![]() Start the tale from the beginning in the book that inspired the feature film The Vampire's Assistant and petrified devoted fans worldwide. Weird things are happening and they matter.From the Master of Horror comes the first gripping book in the twelve book New York Times bestselling Saga of Darren Shan. At a time when the energies and anxieties of children’s novels can barely be contained anymore within the genre of children’s literature, spilling over into YA and adult literature, we need to pay attention. We look in detail at series such as The Mortal Instruments, Twilight, Chaos Walking, The Power of Five, Skulduggery Pleasant, and Cirque du Freak at novels about witches and novels about changelings at the Gothic in China, Japan and Oceania and at authors including Celia Rees, Frances Hardinge, Alan Garner and Laini Taylor amongst many others. This collection of essays looks at what is happening in the children’s Gothic now when traditional monsters have become the heroes, when new monsters have come into play, when globalisation brings Harry Potter into China and yaoguai into the children’s Gothic, and when childhood itself and children’s literature as a genre can no longer be thought of as an uncontested space apart from the debates and power struggles of an adult domain. ZOM-B FugitiveĬhildren’s literature today is dominated by the gothic mode, and it is in children’s gothic fictions that we find the implications of cultural change most radically questioned and explored. This volume starts the conversation about how circuses and film can combine to form productive, exciting spaces where almost anything can happen. And film is the medium that brings it all together. Circus performers are family, friends, foe or all of the above. ![]() The circus as discussed in these essays encompasses the big top, the midway, the sideshow and the freak show it becomes backdrop, character, catalyst and setting and it is welcoming, malicious or terrifying. The films discussed herein are an eclectic group, ranging from early silent comedies to animated, 21st century examples, in which circuses serve as liminal or carnivalesque spaces wherein characters-and by extension audience members-can confront issues as far-reaching as labor relations, sensuality, identity, ethics, and more. Circuses and film are a natural pairing, and the new essays making up this volume begin the exploration of how these two forms of entertainment have often worked together to create a spectacle of onscreen alchemy. ![]()
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