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Brian Lewis

5 Twilight A storm of exceptional violence Lever had no doubts about the righteousness of the British cause during the First World War, nor about German malevolence, nor about what needed to be done. He declared ‘the War is decided now’ only shortly after the Allies had halted the German advance in 1914 and while the trenches were still been dug between the Belgian coast and Switzerland. It was just a matter of time and economic necessity, he said, before the Germans realized they had lost. They would have to sign a treaty depriving themselves of their colonies

in ‘So clean’
Open Access (free)
Kerry Kidd

W OMEN OF TWILIGHT (Daniel Angel, 1952) was adapted from the play of the same name by Sylvia Rayman. The play was first performed at the Embassy Theatre, London, in July 1951, going on to the Vaudeville Theatre. Theatre World Annual called the stage set ‘painfully squalid’ and many people would have applied the phrase to the piece as a whole. It might have been used, too, of J. Lee

in British cinema of the 1950s
The broken body and the shining body
Sara Wasson
Sarah Artt

Ever Since Laura Mulvey identified the visual pleasures of narrative cinema, the objectification of the female body on screen has been a staple of film criticism. 2 Our chapter argues that Stephenie Meyer’s Twilight Saga complicates that story of spectatorship by positioning the female heterosexual viewer as ambivalent agent, not just victim. The Twilight Saga, both books and

in Open Graves, Open Minds
Joe Cleary

  209 13 The Catholic twilight Joe Cleary All we have gained then by our unbelief Is a life of doubt diversified by faith, For one of faith diversified by doubt: We called the chess-​board white –​we call it black. Robert Browning, ‘Bishop Blougram’s Apology’ (1885) Introduction It has been obvious for decades that Catholicism in Ireland is undergoing a crisis of historic proportions. That crisis is commonly defined in terms of a litany of clerical and religious-​run institution abuse scandals, an ageing clergy, a loss of institutional authority and

in Tracing the cultural legacy of Irish Catholicism
Sustaining literature
Claire Colebrook

6 The twilight of the Anthropocene: sustaining literature Claire Colebrook Over the last decade the claims made for the importance of literary understanding, environmental humanities and imaginative reflection have received a (perhaps tragic) reinforcement from the inverse relation between the threats facing humans and other species, and the capacity for action. It is almost as if the prospect of calamity and unprecedented change is so intense that the practical, rational and imaginative resources we have for thinking about the future are simply and woefully

in Literature and sustainability
Adelaide McGinity-Peebles

This article focuses on Angelina Nikonova’s debut film Twilight Portrait (Portret v sumerkakh, 2011) and analyses the trajectory of the ‘difficult’ female protagonist, Marina (Ol´ga Dykhovichnaia), in relation to the spaces she inhabits and reclaims within the film. The article argues that, despite the incredulity and hostility that she inspires both on-screen and off-screen, Marina symbolises a complex, wider struggle for women’s sovereignty within the deeply patriarchal context of contemporary Russian society. In so doing, it shows that the film’s sustained, albeit ambiguous, probing of gendered hierarchies and institutions renders the film an important contribution to Russian cinema and, also, to the wider feminist filmmaking and feminist cultural discourse.

Film Studies
Kuba Szreder

The paradox of circulation, organised by the → winner-takes-it-all economy, is that those who suffer most are → excluded from the platforms where protests against injustice can be staged. The → dark matter of the art world is invisible, thus voiceless, and would remain so if only gate keepers were able to exercise full control over the means of visibility and articulation. Fortunately, the vessels of circulation leak and the network, in its expansionistic drive, is a realm of always shifting shadows, a multiplication of twilight zones

in The ABC of the projectariat
from Dracula to the Twilight Saga
Antonio Sanna

This article will analyse (the lack of) telepathic connection between the characters of Edward and Bella in Meyers Twilight Saga and compare it to the subliminal link between the Transylvanian vampire and Mina in Dracula. The lack of a telepathic bond between the two characters will be read as a contradiction of the original concept of telepathy. The Twilight Saga is interpreted as a postmodern representation of vampires which both reprises and subverts the precedent literary and cinematographic narratives of such,‘monsters’.

Gothic Studies
Post-9/11 Horror and the Gothic Clash of Civilisations
Kevin J. Wetmore

Twentieth century cinema involving monster conflict featured solitary monsters in combat (Frankenstein Meets the Wolf Man, for example). The writing of Anne Rice and the RPG Vampire: The Masquerade by White Wolf Games introduced the idea of Gothic communities and civilisations in conflict. It was not until after the terror attacks of 11 September that the idea of a clash of civilisations between supernatural societies fully emerged into the mainstream of popular culture. This essay explores the construction of a clash of civilisations between supernatural communities as a form of using the Gothic as a metaphor for contemporary terrorism in film and television series such as Underworld, Twilight, True Blood and The Vampire Diaries. Inevitably, it is the lycanthropes that are the disempowered and disenfranchised society and are alternately exploited by and rebel against the dominant vampire civilisation grown decadent and on the verge of collapse. Post-9/11 Gothic posits a world in which vampire society is the new normal, and werewolves represent a hidden danger within. Lycanthropes must be controlled, profiled and/or fought and defeated. Through close readings of the cinematic and televisual texts, I explore the vampire/werewolf clash as metaphor and metonym for the war on terror.

Gothic Studies
A Rendering of True Monstrosity
Angela Tenga
Elizabeth Zimmerman

Many vampires in popular fiction have developed a conscience that mitigates their monstrosity and makes them objects of human love and admiration. With the advent of the reformed vampire, Western culture has, perhaps, lost an icon of true horror. As the vampire has become increasingly humanized and sympathetic, the zombie has stepped up to take its place. Zombies remind us that we will soon be decomposing flesh; the zombie horde embodies fear of loss of self and individuality; zombies expose the dark side of mass consumer culture; and zombies highlight the fragility of human identity in an advanced, globalised society.

Gothic Studies