Allison Cavanagh and Alex Dennis

and ‘welfare’) – and today’s theoretical doldrums. Many sociologists used Michel Foucault’s ideas to supplement, and then replace, the left-structuralist consensus of the 1970s and 1980s, and, we will suggest, his reception and adaptation over this period allowed for the transition from one perspective to another to be achieved in an apparently less haphazard manner. Foucault, for thinkers like Stuart Hall, complemented and later superseded the works of Althusser and Gramsci, while for others (e.g. Silverman, 1985), his perspective bridged the structure

in Human agents and social structures
Brian Pullan

159 9 Abandonment, reception and infant mortality Foundling hospitals and their attempts at rescuing illegitimate children can be said to have rested on three axioms. The first was that bastards, though subject to prejudice and social disapproval, had a right to life, both temporal and eternal, and that their murder was a heinous crime. The second was that, although the honour of a single mother and her family could not justify murder or exposure, it did justify the separation of base-born children from their blood parents, even from those who had the means to

in Tolerance, Regulation and Rescue
Scott Soo

2 Reception, internment and repatriation, 1939–40 The Spanish republicans had their own name for the mass exodus of 1939: ‘la retirada’. Literally translated as ‘the retreat’, it refers to the Republican army’s rearguard action and the civilians’ flight from Catalonia. The term ‘retreat’ offers a different perspective to defeat. It embodies a transitory quality and the absence of conclusion: la retirada signalled an intention to return. In effect, both the refugees and French authorities perceived la retirada as the start of an intervening and temporary phase

in The routes to exile
Andrew Lynch

11 Chaucer as Catholic child in nineteenth-century English reception Andrew Lynch ‘A Catholic, but not very keen’ In The Poet Chaucer, first published in 1949, Nevill Coghill applied to Chaucer’s religious outlook something once said to him by ‘a Swiss cathedral organist’: ‘“Oui, je suis catholique, mais pas très aigu”’ (‘Yes, I’m a Catholic, but not very keen’).1 Coghill’s comment may be said to reflect the mainstream view of Chaucer’s religion in critical reception throughout much of the twentieth century, picking up a mood that had been established by 1900

in Contemporary Chaucer across the centuries
The history of classical Mexican cinema and its scholarship
Dolores Tierney

produce new, contestatory and specifically local ‘codes of reception’ of this culture rather than just passively imitate it (Appadurai, 1996 : 32). López, for example, has noted how early Latin American cinéastes sought to ‘indigenize’ the film vistas that came to them from Europe and the US by producing their own specifically Latin American styles and views (2001: 52). El automóvil gris figures as one such example of the

in Emilio Fernández
Peter Nockles

This article charts and discusses the reasons for various significant shifts and developments during the nineteenth century of the reception of the Reformation amongst different denominations and groups within British Protestantism. Attitudes towards Foxes ‘Book of Martyrs’ are explored as but one among several litmus tests of the breakdown of an earlier fragile consensus based on anti-Catholicism as a unifying principle, with the Oxford Movement and the intra-Protestant reaction to it identified as a crucial factor. The selfidentity of the various British Protestant,denominations, notably the various Nonconformist bodies as well as the established Church and evangelicalism per se was at stake in the process of ‘reception’. Moreover, the emergence of more secular Protestant understandings of the significance of the Reformation as an essential stage in the emergence of modernity and liberty, often at odds with nineteenth-century evangelical theological interpretations of its meaning and legacy, are also highlighted. The result is an attempt to transcend the traditional focus on Protestant-Catholic disputes over the Reformation in narrowly bipolar terms.

Bulletin of the John Rylands Library
The highs and lows
Jonathan Driskell

des songes (1951). The lengthy list of Carné’s incomplete films also emphasises that, despite his successes, his career was not free from obstacles, whether financial or censorial. One of the ways that his trajectory contained highs and lows was through the changing critical reception of his work. While his films were initially highly acclaimed by the French critical establishment, his reputation was badly damaged in the 1950s by the

in Marcel Carné
Bulletin of the John Rylands Library
Abstract only
Constantine Verevis

What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).

Film Studies
Tim Snelson

This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.

Film Studies