2016 May

CFP: Fantastika Journal Thumbnail

CFP: Fantastika Journal

Posted by Donna Mitchell on May 30, 2016 in Donna Mitchell tagged with ,

Fantastika Journal Call for Papers for First Special Edition Issue  “Fantastika” – a term appropriated from a range of Slavonic languages by John Clute – embraces the genres of fantasy, science fiction, and horror, but can also include alternative histories, gothic, steampunk, young adult dystopian fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal is to bring together academics and researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies and collaborations. We invit

CFP: Global Frankenstein Thumbnail

CFP: Global Frankenstein

Posted by Dale Townshend on May 29, 2016 in News tagged with ,

2018 marks the 200th anniversary of Mary Shelley’s novel Frankenstein. This edited volume is timed to celebrate its momentous impact throughout the world. The global reach of her “hideous progeny” has penetrated many disciplines including film, science, technology, the visual arts, and dance. The novel has been used to show how science has been culturally framed, even serving as a warning against GM crops with the label “Frankenfood.” Mary Shelley’s creation has been a watershed in the domains of science fiction and Gothic literature, by innovating new departures in genre and bri

Review: Women’s Ghost Literature in Nineteenth-century Britain Thumbnail

Review: Women’s Ghost Literature in Nineteenth-century Britain

Posted by Donna Mitchell on May 20, 2016 in Donna Mitchell, Reviews tagged with , , , , , , , , , , , , , , , , ,

Women’s Ghost Literature in Nineteenth-century Britain Melissa Edmundson Makala Cardiff: University of Wales Press, 2013. ISBN: 978-0-70832-564-3 Reviewed by Donna Mitchell Melissa Edmundson Makala begins her study of women’s ghost writing in nineteenth-century Britain by considering the various reasons for its increasing popularity, most notably its ability to function as a subversive means of discussing political and social issues. She notes that the nature of this genre allowed writers to explore the social tensions and inequalities which existed for certain groups without alienatin

Review: ‘Reimagining the Gothic: Monsters and Monstrosities’ symposium, 6th May 2016 Thumbnail

Review: ‘Reimagining the Gothic: Monsters and Monstrosities’ symposium, 6th May 2016

Posted by Amy Bride on May 19, 2016 in Reviews tagged with , , , , ,

‘Monster’ is a jointly allusive and ubiquitous term. For gothic scholars, what constitutes monstrosity is a vast and varied spectrum of physical abnormality, genetic hybridity, moral corruption, and everything in between. Yet for almost 200 years perceptions of the gothic monster in the popular imagination have been dominated by Mary Shelley and her life-creating doctor who has transcended literary boundaries to become a cultural icon in his own right. The task of re-analysing the gothic monster, both in conversation and contrast with Shelley’s creation, was that addressed by the ‘

Review: Frankenstein at the Royal Opera House Thumbnail

Review: Frankenstein at the Royal Opera House

Posted by Evan Hayles Gledhill on May 19, 2016 in Evan Hayles Gledhill, Reviews tagged with , , ,

First, a preface. The last time I voluntarily watched a full dance production, it was Edward Scissorhands, and I hated the hedges. I generally plonk myself on the sofa for The Nutcracker at Christmas just for the Cossacks, which is my favourite bit. I am not a traditional dance fan; I tend to only watch a story I have a narrative interest in, otherwise I cherry pick sequences to be enthralled by the marvellous grace and athleticism of the dance. So, this is not a ballet review, it’s a Frankenstein review. I saw the new Liam Scarlett production in the cinema, as I missed out on affordable

Review: Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon Thumbnail

Review: Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon

Posted by Benjamin E. Noad on May 09, 2016 in Ben Noad, Reviews, Uncategorized tagged with , , , ,

Review: Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon edited by Linnie Blake and Xavier Aldana Reyes (New York and London: I. B. Tauris & Co., 2016) This recent edited collection channels a political urgency that beckons further attention to the stylistics, nuances and cultural significance of global horror cinema. The essays it contains are inspired, richly detailed and are, in a word that may do justice to the entirety of the collection as a whole, haunting. The most immediate effect of this inquiry is realised in Blake and Reyes’s introducti

Writing Britain’s Ruins: Word and Image Thumbnail

Writing Britain’s Ruins: Word and Image

Posted by Peter Lindfield on May 09, 2016 in Blog, Peter Lindfield tagged with , , , , , ,

Ruins were important in the Georgian period — one would, for example, encounter them whilst traversing the British countryside, as is still the case today. Ruins were also a central facet of that great Georgian cultural experience — the Grand Tour of the Continent. As we can see from John Richard’s The Colosseum from 1779, the architectural ruins from antiquity were both of academic and picturesque interest to the spectators in the fore- and middle-ground. This image celebrates the still monumental, though mouldering, colosseum and triumphal arch.     Aristocrats,

Where the Camera can not Take Us: Sounding the Unseeable in Game of Thrones. Thumbnail

Where the Camera can not Take Us: Sounding the Unseeable in Game of Thrones.

Posted by Danielle Hancock on May 06, 2016 in Danielle Hancock, Uncategorized tagged with , , , , , , , ,

  Warning: This blog-post contains spoilers for Game of Thrones, Season 6.   Daenerys Targaryen’s dragons are rough to the touch. The plains of Winterfell are swept with fast, sharp winds. A human skull smashes with the same wet burst as a watermelon. I learnt these things, and many more, from listening to Game of Thrones. Mostly, we tend to watch Game of Thrones, and with good reason. The show seldom shies away from graphic detail. Gouged eyes, decapitation, burning children, full frontal nudity  - in the face of all these and more the camera’s gaze never wavers. Indee