C an there be a queer Michael Jackson? In some ways the question is naive: Michael Jackson can be nothing but queer , if we take ‘queer’ to mean sexually ambiguous, protean, corporally illegible. Yet critically speaking, there is no queer Michael Jackson: the MLA on-line bibliography gives me no hits for Michael+Jackson+queer (or ‘+gay’ or

in Queering the Gothic
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Gothic, in a sense, has always been 'queer'. This book illustrates the rich critical complexity which is involved in reading texts through queer theories. It provides a queer reading of such early Gothic romances as William Beckford's Vathek, Matthew Gregory Lewis's The Monk, and Charles Maturin's Melmoth the Wanderer. Building upon critical trend of desire between men, the book examines Frankenstein's engagement with sexual rhetoric in the early nineteenth century. It explores some ways in which the signifying practices of queerness are written into the language and, therefore, the signifying practices of Gothic fiction. Teleny's apparently medicalised representation of homosexual erotic love contains some strikingly Gothic elements. The book examines how the courtroom drama of the E. M. Forster's A Passage to India focuses on the monstrous possibility of miscegenation, an Indian accused of raping an Englishwoman. Antonia White's Frost in May can be contextualised to the concept of the 'lesbian Gothic', which helpfully illuminates the representation of adolescent female subjectivity and sexuality. Same-sex desire is represented indirectly through sensuous descriptions of the female body and intertextual allusions to other erotic texts. The book considers how the vampire has become an ambivalent emblem of gay sexuality in late twentieth-century Gothic fiction by examining Interview with the Vampire and Lost Souls. The understanding of the Gothic and queer theory in a pop video is achieved by considering how Michael Jackson's use of the Gothic in Thriller and Ghosts queers the temporality of childhood.

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Queering the Gothic

supportive community, existing within the world of mortals and straight sexuality but not necessarily committed to it. In ‘Michael Jackson’s queer funk’, Steven Bruhm (Chapter 10), considers how Michael Jackson’s use of the Gothic in Thriller (1983) and Ghosts (1997) queers the temporality of childhood. By placing the medieval danse macabre at the heart of these two videos, Jackson figures childhood (his

in Queering the Gothic
Chris Morris and comedy’s representational strategies

, while at the same time its inability to present certain issues is underlined. It is this contradiction which is at the heart of Channel 4’s comedy output, for it is a public service broadcaster whose remit to produce innovative programming for minority audiences can land it in trouble when mass audiences see things not intended for them, as its ex-Chief Executive Michael Jackson notes.22 The ethical stance that broadcasting should, as much as possible, seek to minimise offence demonstrates the socially cohesive nature central to the public service broadcasting ethos

in Experimental British television
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Beyond the politics of identity?

M410 HARRIS TEXT.qxd 20/7/06 11:35 AM Page 1 Phil's G4 Phil's G4:Users:phil:Public: Introduction: beyond the politics of identity? The title for this book is inspired by a 1998 radio interview in which Michael Jackson, then controller of Channel 4, was asked about the company’s current position on its policy of catering for ‘minority’ or ‘special interest’ groups, established as part of its original charter in the 1980s. Taking the series Queer as Folk (1998) as an example, Jackson stated that it is now possible to go beyond ‘simple, positive representations

in Beyond representation
Open Access (free)

the international demands, compliance with which was necessary to end the bombing. 19 After brief negotiations with NATO, represented by Lieutenant General Sir Michael Jackson, the FRY leadership agreed to withdraw its security forces and accept a NATO-led peacekeeping force and a UN international administration mission in Kosovo. These points were incorporated into Security Council Resolution 1244, which was passed

in The Kosovo crisis and the evolution of post-Cold War European security

Casey ‘she clowned, wanted me to tear them up’ (45). For this author, being able to follow Casey on the television was an important means of sustaining his relationship with her. Writing in June 2009, he expressed 172 172 Perception of those at the fringe his frustration that Michael Jackson’s death had pushed her case out of the news. He lamented, ‘I miss you Casey, and I  wish they would Quite [sic] talking about Michael Jackson and start talking about you’ (45). Personal identification and autobiography Personal identification and emotional affinity with

in Law in popular belief
UK artists’ film on television

executives Jeremy Isaacs and Michael Jackson backed Wyver to make a second series, which would include some newly commissioned work from the UK and abroad. This provided another broadcast outlet for work funded by the Arts Council or part-funded with Channel 4. Ghosts 2, in 1988, showed sixteen new works, half of them international (including Steps by Zbigniew Rybczynski) and the other half from the UK, co-funded with the Arts Council. Over twenty hours of material were broadcast. But when Michael Grade replaced Isaacs in 1988, the programme was suddenly switched from an

in Experimental British television
Open Access (free)
Care and debility in collaborations between non-disabled and learning disabled theatre makers

Michael Jackson’s song They Don’t Care About Us , forcing her to cut the routine short . The translator Simone Truong swiftly moved from the sound desk to check on and comfort Häusermann and then arrange for an ice pack to be delivered to the performer. For this moment, Truong’s necessary and intimate engrossment in Häusermann conflicts with her role in the compartmentalised structure and so halts the performance. Her labour of care cannot accommodate either the aesthetic frame or the watching audience and so is not theatrical engrossment in which care for the live

in Performing care
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), narrated by actor Morgan Freeman.41 However, BBC2 controller Michael Jackson announced an expansion of multicultural programme production in London ‘to channel existing expertise to serve ethnic minority television audiences better’. Production of Asian programmes would continue under Jackson’s mandate at Pebble Mill. The Executive Producer for Afro-Caribbean programmes, based in Manchester, would act as a focal point for programme ideas from all corners of the BBC and from independents. We need to give fresh impetus to our programming for AfroCaribbean audiences and to

in Paving the empire road