Titlebook: British Gothic Cinema; Barry Forshaw Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 cinema.film.television

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Gothic Fiction: English Terror and Carnality,h works as Keats’ ‘La Belle Dame sans Merci’ and Coleridge’s ‘Christabel’. The poet Percy Bysshe Shelley nurtured a fascination with horror and cruelty which was to prove (as we shall see) highly influential, while the haunted novels of Ann Radcliffe provided several key elements. Similarly (in othe

Countermand

榮幸

Undermining British Cinema: Gothic Horror in the 1930s and 1940s and Censorship,hat might have been coined for the prissy British reaction to the first wave of horror films in the 1930s and 1940s; even the now-camp, pantomimic Grand Guignol sequence of Tod Slaughter films (notably . (1936)) provoked outrage. No ice was cut in the wave of general disapproval for early examples o

時代錯誤

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中世紀

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Traumatic-Grief

Fresh Blood or Exhaustion?: The 1970s to the Turn of the Century,es with a great deal of British crime fiction an impulse towards the restoration of the status quo — but only after the latter has been sorely (and excitingly) tested by the eruption of some attractively destructive primordial force. But when that primordial force has been something other than a min

抓住他投降

The Legacy: Gothic Influence on Television, TV, is a prestigious one. Other fondly remembered dramas include the popular adaptations of Charles Dickens’ ghost stories and stand-alone single plays, such as Nigel Kneale’s genre-stretching . Kneale’s significant influence on many of his successors continues to this day with the revived ., which