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Steve Chibnall

By 1958 British production houses were becoming increasingly conscious of the importance of continental as well as American markets. Woman in a Dressing Gown and Ice Cold in Alex had both been premiered with striking success at the Berlin Film Festival, and Rank had begun to use German stars to ease its product into European cinemas. The One that Got Away , with Hardy Krueger playing the

in J. Lee Thompson
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David M. Bergeron

-hall , like two great Stars in Conjunction, had one and the same influence and operation.’ 1 These two great stars each had its own sphere of cultural, political, and economic influence; but they reflected the light of the other. A simple example: the King’s Men performed Shakespeare’s 1 Henry IV during the extraordinary outpouring of drama at court in early 1613

in Shakespeare’s London 1613
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Modes of TV spectacle in the Jodie Whittaker era of Doctor Who
Dene October

). Yet the private consumption of stars and spectacle may occur regardless of gender; male Doctors can also serve to sabotage narrative through spectacle. David Tennant’s Doctor was, for instance, ‘clearly identified within the narrative as desirable’ (Britton, 2011 : 101). The thirteenth Doctor is similarly spectacularized when she acquires her signature outfit. Her costume-change moment comes in a charity-shop fitting room after she jokes, ‘It’s been a long time since I wore women’s clothing’. Her

in Doctor Who – New Dawn
Neville Mogford

chapter. Three major riddle collections—or four, if we count the Exeter Book riddles—take great delight in describing various astronomical objects related to time-reckoning and chronometry, such as the moon, stars, and planets: the Enigmata of Aldhelm and Eusebius, and the Bern riddles. All three were written between the beginning of the seventh century and the first half of the eighth, a period in which Irish-authored computistica proliferated widely across early medieval England and the Frankish and Lombard kingdoms. The Bern collection includes sixty

in Riddles at work in the early medieval tradition
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South East Asian Womens Postcolonial Gothic
Gina Wisker

Fantasy and the supernatural are everyday expressions of the imaginative experiences of Malaysian and Singaporean women writers who use the Gothic to explore and expose the contradictions within their societies, constraints upon peoples lives, and most specifically, womens roles. In tales of wealthy families and their bondmaids, growing up, investment, education, marriages, the supernatural and fantasy run everywhere alongside realistic factual accounts to critique contradictions, and highlight little ironies, some of which have been generated by or supported by the,colonial presence, and some of which emanate from their own cultural traditions. Many cultural and individual contradictions are generated by recognition of the need to simultaneously maintain what is valuable in tradition, benefit from what was brought by colonialism, and move on to create new ways of being. Through the gaps and fissures of colonial homes and those of grand Chinese or Malay families leak tales of repression and silencing legitimated by cultural, economic and gendered differences. The repressed return, as they do in all good Gothic tales, to bring cultural and personal discrepancies to the notice of the living.

Gothic Studies
Luz Elena Ramirez

intelligibility of the past in his 1903 archaeological thriller, The Jewel of Seven Stars . Stoker seizes upon the multiplicity of interpretations involved in examining the records of Queen Tera's reign of 2500 bce ; unlike Shelley, however, who was writing when Egyptological study was in its infancy, by the time Stoker published The Jewel of Seven Stars , the field had evolved tremendously and Stoker benefited from the works of a new generation of Egyptologists. These included the writer, artist and archaeologist Amelia Edwards, author of A Thousand Miles up the Nile

in Victorian literary culture and ancient Egypt
N. E. Collinge
Bulletin of the John Rylands Library
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The Face of the Star in Neorealisms Urban Landscape
Ora Gelley

Although Europa 51 (1952) was the most commercially successful of the films Roberto Rossellini made with the Hollywood star, Ingrid Bergman, the reception by the Italian press was largely negative. Many critics focussed on what they saw to be the ‘unreal’ or abstract quality of the films portrayal of the postwar urban milieu and on the Bergman character‘s isolation from the social world. This article looks at how certain structures of seeing that are associated in the classical style with the woman as star or spectacle - e.g., the repetitious return to her fixed image, the resistance to pulling back from the figure of the woman in order to situate her within a determinate location and set of relationships between characters and objects - are no longer restricted to her image but in fact bleed into or “contaminate” the depiction of the world she inhabits. In other words, whereas the compulsive return to the fixed image of the woman tends to be contained or neutralised by the narrative economy and editing patterns (ordered by sexual difference) of the classical style, in Rossellini‘s work this ‘insistent’ even aberrant framing in relation to the woman becomes a part of the (female) characters and the cameras vision of the ‘pathology’ of the urban landscape in the aftermath of the war.

Film Studies
Bram Stoker‘s The Jewel of Seven Stars
Andrew Smith

Smith explores how Stoker‘s novel raises some complex questions about love through its use of a male love-struck narrator, who appears to be caught in a Female Gothic plot which casts him as its hero. In the novel ‘love’ becomes increasingly sinister as it turns into a destabilising and dangerously irrational emotion that ultimately aligns love with feelings of justified horror. Jewel (1903, revised 1912) thus develops a male reading of a Female Gothic plot in which the idea of female empowerment becomes defined as horrific. However, this idea of a pathologised love, Smith argues, is not unique to Stoker and can be linked to Freud‘s account of love, which reveals how issues relating to male authority appear within psychoanalytical debates about emotion at the time.

Gothic Studies
Truman Capote, Breakfast at Tiffany‘s and Hollywood
Peter Krämer

This essay examines some of the literary and biographical models Truman Capote drew on in the creation of Holly Golightly, the heroine of his 1958 novella Breakfast at Tiffany‘s. Making use of Paramount studio records, the essay also explores the complex process of adapting the story to the big screen. Numerous changes were made so as to transform Capotes story into a romantic comedy, and thus to contain Holly‘s liberated sexuality while also erasing any doubts about the male protagonists heterosexuality. Casting Hepburn as the female lead helped to neutralize Holly‘s sexual transgressiveness, and it sexualized the stars ethereal persona.

Film Studies