Academic literature on the topic 'Anna Dressed in Blood'

This chapter describes how the murderer in the film Blood and Black Lace (6 donne per l'assassino) became an icon through its clothing, which included a raincoat, hat, and black gloves. It explains how the outfit of the murderer in the film, like a haute couture model, will be copied over and over in forthcoming gialli. The chapter analyzes the multiple literary and filmic influences identified in Mario Bava's faceless murderer and Edgar Wallace's novel White Face to the German krimis. It mentions faceless figures that populate Man Ray's surrealist short film Les Mystères du château de Dé in 1929, which was considered the most outstanding and surprising predecessors on iconic images of murderers. It also analyzes how masked murderers in films are more than a gimmick to hide the identity but emphasizes an almost feral attribute due to its muteness.

Once dressed, Stepan Arkadyich sprayed himself with cologne, straightened the sleeves of his shirt, distributed cigarettes, wallet, matches, and watch with two chains and seals* amongst his pockets with a practised gesture, and, after shaking out his handkerchief and feeling clean, fragrant,...

All Moscow, including relatives and friends, was in the church. And during the betrothal ceremony, in the brilliant illumination of the church, there was an unceasing, decorously hushed conversation amongst the group of elegantly dressed women and girls and men in white ties, tails,...

‘Do you think that you could be happier as the wife of such a one as Daniel Thwaite, a creature infinitely beneath you, separated as you would be from all your kith and kin, from all whose blood you share, from me and...

This chapter presents a variegated depiction of female sexuality seen from their own point of view, beginning with Carollee Schneeman’s Meat Joy (1964). Woolf’s metaphors for the female sex and lesbian desire is brought to the scene in interracial encounters in She Must Be Seeing Things (Sheila McLaughlin 1987), The Watermelon Woman (Cheryl Dunye 1997) and Pariah (Dee Rees 2011). The stereotypical figure of the lustful and man-eating witch is reworked in The Love Witch (Anna Biller 2016) and Jennifer’s Body (Karen Kusama 2009). In Raw (Julia Ducournaou 2016) female sexuality is addressed in a ferocious and intense way. After the explicit poetics of horror of the films of the middle section, this chapter looks at three other films that have a more-implied horror embedded within their narration. In I’m Not a Witch (Rungano Nyoni 2017) witchcraft is seen from a totally different non-western perspective, whereas in In the Cut (Jane Campion 2003) we see a combination of poetry, sexuality and a different type of final girl. In the equally poetic Longing for the Rain (Lina Yang, 2013), a contemporary Beijing housewife makes love with a ghost that might not be so benign and slowly takes over her life.

A joint letter to The Times from Winnicott, Bowlby, Fordham, Anna Freud, Miller, MacKeith, and Soddy on the need for courts to act swiftly to decide on custody and adoption cases, with reference to the ‘blood-tie’ adoption child. They argue that delay in settling the infant in a family risks doing permanent harm.

This task assesses the following clinical skills: … ● Patient safety ● Communication with patients and their relatives ● Information gathering ● Applied clinical knowledge … Anna Polanska, a 34- year- old woman, is ten days postpartum. Anna underwent induction of labour for reduced foetal movements and small for gestational age and had a ventouse delivery complicated by a third degree tear. She was discharged home, but her baby is on the neonatal unit. She has been referred by her GP as Anna is feeling very tearful over the last few days and is low in mood. She has not been sleeping well and has intrusive thoughts. You are the registrar on call on the delivery suite and have been asked to assess Anna. Your task is to: … ● Take an appropriate history ● Organize the immediate management … You have 10 minutes for this task (+ 2mins initial reading time). Please read instruction to candidate and role player. This clinical assessment task is to assess the communication skills of the candidates and assess their understanding of the factors predisposing to postnatal depression. It also assesses if the candidates are aware of the next steps of management in such a case. Record your overall clinical impression of the candidate for each domain (i.e. should this performance be pass, borderline, or a fail). For marking the impression on communication skills, please consult the role player. You are Anna Polanska, a 34- year- old, asylum seeker and have been in the UK for the last 18 months. You have no support from your ex- partner and do not have any family in the UK. You gave birth to your first child ten days ago. You booked late in this pregnancy as you were contemplating terminating the pregnancy but found out on your first scan that you were already 24 weeks pregnant and so decided to continue with the pregnancy. You were told your blood tests were normal at booking. Your community midwife has been on sick leave and you have no money to attend hospital visits. You have not attended a few of your antenatal clinic appointments. You smoke up to 20 cigarettes per day.

It was Late on a sunny, but bitterly cold mid-February afternoon. Michael Patrick, red-eared from the chill, cast a long shadow across the rough concrete that used to be the Appliance City factory floor. A few months earlier, two-thirds of the expansive ruin had been razed. It was now an extended chinhigh pile of crumbled bricks, broken cinderblocks, mangled rebar, and cornyellow insulation chunks. Patrick, dressed in a corduroy jacket, wool trousers, and a brown wool fedora, remarked that there was little now to stop the bitter Arctic winds that swept through the enormous demolition site. One could see clear through to the Henry C. Hill Correctional Center across the tracks and farther north on Illinois Route 41. The razed portion of the former factory was big enough to fit twenty football fields, side by side. The newest part of the factory was still standing, but vacant. The California-based investment company that owned the property hoped that clearing the “old, antiquated industrial real estate” would make the remaining property more attractive to potential buyers. “When you’re here,” Patrick said, “you think about the people. It was the blood, sweat, and tears of the workers that made this place run. It was ours, you know? We had different owners come and go but we made it run.” He pushed his hands deep into his jacket pockets and shrugged. It was early 2013, and Patrick could mark fifty-four years since he and Bob Dennison, Doug’s father, started packing insulation at Admiral’s Midwest Manufacturing plant on January 26, 1959. Patrick lived alone in a modest brick house on South Pleasant Avenue, just across the BNSF tracks, less than a mile away. The 72-year-old retiree hibernated in the winter, but managed to make each of his granddaughter’s sixth-grade basketball games. When the weather warmed, Patrick took his late model minivan to antique shows, estate sales, and collectors’ conventions. He collected license plates and license plate toppers, die-cast cars, and other trinkets. Earlier that day, over lunch at the Landmark Cafe, we had discussed the wage pressures, retiree obligations, and foreign competition that faced Maytag in the early 2000s.