bluuebunny/crossref_metadata_2025 huggingface dataset:
Budd Chiari Syndrome in Children
Authors: Khadga Mukesh , Hasan Mahmudul , Rahman AZM Raihanur , Ahamed Nazmul , Md Benzamin - , Rahman Mohammad Ahmadur , Karim ASM Bazlul
Published: May 2020

Budd-Chiari syndrome (BCS) is a rare disorder presenting with hepatic venous outflow obstruction from the level of the hepatic veins to the junction of the inferior vena cava (IVC) with the right atrium. It is rare in infants and children so, delay in diagnosis or misdiagnoses are very commonly seen. It results from either primary or secondary cause. Hypercoagulable state can be identified in majority of the cases. The clinical presentations may vary from asymptomatic to fulminant liver failure. A high index of suspicion and imaging findings may help in early diagnosis of this condition.Doppler ultrasonography can be the initial diagnostic investigation of choice.The treatment options include medical therapy along with surgical measures including liver transplantation for end-stage liver disease.

KYAMC Journal Vol. 11, No.-1, April 2020, Page 46-49
Análisis de la oferta gastronómica en los mercados de Tumbaco bajo la perspectiva de la patrimonialización
Authors: Chacón-Jordán Raquel , Pérez-Salazar Carlos , Toapanta-Cisneros Keyerman
Published: May 2020

El presente estudio analiza los factores influyentes en los procesos de patrimonialización gastronómica y como problema principal se evidenció que es necesario llevar a cabo un análisis de los factores influyentes en los procesos de patrimonialización gastronómica, así como de sus actores y elementos para conocer su intervención en el fortalecimiento de la identidad cultural; tomando la alimentación desde una perspectiva inclinada a la antropología, para poder recolectar información sobre la importancia y valor del rescate y presencia de hábitos cotidianos de alimentación en lugares vernáculos como son los mercados. Para ello, se ha utilizado un diseño de investigación descriptiva no experimental, usando métodos de recolección de datos primarios, y tomándose como herramienta útil la encuesta para recoger opiniones específicas en la zona de estudio, con una muestra de trecientos ochenta y tres (383) personas ; obteniendo de ésta manera que, la oferta gastronómica en los mercados es un bien patrimonial en la cultura de la parroquia de Tumbaco, al encasillarse en una tradición que se mantiene vigente después de haber pasado de generación en generación, que vale la pena rescatarse y mantenerse y que, ha otorgado un sentido de identidad al colectivo social que necesita ser reafirmado en el mismo; para de este modo encontrarse en la ventajosa situación de la dinamización social y apropiación del bagaje cultural. Actualmente con base a los resultados obtenidos se encontró que, mediante el estudio, realce y promoción de valores culturales que se generan alrededor de la oferta de alimentos en el mercado es posible generar un fortalecimiento de la identidad cultural de los tumbaqueños.
Dialogue, Carnival, Democracy: Mikhail Bakhtin and Political Theory
Authors: Koczanowicz Leszek
Published: May 2020

This chapter is devoted to Bakhtin’s concepts of dialogue and carnival and their use in political theory. The notion of language as developed by Bakhtin is analyzed in detail, whereby special attention is given to his idea of language as a system of utterances. These explorations serve to advance the idea of non-consensual dialogue. In this perspective, dialogue is a vehicle of reflexive understanding that is an assimilation of someone else’s ideas into one’s own conceptual system. This concept of dialogue is presented as an alternative to the Habermasian notion of dialogue and to the concept of hegemony as developed by Ernesto Lacalu and Chantal Mouffe. In the second part of the chapter, the concept of carnival is discussed. In Bakhtin, carnival is not just a particular festivity, but an existential feature of human nature which enables people to form intimate bonds outside any institutional circumstances. On this model, carnival can be treated as a liminal example of democracy insofar as democracy needs constant change and re-construction of its institutions and habits.
Sibelius and the Re-emergence of the Great Man Biopic
Authors: Laine Kimmo
Published: May 2020

The aim of this chapter is to consider Sibelius as a popular historical narrative, discussing it in relation to the mechanisms of historical explanation as well as the mode of argument and address used in the film. As reference points I shall discuss certain other Nordic biopics made during the last few years. Biopic seems to be one of the prominent genres in Scandinavia in the 2000s. Monica Z (2013), for example, has been a huge success in Sweden, and Kon-Tiki (2012) – on the Norwegian explorer Thor Heyerdahl – broke into international markets and became a Norwegian Academy Award nominee.
As a genre, biopic seems to be both culturally specific and universal at the same time. While addressing a predominantly national audience, Sibelius also shares many, if not most, of the generic characteristics analysed by George F. Custen (1992) in his classic study of the genre, even if Custen is talking about Hollywood films. And indeed, Hollywood has also produced countless biopics about non-Americans, including Scandinavians like the author Hans Christian Andersen (1952) or the composer Edvard Grieg (Song of Norway, 1970).
The Thrill of the Nordic Kill: The Manhunt Movie in the Nordic Thriller
Authors: Schubart Rikke
Published: May 2020

