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Author: Neil Sinyard

This book explores why Jack Clayton had made so few films and why most of them failed to find a large audience. It examines the kind of criticism they generated, sometimes adulatory but sometimes dismissive and even condescending. The book hopes to throw light on certain tendencies and developments within the film industry and of film criticism, the British film industry and film criticism in particular. The fact that Clayton's films fit David Bordwell's paradigm of the art film is one explanation why producers had difficulty with him and why mainstream cinema found his work hard to place and assimilate. Clayton's pictorial eye has sometimes antagonised critics: they often take exception to some aspect of his mise-en-scene. Clayton had come to prominence with Room at the Top, around the time of the British 'Free Cinema' movement and immediately prior to the so-called British 'new-wave' films of the early 1960s from directors such as Tony Richardson and John Schlesinger. Thorold Dickinson's evocation of the Russian atmosphere and, in particular, his use of suspenseful soundtrack to suggest ghostly visitation undoubtedly had an influence on Jack Clayton's style in both The Bespoke Overcoat and The Innocents. The critical controversy concerning the status of Jack Clayton as director and artist is probably at its most intense over The Pumpkin Eater. Clayton stressed the importance of an opening that established right away the situation of 'a woman in crisis' but wanted to delay the Harrods scene so as to build up an atmosphere of suspense.

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Naples is a Battlefield (1944); The Bespoke Overcoat (1955)
Neil Sinyard

director on Gordon Parry’s Bond Street (1948). However, his most interesting project of the late 1940s was undoubtedly as associate producer on Thorold Dickinson’s film version of the Pushkin story, The Queen of Spades (1948). Dickinson’s evocation of the Russian atmosphere and, in particular, his use of suspenseful soundtrack to suggest ghostly visitation undoubtedly had an influence on Clayton’s style in both The Bespoke

in Jack Clayton
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A reassessment

This collection of essays by scholars in Renaissance and Gothic studies traces the lines of connection between Gothic sensibilities and the discursive network of the English Renaissance. The essays explore three interrelated issues: 1. Early modern texts trouble hegemonic order by pitting the irrational against the rational, femininity against patriarchal authority, bestiality against the human, insurgency against authoritative rulership, and ghostly visitation against the world of the living. As such they anticipate the destabilization of categories to flourish in the Gothic period. 2. The Gothic modes anticipated by early modern texts serve to affect the audience (and readers) not only intellectually, but above all viscerally. 3. The Renaissance period can be seen as the site of emergence for the Gothic sensibility of the 18th century as it cultivated an ambivalence regarding the incursion of the supernatural into the ordinary.

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Monstrous media/spectral subjects
Fred Botting and Catherine Spooner

the French Revolution, the shows often projected grisly scenes of death and ghostly visitation, aesthetically terrorising audiences in times of political terror: ‘phantasmagoria’ were bound up with concerns about mechanism, vitality, animism and reality (see Warner, 2006 ; Jones, 2011 ). As Terry Castle ( 1995 ) has argued, they also raised questions of representation and mediation: inaugurating a new and

in Monstrous media/spectral subjects
Abigail Ward

slavery, the trope of ghostly visitations runs through their works. Such hauntings assume different forms, including manifestations of survivor guilt for those who lived through the middle passage, the guilt of parents that have betrayed their children, and the faint presence of slaves in historical records. As these examples testify, ghosts are figured in different ways, but for Phillips, Dabydeen and D’Aguiar, such spectres collectively signify their shared conviction that legacies of slavery extend into the twenty-first century, as well as indicating that this past

in Caryl Phillips, David Dabydeen and Fred D’Aguiar
The New Zealand television series Mataku as Indigenous gothic
Ian Conrich

Maoritanga (Maori culture) and taha Maori (a Maori perspective), with Maori featured within the cast and presented within the crew, and the well-known actor Temuera Morrison appearing as the host. The stories conjoined Maori myths and beliefs with non-Maori gothic fiction to create transcultural dramas of the supernatural and the uncanny, human sacrifice, ghostly visitations and possession. Online

in Globalgothic
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Elisabeth Bronfen and Beate Neumeier

rational, femininity against patriarchal authority, bestiality against the human, insurgency against authoritative rulership, and ghostly visitation against the world of the living. The contester to dominant power is often shaped into a composite figure, equating the feminine with magical thinking and subversive transgression or the ethnic other with barbarous instincts. By giving voice to the remains or

in Gothic Renaissance
The sound of the cinematic werewolf
Stacey Abbott

mother to die and leaving Lucy vulnerable to the vampire once more (p. 134). Furthermore, Stoker's short story ‘Dracula's Guest’ describes one particular adventure while Harker is on his way to Dracula's castle, conjectured to have been cut from Stoker's novel. In this story, Harker's exploration of a deserted village on Walpurgis Night results in ghostly visitation, leaving him passed out in a graveyard only to wake up with a large wolf lying on his chest, licking his neck and keeping him warm until morning, thus ensuring his safe arrival at Castle Dracula. The

in In the company of wolves
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Geraldine Cousin

characterised by stasis. The past does not simply inform the present. It holds it prisoner. In addition, while Stephen Daldry’s production of An Inspector Calls brought the Zeitgeist into sharp focus, fear in these pieces is more difficult to define. There is a similar sense of precariousness, but it remains largely amorphous – a ghostly visitation, not an urgent warning of the proximity of the abyss. The chapter is mainly given over to a discussion of six Irish plays: Stewart Parker’s Pentecost; The Weir and Shining City by Conor McPherson; The Mai, Portia Coughlan and By the

in Playing for time
Debating the body politic on the paper stage
Rachel Willie

revolution to stir out of it, without a guard sufficient to storm a City, and if I had had not Enemies, my own thoughts had been enough. (p. 8) Unlike later ghostly visitations, Cromwell is not figured as an imp of Satan who endeavours to gain or retain power in hell. Instead we are offered an image in which Cromwell, seduced into craving power through reading Machiavelli’s writings, experiences regret. Machiavelli influenced some seventeenth-century republican ideas, which suggests that the pamphlet is drawing on knowledge of republican thought.54 However, here

in Staging the revolution