s film from the 1930s, which foregrounds the female sacrifice and thus centralises the moral teaching embedded within the Shakespearean text, through a British social melodrama from the post-war period, where the moral issues are interconnected with racial anxieties. Another melodramatic adaptation from the 1990s, set in the Midwestern farmlands, emphasises the genre’s associations with feminism, particularly ecofeminism. The last section of the chapter argues that the melodramatic features of the Bollywood film industry show many similarities with the Western iterations of melodrama, and, with the help of a British-Asian melodramatic adaptation, exemplifies the generic hybridity characterising this particular diasporic film market.

in Cowboy Hamlets and zombie Romeos
The moral-political undertow of London’s Hindi cinema presence
Shakuntala Banaji
and
Rahoul Masrani

Hindi or Urdu plus the overall ease and familiarity with which the characters in many London-set Bollywood films use the city space are indicative of the historical migration ties between the UK and India while also speaking of a particular class paradigm, where the protagonists engage in international air travel as an unremarkable, naturalised activity. In many instances, it is evident that Hindi films set in London are tools in a wider effort to market the city to South Asian audiences who could become tourist

in Global London on screen
Abstract only
Songs, jokes, movies and other diversions
Kirsten Forkert
,
Federico Oliveri
,
Gargi Bhattacharyya
, and
Janna Graham

stressful situation; it also is not loaded with connotations of either the culture she has left or the culture of the country where she is trying to make her life. The availability of Bollywood films could potentially reflect the cultural landscape of where the location is based (the Midlands) and the presence and legacy of the South Asian community there. More generally, it could reflect the globalisation of Bollywood beyond South Asian audiences. Comedy Comedy was a frequent reference point. This included satirical animated programmes such as South Park and Family Guy

in How media and conflicts make migrants
Abstract only
Andrew Dix

cinema. Again, however, it is important to make things more complex, this time by bringing out how Bollywood film is less an expression of Indian cultural autonomy than a hybrid form, interweaving multiple Indian and non-Indian influences. Its base, the city of Mumbai (formerly Bombay), is described in Salman Rushdie’s novel The Moor’s Last Sigh (1995) as India’s pre-eminent multicultural site, all the way back to its beginnings as ‘the bastard child of a Portuguese-English wedding’: ‘In Bombay all Indias met and merged. In Bombay, too, all-India met what

in Beginning film studies (second edition)
Stuart Hanson

programming policy was to dedicate six screens to films from South-Asia, notably India and so-called ‘Bollywoodfilms. In an interesting departure from the imperative of having a large mobile population within a forty five minute drive, Warner Village looked to the large British-Asian population in Birmingham and beyond, in Wolverhampton, Leicester or Derby. 45

in From silent screen to multi-screen
Transmission and COVID-19
Lucienne Loh

national identity and its sale to Bollywood. In a mouldering hotel in the Highlands where Leela Zahir and her whole production crew stay while her new Bollywood film is being shot, the icons of Scottish identity are reduced to a laughable hodgepodge of cultural detritus: ‘a Victorian clutter of stags’ heads, […] golf balls, prints of weeping swains and ruined castles’ ( T : 162–163). Scotland is reduced

in Hari Kunzru
Christine Cornea

television drama. The final chapter, by Rayna Denison, examines the specifically different ways in which genre and performance operate in the context of popular Bollywood films. Concentrating upon the star performances given by Shahrukh Khan, Denison explores how Khan’s ‘generically aware’ performance intersects with his star persona and how his skill and energy as a star performer are signalled by prolifically diverse

in Genre and performance
Exclusions and exchanges in the history of European horror
Peter Hutchings

Originally published in Film Studies 15.1 (2016), 54–65. The concept of Eurohorror In 2007 the British Film Institute published, as part of its Screen Guide series, 100 European Horror Films . 1 Other Screen Guides have focused on traditional genres such as the western, science fiction, the musical and documentary, on non-Western products such as anime and Bollywood films, and on more critically constructed groupings, including cult films, film noir and road movies. Where

in Hammer and beyond