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Abstract only
Guy Austin

in blue light (the opening sequence in Paris, the exterior and nocturnal scenes in Alsace) or set in heavily stylised and predominantly blue interiors (the van Horn mansion; the hotels where the blackmail sub-plot develops). These characteristics recall the formal mise en scène of the Hélène cycle generally, and specifically Chabrol’s use of colour in La Rupture. Theo van Horn’s all-pervasive patriarchal presence is

in Claude Chabrol
The abortive Northern Rebellion of 1663
Alan Marshall

85 Chapter 4 ‘Plots’ and dissent: the abortive Northern Rebellion of 1663 Alan Marshall W riting his regular letter to the Duke of Ormond in Ireland on 24 October 1663, the Secretary of State, Sir Henry Bennet, Lord Arlington, noted that: ‘The examinations of the prisoners taken at York, sent to the King by the duke of Buckingham, show that there was a real and dangerous plot.’1 Arlington was referring to a recently uncovered plot against the royal regime in the autumn of that year in the North of England, a series of events that Charles II, speaking before

in From Republic to Restoration
Abstract only
Sue Vice

Structure and plot 5 Spend, Spend, Spend (1977), The Chain (1984), Moving Story (1994) and Bag Lady (1989) In this chapter, I will analyse those of Jack Rosenthal’s plays where an unusual dramatic structure matches the plot. In Spend, Spend, Spend and The Chain, structural experimentation arises from the plays’ concern with British class formations. Class-related elements of both shocking contrast and surprising interrelation are represented at the level of form and content. Moving Story and Bag Lady are both dramatic offshoots of The Chain, in which the

in Jack Rosenthal
Reidar Due

During a twenty-five year period, spanning the Second World War and his move from England to America, Hitchcock showed a particular preference for plots involving an unjustified accusation against the films central character. The 39 Steps (1935), Young and Innocent (1937), Saboteur (1942), Strangers on a Train (1951), I Confess (1953), The Wrong Man (1956) and North by Northwest (1959) are all variations on the same pattern with different thematic emphases. This article discusses the narrative logic and moral content of this ‘innocence plot’, running through Hitchcock‘s films from the mid-thirties to the late fifties.

Film Studies
Henry Sutton

What is plot? Even titling this chapter ‘Plot and point of view’ feels a little controversial, not least because character plays such a crucial role. We can’t discuss plot and point of view (POV) without character. To me and many others, plot and character are completely entwined. You can’t have – or see, or hear, or smell, or taste or understand – character without POV, whether from the perspective of that character, or another character who’s doing the observing, or from an authorial or omniscient stance

in Crafting crime fiction
Alexandra Gajda

Chapter 6 . Essex and the ‘popish plot’ Alexandra Gajda I n the late morning of 8 February 1601, Robert Devereux, second Earl of Essex, sallied out of Essex House, leading over a hundred nobles, gentlemen and assorted followers. As the company processed east, seeking armed support from Sheriff Smythe, they appealed in the Queen’s name for protection from murderous enemies. Essex also implored the London citizens to take arms for an even graver cause: ‘the crowne of England was offred to be sould to the infanta’ by his own would-be assassins, Sir Walter Ralegh

in Doubtful and dangerous
Indian nationalism, Italian anarchism and the First World War
Ole Birk Laursen

6 ‘The bomb plot of Zurich’: Indian nationalism, Italian anarchism and the First World War1 Ole Birk Laursen In June 1919, the Indian nationalists Virendranath ‘Chatto’ Chattopadhyaya and Abdul Hafiz of the Berlin-based Indian Independence Committee (IIC) were on trial in Switzerland alongside a group of Swiss-based Italian anarchists led by Luigi Bertoni and Arcangelo Cavadini for their involvement in the so-called ‘bomb plot of Zurich’. The Attorney General of Switzerland accused Chatto and Hafiz of collaborating with Bertoni and Cavadini, and with the German

in Anarchism, 1914–18
Mark Hovell’s The Chartist Movement
Michael Sanders

Chartist historiography is inevitably inflected by the political desires of its authors. This desire, combined with the contingent nature of history, imparts a fictive dimension to Chartist historiography. In support of these claims, this article applies the literary concepts of plot and character to Mark Hovell’s The Chartist Movement (1918). It argues that Hovell’s political desire leads him to construct a tragic and entropic plot for Chartism, which is often contradicted by his own assessment of the movement’s vitality. Similarly, Hovell’s plotting is also driven by his reading of Chartism as a conflict between two characters, a flawed hero (Lovett) and a villain (O’Connor). The article closes with a close reading of Hovell’s characterisation of O’Connor, which demonstrates the skill with which he interweaves fact and interpretation.

Bulletin of the John Rylands Library
Census and tax resistance
Jill Liddington

5 Plotting across central London: census and tax resistance The gaze now swerves southwards from the Midlands and back to the capital, to the homes and offices in central London. Here, two groups of professionals now gathered, each with steely determination to pursue an agreed aim. One was a quartet of senior civil servants. These elite men (and they were of course entirely male) began calmly and efficiently to plan the new census. It would be the most ambitious by far, to be conducted in eighteen months’ time. The second group, meeting just two days later

in Vanishing for the vote
James I’s Daemonologie and The Wonderfull Discoverie of Witches
Stephen Pumfrey

product of the strict Scottish Reformation, and took an intense scholarly interest in Protestant theology, including the theology of witchcraft. In the early 1590s he became convinced that he was the object of plots by Scottish witches. He acquainted himself with continental theories of satanic witchcraft (and other occultist fashions), helped by his marital ties with the Danish court. His reputation as a witch-hunter came with him to England: Shakespeare’s Macbeth was performed before him in 1606, as Richard Wilson discusses elsewhere in this volume

in The Lancashire witches