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

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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

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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

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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