Beginning from a consideration of some ideas on aesthetics deriving from R. G.
Collingwood, this essay sets Dreyer‘s Vampyr beside Fulcis The Beyond. The article
then goes on to suggest something of the nature of the horror film, at least as
exemplified by these two works, by placing them against the background of certain
poetic procedures associated with the post-symbolist poetry of T. S. Eliot.
state. Falling in love with Trelawny's daughter, who asks for his help, Ross investigates why Trelawny has been brutally and repeatedly cut and discovers that these sinister events lead back to Tera's mummy and artefacts taken from burial chamber. It is through Ross that readers piece together the records and mortuary effects of Tera's reign: the scarab-shaped jewel once held in Tera's seven-fingered hand; the great seven-toed tiger cat who, mummified, would accompany the female pharaoh on her metaphysical journey to theBeyond; the seven cedar oil lamps and seven
of film. In theBeyond the Multiplex (BtM) project these dimensions served as a framework to develop empirically informed concepts, which have generated a new theory of film audiences. This theory posits that audiences are a process and the ways in which audiences form are underpinned by individuals’ personal film journeys and participation in different types of audiences that materialise within particular geographies of film provision. This is understood in relation to film as a cultural form, in terms of both mainstream and specialised film. These forms are
Audience as a process – personal film journeys, regional film provision and lived film experience
The Conclusion summarises the argument made in the monograph. It draws together the theoretical discussion in Chapter 8 with the key concepts and findings of the Beyond the Multiplex (BtM) project to show how audiences form, discussing the value of film from audience perspectives. It also provides a set of recommendations for film exhibitors, funders and policy makers seeking to develop specialised film audiences in the UK, as well as a guide to the open access BtM dataset, search and visualisation tools, and suggested areas for further research.
Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.
Chapter 2 describes and discusses the novel methodology for studying how audiences form that was used in the Beyond the Multiplex (BtM) research. The innovation combined mixed-methods research with a computational ontology. The chapter describes how the methodology was developed, by outlining the aims of BtM and its research themes before introducing the particular English regions under study – the North East, North West, South West, and Yorkshire and the Humber – in terms of demographics, geographic profile and film provision. The BtM project research themes are then outlined, including the practices of specialised and mainstream film consumption, the social aspects of audiences and how audiences value film in cultural terms; the meaning of film and audiences’ interpretive resources; the significance of place, venue and film events for audiences; and the role of film policy and distribution in shaping regional film provision.
This book explores for the first time women’s leading roles in animal protection in nineteenth-century Britain. Victorian women founded pioneering bodies such as the Battersea Dogs’ Home, the Royal Society for the Protection of Birds, and the first anti-vivisection society. They intervened directly to stop abuses, promoted animal welfare, and schooled the young in humane values via the Band of Mercy movement. They also published literature that, through strongly argued polemic or through imaginative storytelling, notably in Anna Sewell’s Black Beauty, showed man’s unjustifiable cruelty to animals. In all these enterprises, they encountered opponents who sought to discredit and thwart their efforts by invoking age-old notions of female ‘sentimentality’ or ‘hysteria’, which supposedly needed to be checked by ‘masculine’ pragmatism, rationality and broadmindedness, especially where men’s field sports were concerned. To counter any public perception of extremism, conservative bodies such as the Royal Society for the Prevention of Cruelty to Animals for long excluded women from executive roles, despite their crucial importance as donors and grassroots activists. However, women’s growing opportunities for public work in philanthropic projects and the development of militant feminism, running in parallel with campaigns for the vote, gave them greater boldness in expressing their distinctive view of animal–human relations, in defiance of patriarchy. In analysing all these historic factors, the book unites feminist perspectives, especially constructions of gender, with the fast-developing field of animal–human history.
in their mental and sentimental lives,
she reanimates them. Even as they keep a part of her on earth (Clare
hears and feels her presence), she serves as the site for
reflections on their own death. She reflects back to them theBeyond. Their commemorative gathering is but in anticipation that
Julie, as death’s medium, will ultimately collect them.
Clare’s imagined resurrection
medium, in its corpse-like state, could gain access to the
realm of the dead and enter into a dialogue with the deceased. While
Jean-Martin Charcot was experimenting with the use of hypnosis to
treat patients for hysteria, spiritualists maintained that at the
site of a figuratively deadened feminine body the immaterial realm
of thebeyond could become visible, a contact between the living and
wearing animal furs and taking psychedelic soups to shift into this transitory state. 33 Jim Morrison again toyed with this
– a Sunset Strip shamanistic presence – entering thebeyond via lab-produced
Owsley acid, rather than natural psychotropics.
Of all The Doors-influenced performers that followed, it was goth icon Ian
Curtis of Joy Division who like the title character in Dostoyevsky’s The Idiot ,
seemed to glimpse infinity during his seizures. 34 As for drug-induced transmogrification, Britain’s mystical pagan