‘This world’s divided into two kinds of people: The hunter and the hunted,’ big-game hunter Rainsford says in The Most Dangerous Game (1932) and self-assuredly continues, ‘Luckily, I’m a hunter. Nothing can ever change that.’ Well, he will discover that in the manhunt movie even the hunter can become prey. The manhunt movie is a subgenre of the Hollywood thriller which joins two elements: big-game sport hunting and hunting humans. Sport hunting stirs up themes of nature and culture, morals and ethics, masculinity, and, finally, civilisation. Here, we will ask what happens when the subgenre is used in the Nordic thriller.
The chapter has three aims. First, it establishes the central generic traits of the manhunt movie. Second, it sets up a theoretical framework of sociobiological and ecological theories with hunting as a reference point. And, third, it examines the Nordic version of the manhunt movie focusing on the themes of hunting, nature, social standing and civilisation. I look at the Danish drama The Hunt (Thomas Vinterberg, 2012), the Norwegian thriller-heist-comedy Headhunters (Morten Tyldum, 2011) and the Swedish thrillers The Hunters (Jägarna, 1996) and False Trail (Jägarna 2, 2011) by Kjell Sundvall.
Stockholm Noir: Neoliberalism and Gangsterism in Easy Money
Authors: Tapper Michael
Published: May 2020

The gangster story is a warped Horatio Alger tale. Carl Freedman notes that it connects to the mystery of the origins of capitalism in what Karl Marx called ‘primitive accumulation’, the consciously repressed history about how common lands and natural resources were privatised and how companies, backed up by national armed forces, plundered non-European continents of their riches. The greedy and ruthless gangster’s rise to social success is but a small-scale reflection of the genocides and the violent redistribution of wealth that gave birth to modern-day capitalism.
Gangsterism is also the ultimate expression of what the German sociologist Ferdinand Tönnies called Gesellschaft. While his other key concept Gemeinschaft describes the ‘natural’ personal relations and values often found in rural communities, Gesellschaft stands for the ‘constructed’ impersonal relations through business and formal interaction that characterise life in the urban capitalist era. As national identity became a central issue in twentieth-century Europe – Fascism being the most extreme ideological project – gangsters and other social, legal and moral transgressors were often defined in popular culture as an alien intrusion of an otherwise idyllic Gemeinschaft.
Introduction
Authors: Baschiera Stefano , Hunter Russ
Published: May 2020

When the esteemed English actor David Hemmings passed away at the end of 2003 his obituary quickly appeared in numerous newspapers. Naturally his long and varied career was widely celebrated. Few newspapers, however, gave much attention to his starring role in Italian horror film director Dario Argento’s ...
Political Memory in The Italian Hinterland: Locating The ‘Rural Giallo’
Authors: Fisher Austin
Published: May 2020

This chapter aims to locate a sub-set of what has become known as the ‘giallo’ filone within its historical contexts, and to ask what significance this relationship might hold for the broader study of Italy’s cultural history. Such an undertaking immediately poses methodological questions: what are we looking for when we seek to identify ‘history’ in such popular cinema; by what models can we best pursue a ‘historical’ approach to an amorphous, frequently unruly cinematic format like the Italian filone? Certainly, such films can offer insights into how discourses about the past have been represented and consumed within particular registers of historical address.
Italian Horror Cinema and Italian Film Journals of the 1970s
Authors: Noto Paolo
Published: May 2020

This chapter will focus on the domestic reception of Italian horror cinema in journals and magazines during the 1970s in order to begin a process of understanding the ways in which the genre was valued, discussed and (less commonly) analysed by Italian critics of the period. Although Italian horror in general has been subject to a considerable amount of scholarship, in fact, little has been written (in English, but also in Italian) about the criticism it aroused, and the way it was used by Italian critics to deal with genres and popular cinema. Given the entire history of Italian horror, the decision to focus on the 1970s is not casual and merits some preliminary contextualisation. Compared with the previous decade, which witnessed the blossoming of Bava, Ferroni, Freda and Margheriti’s gothic genre, and the subsequent one, which accompanied the work of Dario Argento as a director and a producer of both his and others’ films, the brief but intense season of the cannibal movie and the exploitation films of directors like Fulci, Massaccesi and Lenzi, the 1970s were relatively ‘empty’.
Introduction
Authors: Kristó-Nagy István T. , Gleave Robert
Published: May 2020

Abstract and Keywords to be supplied.
The Sultan and the Defiant Prince in Hunting Competition: Questions of Legitimacy in Hunting Episodes of Tabaristān
Authors: Sárközy Miklós
Published: May 2020

The provinces of Northern Iran, the region south of the Caspian Sea, had a particular role in the Arab conquest of Iran. Their geographical isolation, mountainous regions, steamy and often intolerable sub-Mediterranean climate and thick forests caused many difficulties for the early Muslim conquerors in the seventh century ad. The ʿAbbāsid empire could only penetrate into the mountains of Ṭabaristān and the valleys of Māzandarān in the second half of the eighth century.
In this chapter, I analyse some legends concerning the early Islamic period of the central provinces of the Caspian regions Ṭabaristān and Māzandarān. On the basis of some of the evidence, it seems that these stories could be linked with the myths of the last pre-Islamic Iranian empire – that of the Sāsānians.
Violence Against Women in Andalusi Historical Sources (Third/Ninth– Seventh/Thirteenth Centuries)
Authors: Fierro Maribel
Published: May 2020

