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Graveyard Gothic

Topics and Issues in National Cinema

Focuses on the history of government subsidies for feature films in Flanders (the northern, Dutch-language region of Belgium) and its role in stimulating a Flemish identity. It provides an empirical contribution to the study of the relationship between film, national identity and governmental film policy. This book is a timely empirical contribution to the underdeveloped field of Belgian film history. By focusing on film policy, the book contributes to the long neglected but currently burgeoning international field of film policy studies. Furthermore, because of its focus on film policy, the book provides an original contribution to the international research tradition on the relationship between film and national identity by going beyond an examination of textual representations.

Film Policy and National Identity in Flanders

Constructing a Flemish Cinema

Positioning Henry James within his transatlantic and pan-European contexts, Peter Rawlings relocates James and the New Criticism's ideology of organicism in biology rather than in aesthetics. He argues that the novel as a character-driven genre emerged from philosophical and scientific thinking about consciousness and that James's canonization must be reexamined in the context of the philosophical, physiological, and biological discourses on which he drew in his theory and practice as a novelist.

Positioning Henry James within his transatlantic and pan-European contexts, Peter Rawlings relocates James and the New Criticism's ideology of organicism in biology rather than in aesthetics. Rawlings argues that the novel as a genre anchored in the representation of character emerged from philosophical and scientific thinking about consciousness and experience that begins in the late seventeenth century and encompasses two hundred years of traffic between Europe and America. His ambitious study explores the significance of American thinkers and their European antecedents, from Jonathan Edwards to Josiah Royce, aligning James's 1884 essay "The Art of Fiction" with contemporary thinking on consciousness and its dense, ramifying aetiology. By this point, Herbert Spencer had extended Darwin's evolutionary thinking into the social domain, disrupting ideas about consciousness as allied with the soul even as the fin-de-siècle enthusiasm for panpsychism and the paranormal made a last stand against the New Sciences. A major contention of Rawlings's book is that Henry James should not and cannot be isolated from the urgent need to rethink what seminal critics such as Ian Watt and Marthe Robert have said about the procession of the novel from prose fiction. James's canonization by the New Critics motivates Rawlings's reexamination of Walter Scott, Jane Austen, Susan Warner, and George Eliot, among others, in the context of the vast range of eighteenth- and nineteenth-century European and North American philosophical, physiological, and biological discourses on which James drew in his theory and practice as a novelist.

Henry James, Consciousness, and the Evolution of the Novel

My Death

Studies in Publishing History: Manuscript, Print, Digital

Maura Ives's publishing history of "Goblin Market" maps its appearance in collected editions and in standalone volumes in Britain and the United States. Topics include the poem's composition, production, and marketing; contemporary reception; fine press, miniature, and mass market editions, including versions for children; and musical settings and adaptations. The volume concludes with an annotated list of archival sources and published versions of "Goblin Market," followed by an extensive bibliography.

As the lead poem in Christina Rossetti's first collection, Goblin Market and Other Poems, "Goblin Market" stands both historically and literally as the gateway to Rossetti's works. Despite its importance in the Rossetti canon, the publishing history of Rossetti's famous poem remains incomplete. Maura Ives offers the first extended treatment of this neglected topic, mapping "Goblin Market"'s publication history in collected editions and in standalone volumes in Britain and the United States. Topics covered include the poem's composition, production, and marketing; contemporary reception; fine press, miniature, and mass market editions, including versions for children; and musical settings and adaptations. The volume concludes with an annotated list of archival sources and published versions of "Goblin Market," followed by an extensive bibliography.  Memorable not only for its vivid imagery and its disconcerting combination of sensuality and Christian symbolism, the absorption of "Goblin Market" into popular culture is readily evident to this day, with Rossetti's poem serving as the title for a folk-rock duo, restaurants in Manhattan and Florida, and a number of books by other authors. Ives's publishing history of "Goblin Market" sheds light on the longstanding critical and commercial appeal of this fascinating Victorian poem and on book publishing from the Victorian period to the present.

A Publishing History

Christina Rossetti's Goblin Market

Promethean Horror in Modern Literature and Culture

A Book of Monsters

House of Monstrous Women

Anthem Studies in Gothic Literature

This monograph examines the centrality of dreams and their significant transformations in British Gothic novels and in Caribbean novels. The Gothic counters the Enlightenment's internalization of dreams by reimagining dreams as social and political phenomena. They subsequently play vital roles in responding to profound questions concerning revolution and empire.

Revolution, Empire, and the Gothic Dream

Global Exploitation Cinemas

Discourses of cult cinema primarily centre around the West, with a particular emphasis upon Anglo-American cinema and fandom. Meanwhile, scholarship on world cinema privileges art cinema traditions and downplays those areas of popular cinema that intersect with cult. Global Cult Cinemas makes a decisive intervention by specifically addressing the transnational dynamics underpinning cult cinema. From studies of film reception that trace the international spread of cult film practices through to accounts of cult filmmaking traditions from a diverse range of film cultures, Global Cult Cinemas works towards the goal of de-Westernizing the discipline.

