244 Result(s)
within
Screen Studies
English
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Chapter
The Regions
The treatment of non-metropolitan Britain may be mapped out in the cinema via a shift to the regions over the years, often (in the process) taking in aspects of British life marginalised by more mainstream Bri...
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Chapter
Corporate Crime: Curtains for the Maverick
The recurrent themes of free agent individuals against institutions have inevitably been attractive to the makers of crime films, given the ready-made dramatic (and violent) possibilities of such conflicts. An...
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Picturing Poe: Contemporary Cultural Implications of Nevermore
Nestled in the final pages of Nevermore: A Graphic Adaptation of Edgar Allan Poe’s Short Stories (2008) is a brief comic-formatted biography entitled “The Facts of the Case of Edgar Allan Poe.” It begins with a q...
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Quid Pro Quo, or Destination Unknown: Johnson, Derrida, and Lacan Reading Poe
Edgar Allan Poe wrote J. R. Lowell a letter dated July 2, 1844, in which he stated that “‘The Purloined Letter,’ forthcoming in ‘The Gift’ is perhaps the best of my tales of ratiocination” (qtd. in Mabbot 3). ...
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Evolutions in Torture: James Wan’s Saw as Poe for the Twenty-First Century
Poe begins his tale “The Pit and the Pendulum” with a chilling Latin epigraph, which reads, in part, “Here an insatiable band of torturers long wickedly nourished their lusts for innocent blood” (Levine and Le...
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The Age of Acquisition: New Crime
The notion of instant gratification/acquisition as a motivation for crime (as opposed to careful, methodical planning) is hardly a new one, and while modern instances of the phenomenon (both in the cinema and ...
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Comic Book and Graphic Novel Adaptations of the Works of Edgar Allan Poe: A Chronology
The following chronology is based on the best available bibliographic data and, when possible, an examination of each item by the compiler. While the information is not always complete, when known the writer (...
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Identity Crisis and Personality Disorders in Edgar Allan Poe’s “William Wilson” (1839), David Fincher’s Fight Club (1999), and James Mangold’s Identity (2003)
“Who am I?” and “Who are you?” are questions that express an existing opposition as well as an intertwined relation between the self and the external other (social, professional, and political surrounding), as...
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Conclusion
Jacques Derrida once commented in La Dissémination (1972) that the Conclusion to a given work is rarely its last word, in the sense of being the final thoughts actually penned by the author (Derrida, 1981, pp. 1–...
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Chapter
Heritage Britain
Who created the cosy, reassuring cinematic (and televisual) image of Britain fondly held by many foreigners throughout the world — even in the twenty-first century? One woman might be said to be the locus classic...
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The New Violence: The Loss of Innocence
The changing representation of violent criminal psychology in British film over the years has resulted in a sea change in the genre, with previously marginalised psychopathic killers moving from periphery to c...
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Metropolitan Murder: London
A particularly idiosyncratic view of the capital may be perceived through the British crime film over the years: kaleidoscopic, ugly, full of quirky character and colour, as authentic in its vision as it is de...
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“The Telltale Head,” “The Raven,” and “Lisa’s Rival”: Poe Meets The Simpsons
The sun rises over Springfield, USA. Bad boy Bart Simpson rolls over in bed, yawns, and opens his eyes to behold the grotesque presence of a severed head lying on his pillow. He emits an involuntary yelp of ho...
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Introduction: Poe and the Twenty-First-Century Adaptation Renaissance
Edgar Allan Poe’s connection to contemporary popular culture should no longer raise questions of “where” or “why,” but of “what” and “how.” For years, a number of scholars have adequately tracked Poe’s appeara...
