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Concerns of linguistic, cultural and military incursion from France emerge more frequently in the wake of the Seven Years’ War. In the literary arena, one of the ways in which these concerns are marked is through the highly-contested national stakes of chivalry. This essay argues that these national stakes of chivalry are negotiated in the realm of the Gothic romance in a particularly fluid and dynamic manner. Addressing recent critical assumptions about the conservatism inherent in prose treatments of medieval chivalry, the essay explores the possibility that Gothic romance recuperates a more positive version of chivalry in the wake of the famous Burke/Wollstonecraft revolutionary debate of 1790.

Gothic Studies

This essay argues that Stephen King‘s 2006 novel Cell explores the age of terror with the aid of two concurrent Gothic discourses. The first such discourse belongs to the tradition that Patrick Brantlinger has termed Imperial Gothic. As such, it imagines with the War on Terror that the threat that the (Gothic) Other constitutes is most usefully managed with the help of massive, military violence. The other, and more traditional, Gothic discourse radically imagines such violence as instead a War of Terror. The essay then argues that Cell does not attempt to reconcile these opposed positions to terror. Instead, the novel employs the two Gothic discourses to describe the epistemological rift that terror inevitably creates.

Gothic Studies
Forbidden Planet, Frankenstein, and the atomic age

Franklin D. Roosevelt that building the atomic bomb was possible, later condemned the use of the bomb against Japan, and was sympathetic toward the Atomic Scientists movement (Clark 752). Having helped determine the outcome of World War II, the scientists involved in the movement had become important players on the world stage and changed the course of international politics. At the same time, more practical military and government officials pushed back against the idea that civilian scientists should regulate nuclear research. They recognised that less reasonable

in Adapting Frankenstein
Monstrous marriage, maternity, and the politics of embodiment

-state divided between Scottish and British identity. Importantly, Frank’s repression of his ‘maternal’ side also results in his lack of a balanced personality and transformation into an aggressive, militaristic machine. His hippie father, ironically, produces a warmonger. As Banks has explained in various interviews, The Wasp Factory is an attack on the British male military establishment (McVeigh 3): since the Act of Union, and particularly since the defeat of the Jacobites in the mid-eighteenth century, Scotland has experienced a political

in Adapting Frankenstein
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The Frankenstein Complex: when the text is more than a text

’s attempt to wrest control of the bomb from the military as a reflection of the Frankenstein power motifs in the film. Kyle Bishop ( Chapter 6 ), on the other hand, examines television, an under-explored medium of Frankenstein adaptations. TV adaptations of Frankenstein , he argues, tend to be more fragmented and tangential than full-length films, often appearing as special episodes in series like Buffy the Vampire Slayer and X-Files. Unsurprisingly, Victor and his monster seem quite at home within the fragmented structure of television. Morgan C. O’Brien ( Chapter 5

in Adapting Frankenstein
Responsibility and obedience in I, Robot and X-Men: First Class

in fact has two creators in X-Men: First Class : Dr Klaus Schmidt/Sebastian Shaw, and Dr Charles Xavier, whose first meeting with Lehnsherr fittingly occurs at precisely the moment when Lehnsherr finds the man he has been longing to punish for much of his life. This is also the scene in which the film’s two interwoven plot-lines – one centred on Lehnsherr, the other centred on Xavier and his adopted sister, Raven (Jennifer Lawrence) – intermingle. Accompanied by CIA Agent Moira MacTaggert (Rose Byrne), Xavier travels on a military ship, trying to help the

in Adapting Frankenstein
Dad’s Army and myths of Old England

regular military. In the seminal ‘Battle of Godfrey’s Cottage’ (first transmitted 8 March 1969), for instance, Captain Mainwaring (Arthur Lowe), believing himself to be isolated with just Jones (Clive Dunn) and Frazer (John Laurie) to defend Walmington-on-Sea, remarks without irony, ‘It’ll probably be the end of us. But we’re ready for that, aren’t we men?’. When Jones and Frazer assent, Mainwaring adds, ‘Good show’ with a genuinely stiff upper lip. Whilst, then, Mainwaring is himself frequently a comic butt in the series for his pomposity about the Home Guard’s role

in Popular television drama
On the cultural afterlife of the war dead

England. To give historical substance to the preposterous cross-mapping it is worth recalling that the connection between war zones and zombies has a vibrant history in the American popular imagination. In his Book of the Dead , Jamie Russell ( 2006 ) traces the emergence of zombies back to the American military involvement in the Caribbean between 1900 and 1930. As US armed forces

in Monstrous media/spectral subjects
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), the latter a ‘panic-inducing arcade game ... which initially grew out of a military simulation to see how many nuclear warheads a human radar operator could track before overload set in’ (Poole, 50). Rational faculties are overwhelmed by the bombardment of images, an informational sublimity in which sense is overstimulated by sensory excitation and consciousness sacrificed to the absorbing immersion

in Limits of horror
Monstrous becomings in Abel Ferrara’s Body Snatchers

(Terry Kinney) about the toxicity of chemicals stored on the military base at which he is stationed: Can they interfere with chemoneurological processes? Can they foster psychosis, paranoias, narcophobias? . . . Simply, can they alter a person’s view of reality . . . I’m seeing people at the infirmary who are

in Monstrous adaptations