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Journal articles on the topic 'Hanging – Fiction'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Weinstein, Margery Topper. "The Hanging Man." After Dinner Conversation 4, no. 6 (2023): 51–56. http://dx.doi.org/10.5840/adc20234656.

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Is a dead homeless person social commentary? Is a dead homeless person art? In this philosophical short story fiction, the narrator goes to an upscale, “undiscovered artists” experience in New York City. While at the event she realizes there is a dead homeless person hanging from the ceiling in the corner. Nobody seems to mind, and she assumes people just haven’t noticed. As the show finishes, she realizes people do notice, are not offended and, in fact, simply consider the dead person is part of the artistic experience. The narrator questions the security guards who explain the homeless perso

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2

MADSEN, DEBORAH L. "Hawthorne's Puritans: From Fact to Fiction." Journal of American Studies 33, no. 3 (1999): 509–17. http://dx.doi.org/10.1017/s0021875899006222.

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Nathaniel Hawthorne's view of his first American ancestors as belonging to a grim and gloomy race, impatient with human weaknesses and merciless towards transgressors, reflects a wide-spread popular attitude towards the Massachusetts Bay colonists. Indeed, Hawthorne's contribution to the construction and perpetuation of this view is not inconsiderable. Hawthorne frankly confesses to his own family descent from one of the “hanging judges” of the Salem witchcraft trials, and he does not spare any instance of persecution, obsession, or cruelty regarding the community led by his paternal ancestors

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3

Syofyan, Donny. "The Unsolved Riddle of Hanging Rock: Staging the Unknowable." Jurnal Ceteris Paribus 4, no. 1 (2025): 22–32. https://doi.org/10.25077/jcp.v4i1.43.

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Joan Lindsay's "Picnic at Hanging Rock" is renowned for its enigmatic disappearance and haunting atmosphere. This study examines how Laura Annawyn Shamas's stage adaptation effectively translates this mystery to the theater. By analyzing the play's narrative structure, character development, dialogue, and stage directions, this study reveals how theatrical techniques can convey the unknowable and capture the unsettling ambiance of the source material. The play utilizes a non-linear structure, fragmented dialogue, and evocative lighting and sound design to create an atmosphere of suspense and a

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Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (2020): 127–46. http://dx.doi.org/10.1386/jem_00018_1.

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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique ped

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Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (2020): 127–46. http://dx.doi.org/10.1386/stic_00018_1.

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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980‐91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique ped

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6

Baker, Timothy C. "‘Not at all afraid’: Queer Temporality and the School Detective Story." Crime Fiction Studies 2, no. 2 (2021): 137–53. http://dx.doi.org/10.3366/cfs.2021.0043.

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Kate Haffey has recently argued that if queer time can be seen as a turning away from narrative coherence, it suggests new possibilities for considering narrative structures more generally. Combining the narratively rigid structures of the school story and the detective novel, the four novels discussed in this article – Gladys Mitchell’s Laurels are Poison (1942), Josephine Tey’s Miss Pym Disposes (1946), Shirley Jackson’s Hangsaman (1951), and Joan Lindsay’s Picnic at Hanging Rock (1967) – disrupt conventional understandings of linear time. Depicting not only queer, or potentially queer, char

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Zadeh, Mohammad Reza Modarres. "A Reading of Flannery O’Connors “Everything that Rises Must Converge”." International Letters of Social and Humanistic Sciences 4 (September 2013): 5–10. http://dx.doi.org/10.18052/www.scipress.com/ilshs.4.5.

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Everything that rises must converge is a short story which, without the aid of suspense that is often provoked in fiction by actions hanging on a bare thread in a whirling plot of intertwining – and perhaps incredible – events, catches the reader‟s attention until the very last word. The plot of the story could not be any simpler; a young bachelor takes his overweight mother by bus to a „reducing class‟ but before they reach the place the mother changes her mind, heads back home, has a stroke and is left by her helpless son dying or maybe dead as he goes to seek help. But parallel to the plot

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8

Higashi, Sumiko. "Adapting Middlebrow Taste to Sell Stars, Romance, and Consumption." Feminist Media Histories 3, no. 4 (2017): 126–61. http://dx.doi.org/10.1525/fmh.2017.3.4.126.

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Although it began as a local slapdash effort to advertise the independent exchanges in Chicago in 1911, Photoplay became the nation's leading movie fan magazine. At first it copied Motion Picture Story, founded earlier to publicize the films of the monopolistic Motion Picture Patents Company, in publishing literary storyized versions of film releases. Adapting the middlebrow conventions of its rival to overcome disrepute and near bankruptcy, Photoplay had already spotlighted the players in its early issues. Indeed, it established the format for publicity stories about iconic female personaliti

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Passehl-Stoddart, Erin, and Ashlyn Velte. "Capitalizing on short-term collaborative projects: A special collections case study." College & Research Libraries News 80, no. 8 (2019): 452. http://dx.doi.org/10.5860/crln.80.8.452.

