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Brian McFarlane

As distinct from those films discussed in the previous chapter, which directly ‘quote’ from Brief Encounter , there are many more that seem in various ways to echo the 1945 classic. One can’t of course know to what extent the filmmakers involved had Brief Encounter in mind, but the fact is that its essential scenario and its moral core still retain their emotional power, despite the shifts in cultural mores, irresistibly suggesting the long shadow it casts. Those titles to be considered here involve – to varying degrees – a

in The never-ending Brief Encounter
Laura Jeffery

5 Echoes of marginalisation in Crawley I hope it will be better for me there [in the UK]. Life here [in Mauritius] is hard. Here [in Mauritius] we work a lot for a little money, whereas there [in the UK] we will work a little for enough money. I hope to save a bit, to build my children’s future, to make a stable life. I’m sacrificing myself for my family. (Claude, a father in his forties born in Mauritius to a Chagossian mother) Displaced Chagos islanders’ experiences of marginalisation and mobilisation in Mauritius were examined in Part I. This chapter

in Chagos islanders in Mauritius and the UK
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The relief of distress
Virginia Crossman

4 Famine echoes: the relief of distress For the majority of Irish people, the experience of famine was a memory not a reality in the second half of the nineteenth century. For those in the west, however, where land holdings remained small and agriculture continued to be heavily dependent on the potato, periodic harvest failures and economic downturns meant that famine and disease remained constant spectres. The poor law could provide only limited protection against economic insecurity in these regions since rateable values were low and levels of poor relief

in Politics, pauperism and power in late nineteenth-century Ireland
1989 in historical perspective
Robin Okey

2 Echoes and precedents: 1989 in historical perspective Robin Okey The historical longue durée Echoes and precedents: 1989 in perspective The East European revolutions of 1989 offer a host of possibilities for enquiry. For political scientists they have meant the creation of new polities, where matters like rational choice or path dependency theory can be tested or the merits of alternative constitutional arrangements assessed. Economists have debated the permutations of ‘Big Bang’ or more gradualist schemes for the transition from a communist to a capitalist

in The 1989 Revolutions in Central and Eastern Europe
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From music hall to celluloid
Philip Gillett

The music hall reinvented itself as variety with sufficient success for new theatres to be built in the 1930s. The early days of the music hall were evoked nostalgically in Champagne Charlie and a string of films which followed. In the late 1940s, the cinema's debt to the music hall was evident in the Mancunian comedies and the Old Mother Riley series. Both were distinctive forms of British cinema, though their proletarian character means that they have received scant critical attention. The scenarios of Mancunian films, the characters of the stars and the low production costs resulted in a unique style of filmmaking which appealed to northern, working-class audiences. Two Mancunian offerings, Somewhere in Camp and Somewhere on Leave drew the largest audiences at the Majestic, Macclesfield, in 1942 and 1943 respectively. Home Sweet Home is a typical Mancunian product in its casting and scenario.

in The British working class in postwar film
Author: Brian McFarlane

Brian McFarlane’s The never-ending Brief Encounter is above all a book intended for those who have seen and never forgotten the famous 1945 film in which two decent, middle-class people meet by chance, unexpectedly fall in love, but in the end acknowledge the claims of others. The book grew out of an article, the writing of which revealed that there was so much more to the after-life of the film than the author had realised. This book examines David Lean’s film in sufficient detail to bring its key situations vividly to life, and to give an understanding of how it reworks Nöel Coward’s somewhat static one-act play to profound effect. It also examines the ways in which the ‘comic relief’ is made to work towards the poignant ending. However, the main purpose of the book is to consider the remarkable after-life the film has given rise to. The most specific examples of this phenomenon are, of course, the appalling film remake with its miscast stars, and the later stage versions – both bearing the original title and attracting well-known players and positive audience and critical response – and an opera! As well, there are films and TV series which have ‘quoted’ the film (usually via black-and-white inserts) as commentary on the action of the film or series. There are many other films that, without direct quotation, seem clearly to be echoing their famous predecessor; for example, in the haunting visual quality of a deserted railway platform.

James Pereiro

The article explores some aspects of the intellectual climate of the first half of the nineteenth century and the new ideas about race and national identity. These in turn help to explain contemporary changes in historical perspective, particularly in respect to the English Reformation. Disraeli‘s novels reflect the ideas of the time on the above topics and echo contemporary historians in their views on the Reformation, its causes, and the religious and social changes that it brought about.

Bulletin of the John Rylands Library
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Botany and Empiricism in The Mysteries of Udolpho
Rebecca Addicks-Salerno

In The Mysteries of Udolpho, characters practice science in home laboratories, libraries, green houses and gardens, using observation, instruments, and books to study botany, astronomy, and chemistry. By integrating these moments of everyday science into her novels - and making them integral to the development of her heroines - Ann Radcliffe presents a landscape in which both reason and sensibility are enlisted to gather and process information and create meaning in a way that echoed the popular scientific discourse of the day. To date, there has been no sustained study of Radcliffe’s incorporation of scientific practice and rhetoric into her Gothic novels. By looking closely at the scientific engagement within her texts, we can broaden the basis for understanding her work as a part of the broader culture that not only included, but was in many ways predicated upon the shifting landscape of science at the end of the eighteenth century.

Gothic Studies
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Khaki Gothic and Comedy
Sunday Swift

On first glance, M*A*S*H (1972–83) might not be the ideal text for Gothic analysis. Aesthetically, the traditional dark castles surrounded by black forests in the moonlight are replaced by muted khaki and green canvas Army tents, and the tinny canned laughter punctuating the sardonic jokes echo longer than the terrified screams in the night. Gothic and war are uneasy bedfellows; it is the inclusion of comedy, however, that determines just how horrific the result can be. Using M*A*S*H as a primary example to explore what I refer to as Khaki Gothic this paper will explore how, utilising Gothic tropes, comedy can disguise, diffuse and intensify the horrors of war.

Gothic Studies
Racial Discourse in Mary Shelley‘s Frankenstein
Allan Lloyd Smith

This article examines the effects of early anthropological accounts of other races in producing tropes for monstrosity in the Gothic, such as we see in Frankenstein where the monster, although not of any known race since he is hybridly created from parts of dead bodies, shares features with popular accounts of the racially other, echoes Haitian slave rebellion violence in his responses to ill treatment, and achieves his literacy and independence in the manner of popular slave narratives. Gothic tropes were sometimes employed in anti-slavery narratives such as Uncle Tom‘s Cabin, and many of the descriptions of brutality and terror in realist slave narratives are properly to be considered Gothic (and may in fact borrow from gothic fictional techniques). Slavery itself could be argued to outdo the Gothic in its actuality, as well as serving as a source for gothic fantasy. This provokes a rethinking of the now conventional assumption that Frankenstein‘s acknowledgement of responsibility for his creature implies that it does his unconscious bidding; on the contrary, Frankenstein admits his responsibility as a slaveholder might for the actions of his slave, but without in any way endorsing them.

Gothic Studies