Episodes of violence in historical writings may reflect the use of topoi – an area of study that has considerably advanced our understanding of both Islamic historiography and history.1 For example, the attribution of unusually cruel behaviour to a particular ruler – notwithstanding the possibility that such behaviour may have a historical basis – is used to justify his deposition, especially when it coincides with dynastic change.2 Narratives of violence against women in medieval writings3 – still a much unexplored topic, especially as regards the Islamic world4 – appear, as indicated by Manuela Marín, in contexts dealing with the relationships linking women in a hierarchy of power to their husbands or masters,5 and also in those of social disorder (wars and armed conflicts).
Bandits
Authors: Cooperson Michael
Published: May 2020

This chapter deals primarily with two kinds of stories about bandits (in Arabic, anyone of whom it is said kāna yaqṭa‘u al-ṭarīq). In stories of the first kind, bandits explain why they rob travellers. In stories of the second kind, biographers claim that various ʿAbbāsid figures spent some of their lives as highwaymen. I will argue that the two kinds of reports may productively be read together. Admittedly, this material is too limited in quantity and too self-consciously literary to permit a reliable characterisation of rural unrest during the early ʿAbbāsid period. Even so, a close reading of these reports will allow us to offer some tentative proposals about how banditry was imagined and, more generally, how the various genres of Classical Arabic narrative responded to the legal, ethical and moral questions raised by highway robbery.
‘Time is Over’: Postmodern Times
Authors: Stevenson Randall
Published: May 2020

The Cold War and the nuclear threat made it as difficult, after 1945, to look forward affirmatively as to look back. Enlightenment ideas of a ‘project of modernity’ gave way to postmodern scepticism and stasis, reflected by Samuel Beckett and the nouveau roman, and in other ways in the fiction of Malcolm Lowry and Thomas Mann and the repetitive chronologies of Joyce Cary, Lawrence Durrell and others. After the 1960s, authors such as Muriel Spark confronted the Holocaust and recent history more directly, as in later decades did Ian McEwan, Martin Amis, Graham Swift and others. In this fiction, and generally later in the century, concerns with the clock’s constraints were diminished by long familiarity and by several new factors. These included technologies of film, video, globalised media and the internet, along with increased international travel and encounters with less industrialised cultures. Science fiction, too, and imagination of time-travel, was both symptomatic yet partly redemptive of horological stress. There remained, however, numerous (often historical) novels by authors such as Gabriel García Marquéz, Salman Rushdie, Alasdair Gray and Thomas Pynchon – re-examining, in Mason & Dixon, C18th practices of global measurement – still concerned with the stresses clockwork chronology imposed on modern history.
Celluloid Singapore
Authors: Lim Edna
Published: May 2020

Celluloid Singapore is not about Singapore cinema per se, or Singapore, but both. It is a ground-breaking study of the three major periods in Singapore cinema’s fragmented history – the golden age (50s and 60s), post-studio 70s and revival from the 1990s onwards. Set against the context of Singapore’s own trajectory of development, the book poses two central questions: how can the films of each period be considered Singapore films, and how is this cinema specifically national? Celluloid Singapore argues that the films of these three periods collectively constitute a national cinema through different performances of Singapore, offering a critical framework for understanding this cinema and its history in relation to the development of the country and the national.
One People, One Nation, One Singapore
Authors: Lim Edna
Published: May 2020

This chapter begins the book’s examination of Singapore’s revival cinema as a post-national one, emerging after Singapore had already transitioned from Third to First World, as heralded by the title of the late Mr Lee Kuan Yew’s memoirs. Central to this perspective is the performance of national identity, primarily the difference between the state’s version of the nation and the other Singapores produced by this cinema. This chapter develops and expands on my prior work on this period and explores a series of acts and gestures that constitute the state’s performance of a successful Singapore as a unified, homogeneous national identity, including the Singapore Story, policies, speeches and the ubiquitous annual National Day Parade.
Film stars in the perspective of performance studies: play, liminality and alteration in Chinese Cinema
Authors: Zhang Yingjin
Published: May 2020

Star studies sees film stars as “structured polysemy” and anticipates a salient system of meaning for us to decode and appreciate. Performance theory treats meaning as “conjunctural” rather than “structured” and privileges improvisation and juxtaposition. Approaching star studies through performance theory helps explore a wealth of filmic techniques and performative tactics. This article focuses on Tony Leung Chiu-Wai’s “self-effacing” performance of repetition and examines special cases of play and liminality as well presence and absence in In the Mood for Love (Wong Kar-Wai, 2000) and Lust Caution(Ang Lee, 2007). These cases challenge our conventional habit of thought and cognition and reveal the unacknowledged potential of artistic alternative and alteration vis-à-vis history and reality. This study of Tony Leung’s performance directs attention beyond action stars to romantic male roles in Chinese films.
Song taxonomies: Indian popular cinema’s territories of stardom
Authors: Indraganti Kiranmayi
Published: May 2020