With contributors and topics from across the globe, Global Cult Cinemas explores this de-Westernization through filmmakers and current events such as Alejandro Jodorowsky in the era of #MeToo, cinephilia in Pakistan, and the reception of the Czech Crazy Comedy. While broadening the study of cult cinema beyond its predominant US focus, this book disrupts the realm of traditional cult cinema scholarship.

Global Cult Cinemas calls for a decolonisation of cult film studies. 
 
To date, discourses of cult cinema have predominantly focused upon Anglo-American cinema and its reception in the West. Even when cult scholarship has expanded to include non-English language cinema from regions such as East and Southeast Asia, what nevertheless tends to define these cinemas as cult has been the subcultural fandom for those films in the West. Shifting the focus onto cult film traditions and fandoms beyond the Anglosphere, Global Cult Cinemas makes a decisive intervention in the field by calling for a decolonisation of cult film studies. 
 
This volume therefore interrogates both the coloniality and gendered nature of much cult scholarship and the extent to which an implicit white male perspective needs challenging in an age of decolonising the academy. Our contributors focus their research on circuits of cult film production and reception beyond the predominant Anglophone centres, with particular attention to cult practices across the Global South. Chapters include investigations of specific cult film traditions within countries such as Brazil, Indonesia and Pakistan, alongside explorations of the politics of indigenous cult filmmaking, the global circulation of cult icons such as El Santo, and the status of auteurs such as Alejandro Jodorowsky in the era of #MeToo. In sum, this collection critiques the Eurocentric assumptions that lie at the heart of much existing cult film scholarship, and offers new ways of theorizing global cult cinemas to work towards the goal of decolonising cult film studies.

Decolonizing Cult Film Studies

Global Cult Cinemas

Focusing on social types during the July Monarchy, Pauline de Tholozany argues that the popularity of typologies in France participated in the construction of a national ideal conceived as a sum of individual parts. Tholozany shows that types such as the dandy, flâneur, and grisette abounded in plot-riven literary genres and in journalistic sketches, signaling a fear of obsoleteness that continually evolving printing technologies cast on social thought, thereby inaugurating a new way of thinking about society.

Focusing on social types during the July Monarchy, Pauline de Tholozany argues that they played a role in the construction of a national ideal in France during the period. As Tholozany shows, types such as the dandy, flÃ¢neur (including the child flÃ¢neur), and  grisette abounded, both in plot-driven literary genres and in journalistic sketches. At the same time, in classifying and describing these types, writers such as Jules Janin and Honoré de Balzac in collaboration with graphic artists insisted on the impossibility of establishing a stable social taxonomy. This paradoxical gesture, Tholozany claims, has larger consequences, since the social type’s resistance to a stable classification ultimately points to the difficulty of defining national identity as the sum of its typological parts. Reminding us that character, type, and stereotype are all words borrowed from printing technologies, Tholozany suggests that the types in what Walter Benjamin called panoramic literature signal a fear of obsoleteness that continually evolving printing technologies cast on social thought, a response that inaugurated a new way of thinking about society.

The (Un)Making of National Identity in France

Social Types in Nineteenth-Century French Literature and Journalism

Man, Muse, Monster

The Matter of the Marbles

Materialist Romanticism

Routledge Research in Art History

Focusing on the first four films about Moore's sculpture in the 1940s and 1950s, The Making of Henry Moore on Film: A Cultural History considers how these films played a role in the consolidation of the sculptor's public identity and broke new ground in the exploration of sculptural aesthetics through film. The book draws on extensive archival research in the production files of these films and on detailed contextual research.

Art historians have recognised the relationship between photography and sculpture as a fertile ground for the study of sculpture's intermedial relations. In the case of Henry Moore, the role of photography (both as source material and form of documentation) has recently become a new terrain for researching and interpreting his work. Film, however, remains absent from Moore scholarship. Focusing on four films about Moore's sculpture in the 1940s and 1950s,  The Making of Henry Moore on Film: A Cultural History considers how these films broke new ground in the specialised genre of the "film on art," which throve in these decades.  Katerina Loukopoulou places the relationship between sculpture and film within the relevant historical and cultural contexts of post-war Britain (1945-1959), the period during which Moore's public identity was consolidated. The book draws on extensive archival research in the production files of these films and on detailed contextual research (press cuttings, periodicals, festival pamphlets) of contemporaneous writings about the remediation of works of art  and about the reception of these films on Moore. By revealing overlooked aspects of what these films stood for at this historical conjuncture, Loukopoulou examines the specific aesthetic and political meanings of Moore's sculpture as explored by each film.

A Cultural History

The Making of Henry Moore on Film

Graveyard Gothic

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