The Pythons (2003). The book that came from
Gilliam’s request, Dreams and Nightmares: Terry Gilliam ,
The Brothers Grimm, and Other Cautionary Tales of Hollywood
(2005), offers a sobering account of the tribulations Gilliam underwent
in making The Brothers Grimm . 12 Others would also suffer. The
Weinsteins were known for the intrusive and aggressive tactics in making
sure what they produced
signed up to the materialist, technocratic and bureaucratic nightmare
that the film works to represent and analyse, and from which Sam Lowry
tries to escape. But Sam himself is an ambiguous figure, whose efforts
occasionally can be read as heroic. In the course of his adventures he
certainly develops a fuller understanding of the ghastly nature of the
society to which he has become adapted, yet
Hallucinating conflict in the political and personal frontiers of Ulster during the IRA border campaign of 1920–22
reason’, he declared, had the suddenness
of a ‘ coup d'état ’ but after six
days ‘thermidorian influences’ reasserted themselves
to establish ‘normal psychic association’ and a
‘complete restoration’. 17 At the end of the prologue
Nolan introduced the title of the patient's account of his
attack, ‘Report of Nightmare’. Thus framed, this
The nightmare of multiple
jurisdictions: States rights and
lynching in the South
The black man asks for justice and is given
the theory of government. He asks for protection and is confronted with a scheme of
governmental checks and balances. 1
Rutherford Hayes eventually emerged victorious from the inconclusive
election of 1876 but commenced his presidency fatally compromised to
Southern planters. In terms of the “Compromise of 1877,” Southern Democrats relinquished the presidency in exchange for a promise from Hayes
to bring Radical Reconstruction to an
The late twentieth century is fascinated by the phenomenon of the gothic child, the child who manifests evil, violence, and sexual aggression. On the face of it, this evil is “caused” by either medical or social factors: medicinal drugs, radiation, or the corrupting influences,of political others. However, this essay argues that the gothic child actually arises from conflicting forces of child-philosophies, the intersection of Romantic childhood innocence with Freudian depth models. These models tacitly point to a child that “is” rather than “is,made”, a child that belies contemporary parental attempts to make it be otherwise. Moreover, the idea that the child is somehow immune to parental influence – that it is self-possessed rather than possessed by another – extends to the current notion of,the “inner child”, that “self” who is the seat of identity and coherence. Because of this, the gothic as often fantasizes the killing of the “child within” as it revels in killing the child without.
This article examines the role of automobility in the Greek cinema of the 1960s. It focuses on the representations of the automobile’s domestication in selected films. Particular attention is paid to the technical and symbolic reconstruction of space and the redefinition of socioeconomic and gender stereotypes. The article’s conclusions concern the role of the automobile in a specific period within Greek film history, as well as its place within cinema in general and in the theoretical and material construction of what is perceived as ‘modernity’.
This chapter discusses two cases of so-called Satanist murders of young women that have occurred in recent years in South Africa. The first victim, Kirsty Theologo, was set on the fire and left for dead by a group of friends in 2011. The second and third, Thandeka Moganetsi, 15, and Chwayita Rathazayo, 16, were murdered by two male classmates in 2014. Following the lead of feminist media scholars like Marian Meyers (2004, 1997), Cynthia Carter (1998) and Carrie Rentschler (2014), the chapter analyses newspaper coverage of the murders. It argues that press responses to these deaths were framed as part of an ongoing South African moral panic around Satanism, and that this panic served the purpose of deflecting knowledge of gender-based violence. High rates of gender-based violence suggest that South Africa has a social problem that requires serious consideration. We need to ask why it is that young men seem so frequently to enact shocking violence on the bodies of young women whom they know. However, press coverage of the deaths stuck to a familiar rhetorical strategy that placed them within a biblical frame of good and evil. Invoking Hannah Arendt’s formulation of the banality of evil (1963), the chapter argues that this strategy allowed the media narrative to disavow difficult questions about the structural causes of extreme violence in favour of a too-easy story about monstrousness and exceptionalism, as well as ignoring the echoes of apartheid violence that haunt these murders.
Marcantonio Raimondis Il Sogno and Albrecht Dürers Sea Monster share a number of
compositional similarities as well as a fascination with the bizarre. The
association of monstrous forms as an omen of grave misfortune, including
pestilence and war, was particularly common at the beginning of the sixteenth
century. In Marcantonios engraving the chimeric monsters, billowing inferno and
shooting star can be perceived as a graphic warning that by 1509 Venices world
was in deep peril.
Chapter 2 argues that in Lethem’s work one of the reactions to collective or individual traumatic experience is a retreat into a kind of exaggerated localism, into miniature utopias that attempt to ignore what is happening in the wider world. Amnesia Moon, which brings together science fiction and the road narrative, exemplifies this retreat in its depiction of a post-apocalyptic world that has been divided up into FSRs, or Finite Subjective Realities, small spheres of activity controlled by individual dreamers. The end of the chapter argues that the very explicit influence of Philip K. Dick in Lethem’s second novel is a means of “letting in” another author into the literary FSR created by Jonathan Lethem. Thus literary influence has an ethical function.
This chapter discusses The Aachen Memorandum (AM) (1995) by historian Andrew Roberts as a paradigmatic example of one important branch of Eurosceptic novels. It analyses the novel as a dystopian narrative that depicts the European Union as a dys-EUtopia, set in a future where Britain has become an undesirable and unpleasant place that shares salient features with the dystopian societies of Nineteen Eighty-Four or Brave New World. The chapter argues that Robert’s influential novel takes an extremely Eurosceptic perspective, extrapolating the EU’s integration efforts and policies into a totalitarian means of control through constant surveillance, propaganda or the re-writing of history. The chapter illustrates how the Eurosceptic novel actively promotes national identity and sovereignty, drawing upon a storehouse of Eurosceptic tropes and repeating a certain nationalist version of British history that sets Britain against a EUropean Other. Expressing and disseminating widespread Eurosceptic fears, Roberts’s novel thus anticipates Brexit.