This chapter presents a case study of musical stardom in Indian cinema. It traces the historical formation of Indian film industries’ masterful use of song as a distinct vehicle to deploy stardom and introduces star-song performative spaces as a site for star-making and star consumption. It argues that film song in Indian cinema since 2000 has begun to fulfil specific functions of entertainment in mapping masculinities and femininities through the visual realisation of song, while reaching out for diverse national and global audiences across digital platforms.
‘When Barbara strips off her petticoats and straps on her guns’: Barbara Stanwyck, maturity and stardom in the 1950s and 1960s
Authors: Berkvens Linda
Published: May 2020

This chapter will consider Stanwyck’s unique position as a role model for mature women in the 1950s and 1960s. It will also examine the reasons for Stanwyck’s popularity as a mature female during this period. Unlike many of the female stars of her generation that were forced to end their careers in the 1950s Stanwyck extended her film career until well into the 1960s by performing in B Westerns and television series. Stanwyck’s maturity and visible ageing affected the roles she played but also turned Stanwyck into a role model for mature women. The chapter will demonstrate the construction of Stanwyck’s image by locating it in its original context and it will offer explanations for the fashionability of Stanwyck as a mature star in the 1950s and 1960s.
Confronting the impossibility of impossible bodies: Tom Cruise and the ageing male action hero movie
Authors: Purse Lisa
Published: May 2020

This chapter discusses ageing action stardom by examining the physical performance of a range of ageing male action stars in post-2000 action films with a focus on Tom Cruise. In the context of a film franchise predicated on the achievement of the impossible, it analyses how Cruise confronts his own encroaching inability to perform the impossible. The chapter suggests an intense cultural negotiation over the ageing male body and makes the differentiation between Cruise who defies the age-related decline narrative and other stars who do not.
‘Una diva non come le altre’: Le streghe and the paradoxical stardom of Silvana Mangano
Authors: Hunt Leon
Published: May 2020

Silvana Mangano’s stardom is marked by a series of paradoxes - a ‘reluctant’ diva who shed the voluptuous body that made her world famous, a star whose career was shaped first by a powerful film producer (husband Dino De Laurentiis) and then by two arthouse auteurs (Pasolini and Visconti). This paper explores these paradoxes particularly through the episode film Le Streghe/The Witches (1967), often seen as the transition from her ‘De Laurentiis career’ to her ‘Pasolini-Visconti career’. Unusual as an actual star vehicle for Mangano, the film casts her as a glamorous movie diva not unlike herself, a bored housewife (married to Clint Eastwood), a fiery ‘Siciliana’, a spoilt society girl and a holy mute. It thus invites particular consideration of Mangano as both actress and problematic star.
Humans and the Origins of Religious Experience
Authors: Abdulsater Hussein Ali
Published: May 2020

This chapter examines moral theory and its compatibility with divine justice. It analyses the theoretical foundations of moral judgments, investigating the nature of desert as a connection between acts and consequences. The next part investigates God’s acts from the standpoint of justice, whether He extends grace or causes evil. The last part covers the elaborate taxonomy of deserved treatments accruing from human worldly acts, tracing the pervasive moral classification of otherworldly outcomes. The complex question of divine pardon of sinners is given special attention in light of its potential effect on the value of punishment as a divine act. The chapter is divided into three sub-headings: Moral Theory; God as a Moral Agent; Consequences
Prophethood and the Value of Divine Guidance
Authors: Abdulsater Hussein Ali
Published: May 2020

This chapter studies the notion of prophethood as the pinnacle of human perfection. Prophets being also Imams, the theoretical aspects the two roles have in common will be omitted from analysis. In the theory section, emphasis is placed on prophethood as the channel of divine assistance communicating sacred laws. Miracles pertaining to Murtaḍā’s occasionalist view on natural laws are discussed, and conflict between religious laws examined in light of the belief in the progressive revelation of God’s word. In the application section, the focus is on Murtaḍā’s peculiar view, heretofore unstudied, on the miraculous nature of the inimitability of Qurʾān. Finally, an exposé of his attempts to resolve contradictions between theory and application is provided. The chapter is divided into two sub-headings: Theoretical Model; Historical Disclosure.
Love Among the Archives
Authors: Michie Helena , Warhol Robyn
Published: May 2020

This book is a love story– no matter how embarrassing these words are to write or, perhaps, to read. In the most obvious sense, the book is a story about Sir George Scharf– Victorian antiquarian, man-about- London and founding director of the National Portrait Gallery– and his loving relationships with male friends. It is also, however, about other kinds of loves– George Scharf’s and our own.
In Middlemarch, another (female) George reminds her readers of the existence of an alternative love plot, another beloved that must be ‘wooed with industrious thought and patient renunciation of small desires’. This is, of course, the plot of work or vocation: we see signs of this love in the playful curlicues of George Scharf’s drawings; in the time he spent each day sketching, reading, making notes and recording these activities in his diaries; in the attention he paid to the details of the portraits he examined, copied and arranged; and in the hard-won pocket money he expended travelling to great English country houses to catalogue their collections. The self-educated son of an immigrant artist, Scharf loved his work and the surprisingly elevated social life that grew up around it with titled friends and younger fellows.
Scottish Gothic Poetry
Authors: Riach Alan
Published: May 2020

