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Queer As Folk and the geo-ideological inscription of gay sexuality
Peter Billingham

citizens, that one might identify the gay community’s ideological position as complicit with the rhetoric and aims of ‘political correctness’. Queer As Folk had its first broadcast in 1999–2000 on Channel 4 television, screened in eight hour-long episodes. The series was made by the Manchester-based independent company Red Production, the producer and executive producer was Nicola Shindler and the series’s creator and co-producer was Russell T. Davies. The directors were Charles McDougall and Sarah Harding. The series starred Aidan Gillen as Stuart Jones, Craig

in Popular television drama
Death and Desire in Jane Campion‘s The Piano
Michael Davis

This article proposes a reading of Jane Campion‘s film The Piano as psychic allegory; as a Gothic psychomachia, in which Eros and Thanatos are the chief contenders. It is argued that the factitious Victorianism and the apparent proto-feminist agenda of this film should not blind the reader to the fact that this is a cinematic text which radically interrogates the very readings that it ostensibly elicits; readings inevitably of a ‘politically correct’ tenor. The film poses many questions and provisional answers are offered by orchestrating a dialogue between the film and Julia Kristeva‘s musings on depression and melancholia in her book, Black Sun.

Gothic Studies
How did we get here and why does it matter?

This book asks who gets to exercise free speech and who does not, and examines what happens when powerful voices think they have been silenced. It asks how the spaces and structures of 'speech' – mass media, the lecture theatre, the public event, the political rally and perhaps most frequently the internet – shape this debate. It explores the long histories of this contemporary moment, to think about how acts such as censorship, boycotts and protests around free speech developed historically and how these histories inform the present. The book first explores two opposing sides in this debate: starting with a defence of speech freedoms and examining how speech has been curbed and controlled, and countering this with an examination of the way that free speech has been weaponised and deployed as a bad faith argument by people wishing to commit harm. It then considers two key battlefields in the free speech wars: first, the university campus and secondly, the internet. This book is the first to explore this moment in the free speech wars. It hopes to equip readers to navigate this complex, highly charged topic: rather than taking a side in the debate, it encourages the reader to be suspicious – or at least sceptical – of the way that this topic is being framed and articulated in the media today. The free speech wars should act as context, provocation, stimulation and – hopefully – a route through this conflict.

Ilan Zvi Baron

understood as a vote for nothing: no clear policy plans, no politics in any meaningful sense, just a protest without a plan. Identity politics and democracy: hyperdemocracy, political correctness, and the politics of diversity That people could consciously decide to vote for such vacuous slogans as “Make America Great Again” and “Let’s Take Back Control” should not surprise anybody. While they are slogans, so we should not expect too much, these are pretty bad ones, since any content they did refer to was largely racist or sexist and possibly both. The slogans are, I

in How to save politics in a post-truth era
Abstract only
Nineties’ gothica
Susanne Becker

political correctness’. Chris Weedon has shown that it has also become commodified by communication through the media that suggests ‘shopping for difference’ ( 1997 , 49) and the consumption of difference for pleasure (49) – for example in local (but globally controlled) ‘lonely hearts’ columns. She concludes

in Gothic Forms of Feminine Fictions
Henry S. Price

others, including the notion that advocates of TRP are seriously engaged in the protection of free speech. Consider the following, fictional but all-too-common kind of comment: Free speech is being destroyed. Only certain views are allowed these days: there are more than two genders, we shouldn’t have limits on immigration, and Churchill was a war criminal. Political correctness has run amok, and its snowflake acolytes are more interested in signalling their own woke virtue by condemning and excommunicating than they are in seeking the truth. Not only is the

in The free speech wars
Metrosexuality and The Murder of Stephen Lawrence
Geraldine Harris

prostitute, a ‘sexual revolutionary’ fashion designer and a D.J. In virtually all respects, then, Metrosexuality appears to offer an almost textbook example of camp and/or postmodern and even diasporic cultural aesthetic(s) and it goes out of its way to embrace a wide range of socially marginalised identity categories. So is this my ideal for politically correct television drama? Critical reception: the question of ‘dramatic quality’ Metrosexuality was potentially as controversial as Queer as Folk. It depicts graphic scenes of drug taking and again a sexual relationship

in Beyond representation
Abstract only
European opposition, Muslim migrants, impact on Jews
Amikam Nachmani

broader context in which Europeans challenge and defy Islam and the politically correct behaviour that has permitted the admittance of Muslim migrants into Europe. The far-right (i.e., fascist) Greek Golden Dawn Party is amongst the most recent examples. At the time it was Europe’s most successful extreme rightist party; it won 6.9 per cent of the vote and 18 seats in the June 2012 Greek parliamentary elections. The party has a strong hooligan element and connections with the underworld and expresses and uses violence, overt racism and anti-Semitism.3 ‘We are providing

in Haunted presents
Open Access (free)
History, legend and memory in John Sayles’ Lone Star
Neil Campbell

representation of US history came to the fore, often embedded in the looser exchanges and controversies over so-called political correctness. George Lipsitz cites Lynne Cheney, E. D. Hirsch, Allan Bloom and others, who began to attack new forms of history teaching for betraying particular established knowledges about America and its past. As Cheney wrote in 1988, history textbooks needed to be like those of the

in Memory and popular film
From bad taste to gross-out
John Mundy and Glyn White

the Carry On films and the work of Benny Hill, examples primarily located in the 1960s, 1970s and early 1980s, then move on to trace the origins and development of the gross-out movie from the abandonment of the Production Code in 1966 to the present. Finally we consider Borat (2006), a film that pushes at boundaries of ‘good taste’ and ‘political correctness’ but which has enjoyed considerable

in Laughing matters