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International Gothic in the Neoliberal Age

Over the course of the past twenty-five years, as neoliberal economics has transformed the geopolitical landscape, monsters have overrun popular culture. This book explores literary, televisual, filmic and dramatic works from distant and diverse countries. It traces the vampire's evolution from the nineteenth-century past of industrial capitalism to the neoliberal present's accelerated violence and corrupt precarity, and discusses the NBC television mini-series Dracula, perfectly encapsulating our own post-recessionary subjectivity. The book addresses state capitalism but turns readers' attention away from the vampire and towards the ghost, focusing on the ways in which such spectral figures have come to dominate new German theatre. On the biotechnology sector, the book presents three examples: cinematic depictions of the international organ trade in Asia, the BAFTA award winning three-part series In the Flesh broadcast in BBC3, and literary representations of the dehumanised South African poor. The book moves from the global to the local, and charts the ways in which post-2006 house owners are trapped in the house by the current economic situation, becoming akin to its long-term resident ghosts. The ghost estates, reanimated and reimagined by the Irish artists and film-makers, are shown to embody the price paid locally for failures in global economic policy. The preoccupation with states of liminality is encapsulated by showing that the borders of the nation state have become a permeable membrane. Through this membrane, the toxic waste of first world technology seeps out alongside the murderous economic imperatives of the neoliberal agenda.

From global economics to domestic anxiety in contemporary art practice

2008, but now populated only by the forlorn ghosts of a future that will never take place. This chapter sets out to examine the ghost estate as the most compelling trope of the post-Celtic Tiger housing crisis in Ireland. It views these estates as revenant spaces , as a recurrence of the Irish gothic home in contemporary culture, and examines the fine-art response that this

in Neoliberal Gothic
The mise-en-scène of mise-en-scène

’ (1997, 5). Cluttered, even baroque, interiors can be found in all the films, with a multitude of often small objects filling every possible space. The prototype for these spaces might be the mercería of Todo por la pasta, with its goods piled high and even the glass door filled with an assortment of combs and hair clips. In Acción mutante there is the gothic home of the dysfunctional and motherless Axturian family, its walls papered with bits and pieces cut from magazines and ceiling hung with sausages like a butcher’s shop; and in El día de la bestia Cavan

in The cinema of Álex de la Iglesia
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Neoliberal gothic

illustrates how neoliberal acts of violence against the subject may be interrogated by contemporary gothic texts that, in so doing, may enable us to think through strategies of resistance to the economic actuality of neoliberal economics and the ideologies of selfhood and society they entail. Part III. The gothic home and neoliberalism The third part of this collection

in Neoliberal Gothic
Women, domesticity and the female Gothic adaptation on television

specificities of this representation (in relation to the appearance of the hidden room and the significance of the staircase, window etc.). Framing her analysis of the Gothic home, Doane makes the point that these films addressed a specifically female audience: In the first half of the [1940s], due to the war and the enlistment of large numbers of young men in the armed forces, film producers assumed that cinema audiences would be predominantly female . . . Furthermore, there is an intensity and an aberrant quality to the ’40s films which is linked to the ideological

in Popular television drama

eighteenth-century architectural Gothic revival. His aspiration for Strawberry Hill, his Gothic home, was for it ‘to have all the air of a Catholic chapel – bar consecration!’ 8 As he explained, ‘my house is so monastic that I have a little hall decked with long saints in lean arched windows’. 9 With its chapel proclaiming ‘all the glory of popery’, 10 Walpole

in Dangerous bodies
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Women, domesticity and the Gothic adaptation

isolates the window as an important space within the mise-en-scene of the Gothic home: ‘The window has special import in terms of the social and symbolic positioning of the woman – the window is the interface between inside and outside, the feminine space of the family and reproduction and the masculine space of production (Doane, 1987b : 288). Doane’s delineation of the window is also pertinent to these

in Gothic television

Dickens’s scuba drifts slowly down in the foreground, Jeliza-Rose enters deeper emotional waters, signalled by a plastic model of a deep sea diver and the submarine sounds Dickens had made in Lisa. The seaweed now parts like a theatrical curtain to reveal a darker scenario, and the Gothic home where Dell and Dickens live comes into view, before which stands the alarming image of Dell as a one-legged pirate with a hook

in Terry Gilliam