The first sentence of the Preface to Émile Mâle’s magisterial study of religious art in thirteenth-century France, The Gothic Image, reads: ‘To the Middle Ages, art was didactic’ (1972: vii). Gothic Scottish poetry may be described as engaging with the macabre, nightmare qualities of an unbearable or unresolvable vision, yet its historical connection to medieval Gothic art – all the arts, from music to architecture – reminds us that this engagement has didactic purpose. It teaches us how life is multifaceted and ultimately uncontrollable, how the irrational imposes itself inexplicably upon the best ideals of rational humanity. This is one reason why the term ‘Gothic’ was originally pejorative and opposed to the ethos of certainty and assurance promulgated by Classicism.
The ‘nouveau frisson’: Muriel Spark’s Gothic Fiction
Authors: Carruthers Gerard
Published: May 2020

If Muriel Spark has strong elements of Gothic apparatus in her work, then this is generally of the kind that works through urban rather than ‘wilder’ or more ‘sublime’ settings. Gothic, supernatural, uncanny elements are used in Spark’s fiction, most especially, to undermine and satirise the modern, material, town-based life of twentieth-century humanity and to signal an alternative immaterial, moral, spiritual reality in which, as a Christian, she believes. Alongside her crucial Catholicism, Spark’s Scottishness provides a particular Gothic accent to her work through a set of texts on which she frequently riffs. These include the Scottish Border Ballads, James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) and Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886). This set of texts does not make for any ‘essential’ Scottish Gothic canon, but rather relies on Hogg’s steepage in the Ballads, Stevenson’s knowledge of Hogg and Spark’s interest in all of these things.
The Sculptor’s Dream: Living Statues in Early Cinema
Authors: Adriaensens Vito , Jacobs Steven
Published: May 2020

In its earliest years of existence, cinema seems to have been fascinated by stasis and stillness. As if emphasizing its capacity to represent movement, early cinema comprises many scenes in which moving people interact with static paintings and sculptures. Moreover, films made shortly before and after 1900 often make explicit the contrast between the new medium of film and the traditional arts by means of the motif of the statue or the painting coming to life. In so doing, early film continued a form of popular entertainment that combined the art of the theater with those of painting and sculpture, namely the tableau vivant, or living picture. Focusing on the trick films of Georges Méliès and the early erotic films by the Viennese Saturn Company, this chapter reveals the importance and continuity of nineteenth-century motifs and traditions with regard to tableaux vivants as they were presented on the legitimate stage, in magic, in vaudeville, and in burlesque.
The Mystery … The Blood … The Age of Gold: Sculpture in Surrealist and Surreal Cinema
Authors: Feleman Susan
Published: May 2020

Figurative sculpture had a special status within the visual universe of Surrealism. Iconographically, statues are a prominent element in the dreamlike spaces of Giorgio de Chirico’s paintings of 1913–14 that so enchanted André Breton and friends after the end of the war and became among the first and most paradigmatic images associated with the movement. Statues appear in many other Surrealist paintings, including those of Salvador Dalí, where, although they might stand on plinths or pedestals, they equivocate between the appearance of inanimate and living bodies, through the impression of liquidity and putrefaction that infects all his visions. In Surrealist collages, too, bodies are often rendered equivocally sculptural through fragmentation, for instance in photographic or printed images of the female nude rendered headless or otherwise dismembered to resemble antiques, in the works of Max Ernst and others. René Magritte, Paul Delvaux, Man Ray, Pierre Boucher, Picasso, and Jean Cocteau, among others associated with Surrealism, also incorporated statuary into their paintings, drawings, and photographs.
Anatomy of an Ovidian Cinema: Mysteries of the Wax Museum
Authors: Adriaensens Vito
Published: May 2020

There’s poetry in wax. From Pygmalion’s ivory Galatea turning waxen to the touch, to the anatomical Venuses strewn erotically across the halls of La Specola in Florence, or wax mannequins melting slowly on celluloid, the haptic nature of the medium is intrinsically uncanny. Lifelike statues have been haunting our visual history for centuries, and as Kenneth Gross has aptly remarked, the idea of a statue coming to life could be bound to the opposing thought: that the statue was once something living. It is precisely this tension that lies at the heart of a number of films inspired by the wax museum and its mostly static inhabitants. This cultural phenomenon was made most famous by Madame Tussaud, who by the end of the eighteenth century had risen to fame crafting wax counterparts of notorious individuals. The wax creations’ semblance of life has unnerved visitors ever since, and cinema was quick to pick up on the mysteries of the wax museum, trying its best to transfer the magic of the medium to celluloid.
The Night of the Human Body: Statues and Fantasy in Postwar American Cinema
Authors: Feleman Susan
Published: May 2020

Although it is conventional, and perhaps logical, to regard the avant-garde and the commercial cinemas separately, major new developments in each arose concurrently in the USA during the Second World War and, to some extent, in response to it. The dark Hollywood trend that was retrospectively dubbed film noir could be seen, as Paul Arthur and David James have observed, as an industrial form of an equally dark trend in the new genre of art cinema that came to be known as the trance film: “both modes feature a somnambulist protagonist who enters a menacing, often incomprehensible environment in a search for sexual, social, or legal identity, and both states are characterized by the same deadened affect, increased capacity for absorbing or inflicting violence, iconographies of entrapment, and the dissolution of geographic boundaries.”
From Pompeii to Marienbad: Classical Sculptures in Postwar European Modernist Cinema
Authors: Jacobs Steven , Colpaert Lisa
Published: May 2020

The statue is a significant motif in many key films of the European modernist cinema of the 1950s and 1960s. Famous examples are Les Statues meurent aussi (Alain Resnais and Chris Marker, 1953), Viaggio in Italia (Roberto Rossellini, 1953), L’Année dernière à Marienbad (Alain Resnais, 1961), La Jetée (Chris Marker, 1962), Jules et Jim (François Truffaut, 1962), Méditerranée ( Jean-Daniel Pollet, 1963), Le Mépris ( Jean-Luc Godard, 1963), Il Gattopardo (Luchino Visconti, 1963), Une Femme mariée ( Jean-Luc Godard, 1964), Gertrud (Carl Theodor Dreyer, 1964), and Vaghe stelle dell’orsa (Luchino Visconti, 1965). Focusing on Rossellini’s Viaggio in Italia (Journey to Italy, 1953) and Resnais’ L’Année dernière à Marienbad (Last Year in Marienbad, 1961) as cases in point, this chapter not only traces the fascination for sculpture in modernist cinema but also explains it by examining the ways in which statues are presented as tokens of death, time, history, myth, memory, the human body, and strategies of doubling – important topics for many of the leading modernist directors working in the 1950s and 1960s.
Rethinking the Hollywood Teen Movie
Authors: Smith Frances
Published: May 2020

Rethinking the Teen Movie is the first academic monograph to theorise the construction of identity in the Hollywood Teen Movie, one of the most popular, yet academically overlooked film genres. As such, the book constitutes a significant intervention in Film Studies, providing a reconsideration of such key tropes as the male juvenile delinquent figure, the makeover and the teen vampire.
Providing detailed case studies of key films from the genre, the book provides an innovative overview of the genre, and its relationship to performativity, intersectionality, post-feminism, and the post-human. Rebel Without a Cause, Grease, Pretty in Pink and Twilight are all considered here in a volume destined to be used widely in undergraduate teaching and academic scholarship alike
Acting Up: Performing Masculine Delinquency in the Teen Movie
Authors: Smith Frances
Published: May 2020

James Dean’s fatal car crash on 30 September 1955 ensured the actor’s swift canonisation as an icon of youth rebellion. This chapter examines Dean’s performance in Rebel Without a Cause, in addition to those of John Travolta in Grease and Christian Slater in Heathers. James Dean, to be sure, was a star. Will Scheibel observes the quasi-idolatry in which he was held even among his fellow performers, Sal Mineo and Natalie Wood, not to speak of the legions of fans whose acres of correspondence required Warner Brothers to create a dedicated mail service. Fascinated by the intense identifications that such magnetic performers cultivate with their audiences, Richard Dyer identifies the star as a complex nexus of texts, ideologies and desires. His seminal work continues to provide a touchstone for scholars working in star studies, and testifies to the enduring ideological and textual basis for stardom. Since then, a new and related field of celebrity studies has taken account of the extraneous labour in which film stars are now routinely obliged to engage (as well, of course, as those for whom fame itself is a vocation).
Looking Back: Nostalgia, Postfeminism and the Teen Movie
Authors: Smith Frances
Published: May 2020

Throughout this book, it has been clear that the Hollywood teen movie has close links with the youth culture of its time. Yet as this chapter will demonstrate, this equation between contemporary youth culture and the Hollywood films that claim to represent it is not nearly as clear-cut as one might expect. For Timothy Shary, the genre is trapped in a peculiar double bind that determines its relationship with the past: while film-makers aggressively target a youth audience, young people themselves lack the experience or means to produce amass-market feature film, as a result of which, these representations of youth are ‘filtered through an adult lens’. An oblique refraction of the youth culture of the past – often that of the director themselves – can therefore be regarded as a central feature of the genre as a whole.
‘Two men, so dissimilar’: Class, Marriage and Masculinity in George Moore’s Albert Nobbs (1918) and Simone Benmussa’s The Singular Life of Albert Nobbs (1977)
Authors: Carroll Rachel
Published: May 2020

This chapter examines a critically overlooked literary fiction by an Irish writer whose legacy has tended to be overshadowed by the modernist generation which succeeded him. George Moore’s Albert Nobbs depicts the lives of not one but two female-bodied men working in a Dublin hotel in the 1860s. It provides an alternative origin for a literary history of transgender representation, with an emphasis on lived experience and social reality rather than the historical fantasy of Virginia Woolf’s Orlando, published ten years later. This chapter aims to articulate the ‘transgender capacity’ (David Getsy, 2014) of Moore’s novella, exploring the insights it offers into the social and economic functions of gender. Simone Benmussa’s 1977 stage adaptation, The Singular Life of Albert Nobbs, has been canonised as a classic of feminist theatre; reflection on its critical reception reveals the ways in which transgender motifs have been interpreted in Second Wave feminist contexts.
Blue Births and Last Words: Rewriting Race, Nation and Family in Jackie Kay’s Trumpet (1998)
Authors: Carroll Rachel
Published: May 2020

Posthumous exposure, often on the grounds of medical examination, has acted as the problematic vehicle through which a number of transgender lives have been bequeathed to history, with the perceived disparity between sex and gender serving as a pretext to forcibly rewrite the transgender person’s identity in public memory. Inspired by the life story of American jazz musician, Billy Tipton (1914-1989), Jackie Kay’s novel Trumpet explores the aftermath of posthumous exposure but is notable for its purposeful thwarting of the narrative dynamics which conventionally accompany it. This chapter will explore how its focus on a Scottish musician of African heritage and his relationship with his adopted mixed-race son questions the privileging of essentialising narratives of ‘birth’, including those to do with gender, nation, race and family.
Never an Unhappy Hour: Revisiting Marriage in Film Adaptations of Albert Nobbs (2011) and The Danish Girl (2016)
Authors: Carroll Rachel
Published: May 2020

Released in a period in which the rights and representation of transgender people were attaining an unprecedented visibility in the mainstream media and popular culture, the film adaptations examined in this chapter offer sympathetic portraits of their subjects but demonstrate an uneven engagement with contemporary understandings of transgender identity. The significant expansion of Hubert Page’s character in the 2011 adaptation of George Moore’s Albert Nobbs (1918), achieved through the vehicle of marriage, implicitly validates his masculinity. By contrast, the protracted demise of the marriage between Einar Wegener and Gerda Gottlieb occupies the dramatic centre of the 2016 adaptation of David Ebershoff’s novel The Danish Girl (2000), rather than Lili Elbe’s premature death. The prominence of marriage within these film adaptations of twentieth-century texts will be considered in the context of contemporary debates about LGBT activism and neoliberal politics.
Introduction: Sounding Modernism 1890–1950
Authors: Groth Helen , Murphet Julian , Hone Penelope
Published: May 2020

This chapter considers what it means to attend to the dynamics and aesthetics of sonic mediation in modern writing, acoustic, and cinematic forms produced from the 1890s through to the mid-twentieth century. Tracking the various transformations of the rhythmic or metrical patterning of sound across a range of forms opens up a space for new ways of understanding both the specific sonorous qualities that different modern media are capable of registering, and how sonic transpositions and transferences across media affect the techniques with which human subjects respond to modern soundscapes. We begin with some methodological groundwork for the analysis of literature’s historically complex relationship to extra-literary sounds, and by identifying parallels and divergences with other media, such as the phonograph, radio and cinema. The challenges facing any correlation between modernist technique and the specific soundscapes of modernity are particularly demanding, not least because entirely new storage devices emerged simultaneously to do what literature could not, namely, record them. And yet, it was precisely this challenge that drove writers to engage as never before with what the symbolic apparatus of written language had never yet properly grasped: the vocal textures, rhythmic mechanizations, and stochastic accidents of real, socially embodied sound.
On Not Listening to Modernism
Authors: Murphet Julian
Published: May 2020

Around the beginning of the twentieth century, there emerged an increasingly prevalent literary trope of a sound that cannot (or should not) be heard. This trope had its correlates in contemporary science and astrophysics, where the universe’s ‘background hum’ was conceptualized to make sense of the persistent radio static that scanners had made audible for the first time. But it also had a background in the literary tradition: Keats’ ‘spirit ditties of no tone’, Kleist’s ‘St Cecelia’s Day’, even the plugging of the oarsmen’s ears in Homer’s Odyssey. This chapter considers the proliferation of this trope in light of contemporary research into sound theory and the instrumentalization of sense perception in modernity, before turning more pointedly to think through the repercussions of Lacan’s il n’y a de cause que ce qui cloche in relation to ontology and the history of listening. It then examines in some detail the two writers – Kafka and Lovecraft – who, more than any others, sought a literary aesthetic adequate to grappling with this sound that cannot or should not be heard.
Bottled Bands: Automatic Music and American Media Publics
Authors: Gitelman Lisa
Published: May 2020

Although mostly forgotten today, nickel-in-the-slot phonographs were a popular and telling symptom of acoustic modernity around 1890. At the rate of a minute or two of recorded sound per nickel deposited, these machines paved the way for the widespread private ownership of phonographs by pioneering their use a public venue where the uncanny experience of listening to absent voices was standardized by the logics of exchange and exhibition. The sound of money falling into the slots was answered automatically by the siren’s call of a voice with no speaker, calling for more money to be deposited. Because they flickered briefly at a conjunction of publics and markets, automatic phonographs provide a way to parse some of the conflicts attending the money economy during the 1890s, that crucial decade in the establishment of modernity as a technological way of life. Canning popular music, and privatizing its audition in serial acts of consumption, these devices were instrumental in the progressive abstraction of public space. Considering both the design and contexts of use of the devices helps to illuminate the conflicted subjectivities of markets and publics in the fin de siècle.
Anna Magnani in The Golden Coach
Authors: Rigoletto Sergio
Published: May 2020

A discussion of Anna Magnani in The Golden Coach
Madhubala in Mughal-e-Azam
Authors: Creekmur Corey K.
Published: May 2020

A discussion of Madhubala in Mughal-e-Azam
Isabelle Huppert in The Piano Teacher
Authors: Taylor Alison
Published: May 2020

A discussion in Isabelle Huppert in The Piano Teacher
Emma Thompson in The Remains of the Day
Authors: Vermeulen Timotheus
Published: May 2020

A discussion of Emma Thompson in The Remains of the Day
Leibniz and Expression
Authors: Tissandier Alex
Published: May 2020

This chapter looks at Leibniz’s central role in the concluding chapter of Deleuze’s Expressionism in Philosophy: Spinoza. His elevated presence suggests a dramatic shift in Deleuze’s reading when compared with the rest of the text. It examines Deleuze’s lengthy discussion of Leibniz’s concept of expression and argues that within this discussion there is a shift from a ‘two-term’ concept of expression to a triadic concept which is closer to the one Deleuze finds in Spinoza. It then re-examines Deleuze’s central criticism of Leibniz, this time understood as a criticism of his ‘equivocal’ concept of expression compared to Spinoza’s ‘univocal’ concept. It shows that ultimately all of Deleuze’s criticisms of Leibniz can be reduced to an aversion to certain of Leibniz’s theological commitments and motivations. Finally, it looks in detail at the penultimate paragraph which, it argues, ends with a brief description of what will ultimately become Deleuze’s double process of actualisation and counter-actualisation. Crucially, Deleuze turns to Leibniz, rather than Spinoza, in order to explain these processes.
Conclusion: The New Discord
Authors: Tissandier Alex
Published: May 2020

The depth of Deleuze’s reading of Leibniz in The Fold allows us to determine the consequences of treating Deleuze’s philosophy as a neo-Baroque, neo-Leibnizian philosophy. Such a philosophy still operates within a Leibnizian space of infinite depths, singular events, foldings and envelopments. But the Leibnizian principles governing this space have been overturned....
Introduction: Literature, Imagination and the State of Exception
Authors: Baxter Katherine Isobel
Published: May 2020

This chapter provides an introduction to the key ideas (statehood, the state of exception, imagination, law and civilisation) with which the book as a whole engages and how they relate to each other. The chapter also introduces several key interlocutors (e.g. Giorgio Agamben, Nasser Hussain, Benedict Anderson) on whose work the book builds. Discussion of these interlocutors indicates how their scholarship informs the book and some of the challenges that the book offers to their work. A summary of each of the ensuing chapters is provided with an explanation of the parameters of the book and its critical aims.
‘Natural Justice, Equity and Good Conscience’: History, Politics and Law in Nigeria, 1900–1966
Authors: Baxter Katherine Isobel
Published: May 2020

Chapter One provides an account of the history of colonial and postcolonial Nigeria, focusing particularly on politics and law. The chapter recounts the long history of British colonial presence in West Africa and explains the introduction of indirect rule as a system of colonial government from the turn of the century. Some of the impacts of indirect rule are considered through reference to Obafemi Awolowo’s memoir, Awo, and Chinua Achebe’s novel, Arrow of God. The chapter also sketches out the divisions that indirect rule fomented and the resistance to which it gave rise. Finally, the chapter explains the implications of indirect rule for the implementation of law in Nigeria both during colonial rule and following independence.
‘Seeking a Legal Form’: Joyce Cary’s
Authors: Baxter Katherine Isobel
Published: May 2020

Chapter Three examines a later incarnation of the District Commissioner in Joyce Cary’s Mr Johnson. The chapter shows how, despite the novel’s ironic critiques of the figure of the District Commissioner and the policy of indirect rule, Cary reinstates the heroized exceptionalism dramatized in earlier popular District Commissioner fiction. The chapter also explores the precarious position of Mr Johnson himself as educated southerner within the administration of the North. The chapter presents the novel in terms of its animation of legal questions and the state of exception that underpinned indirect rule. The chapter’s discussion is contextualised through reference to W. R. Crocker’s scathing memoir of colonial service, Nigeria: A Critique of British Colonial Administration (1936).
‘Sensational Coverage of a Sensational Trial’: Treason, Journalism and the State
Authors: Baxter Katherine Isobel
Published: May 2020

Chapter Six provides an extended examination of the newspaper reporting of the treason trial of Obafemi Awolowo, the second major treason trial after independence. How the Nigerian press covered the trial illuminates the ways in which legal process as a mode of nation formation was woven into the daily lives of newspaper readers. Moreover, attending to that press coverage illustrates the importance of narrative and literary form in the process of national self-construction. The chapter begins by outlining the relationship of politics and the press in Nigeria before looking at the defining features of the trial itself. The chapter examines how the trial was presented in the press and the readerly engagement that the press sought to foster. The chapter concludes by reflecting on the larger significance of the trial and its coverage in the media at the dawn of Nigeria’s first Republic.
Violence and the Law in A Man of the People
Authors: Baxter Katherine Isobel
Published: May 2020

Chapter Seven focuses on Chinua Achebe’s novel A Man of the People. In particular the chapter examines Achebe’s presentation of political disorder through scenes in which the law is suspended or displaced. The chapter argues that through these scenes Achebe points up the incoherence of the inheritance of colonialism, not least indirect rule, and the inevitability of the imposition of new states of exception as a response to this incoherence. Achebe directs our attention to the various ways in which the law and legal processes are sidestepped, dissipated and conflated in an era of political corruption through scenes of violence that stand in for, but are markedly not, the legal process of the trial. The chapter’s discussion is informed by reference to contemporary political and economic contexts.