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After the University of Idaho (UI) Library Special Collections and Archives (SPEC) received an unexpected bequest of approximately 340 boxes of science fiction books and manuscript materials, faculty and staff had to think creatively about how to appraise, clean, preserve, and provide basic access to the collection within a short time frame.Embracing the idea that short-term collaborative projects require less formality, which makes them “low-hanging fruit” and more likely to succeed than long-term collaborative projects, SPEC implemented successful strategies such as cross-training library st

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Haugtvedt, Erica. "Class and Complex Transmedia Character in the Early Victorian Period: Jack Sheppard (1839-40)." Victorian Popular Fictions Journal 3, no. 2 (2021): 75–96. http://dx.doi.org/10.46911/oyym7051.

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The reception of William Harrison Ainsworth’s novel, Jack Sheppard (1839-1840), was contemporaneously deemed a mania and has been described by critics today as a moral panic over the influence of fiction. Several adaptations of Ainsworth’s novel across media ambiguously depict Jack’s hanging, and the adaptations that most clearly show his survival occur in those versions that are least legally defensible and most clearly targeted toward the labouring classes. In this essay, I analyse Buckstone and Greenwood’s melodramas at the Adelphi and Sadler’s Wells, respectively, in autumn 1839; two penny

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Bastola, Ganesh Kumar. "Structural Analysis of Bhattarai’s Sukaratka Paila [Socrates Footsteps]." JODEM: Journal of Language and Literature 13, no. 1 (2022): 27–40. http://dx.doi.org/10.3126/jodem.v13i1.47461.

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This study aims at analyzing Govinda Raj Bhattaria’s novel Sukaratka Paila within the theoretical framework of structuralism. More specifically, this study uses the procedures of analysis called seek-find-lose and seek-but-don’t find grammar structure of narratives in which the major characters are studied. The idea is how one character seeks the other, finds him or her and again loses him or her. Bhattaria’s novel Sukaratka Paila embeds the structure of romance within the structure of full of irony and the second structure offers realities of the contemporary time when narrator professor Socr

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Adinkrah, Mensah. "SUICIDE IN AN AKAN LANGUAGE NOVEL: A FOCUS ON L. D. APRAKU’S AKU SIKA." International Journal of Language, Linguistics, Literature and Culture 01, no. 01 (2022): 21–27. http://dx.doi.org/10.59009/ijlllc.2022.0003.

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Suicide in fiction can promote insights into perceptions of, and attitudes about suicide ideation and behavior in a society. This article uses the novel Aku Sika as a case in point. Aku Sika is a novel set in Ghana in the 1950s. It is about a young married woman who attempts to end her life to avoid imminent disgrace. The king’s youngest wife, Aku, plots to commit suicide by hanging from a tree in response to rivalry and evil machinations of the king’s senior-most wife, Sɛkyeraa. Aku suffers from a hand deformity caused by a childhood accident and had been successfully hiding the deformity fro

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Barberena, Ricardo Araújo. "A hipercontemporaneidade ensanguentada em Ana Paula Maia." Letras de Hoje 51, no. 4 (2016): 458. http://dx.doi.org/10.15448/1984-7726.2016.4.26163.

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A trilogia de Ana Paula Maia, composta por Entre rinhas de cachorros e porcos abatidos, O trabalho sujo dos outros e Carvão animal, descreve cruelmente um grupo de personagens, situados num espaço caracterizado pela subalternidade, humilhação e exclusão social. Através de uma escritura pulp, Ana Paula Maia apresenta uma série de imagens abjetas que tematizam uma polpa de sangue, bichos, violência e esgoto. Alijados do status quo, esses habitantes dos subterrâneos da nossa sociedade, enquanto seres-refugo, desperdiçam as suas vidas fazendo o trabalho sujo para-os-outros. Brutalizadas e coisific

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Spiers, Amy. "#MirandaMustGo: Contesting a settler colonial obsession with lost-in-the-bush myths through public and socially engaged art." Art & the Public Sphere 8, no. 2 (2019): 217–34. http://dx.doi.org/10.1386/aps_00022_1.

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In January 2017, settler Australian artist, Amy Spiers, launched a creative campaign to contest habitual associations at the site of Hanging Rock in Central Victoria with a white vanishing myth. Entitled #MirandaMustGo, the campaign’s objective was to provoke thought and unease about why the missing white schoolgirls of Joan Lindsay’s fictional novel, Picnic at Hanging Rock, prompted more attention and feeling in the general public than the actual losses of lives, land and culture experienced by Indigenous people in the region as a consequence of rapid and violent colonial occupation. The camp

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Currell, Sue. "Dirty History and America's White Trash: American Eugenics and the Problem of Purity." Excursions Journal 4, no. 2 (2020): 26–36. http://dx.doi.org/10.20919/exs.4.2013.178.

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Sue Currell’s paper discussed the idea of purity on several levels of discourse: firstly, as a historical trope by which both “welfare” and eugenics were promoted as progress, seen in the metaphorical ideas of welfare as “social house cleaning” or the pure and thereby efficient body during the 1930s. Secondly, how “pure” records such as well-intentioned documentary photographs aiming to uplift the rural poor were “infected” with the “fictions” of eugenic discourse around gene impurity. Finally, how researching the history of eugenics raises further trouble by hanging out the “dirty laundry” of

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Popa, Eugen Octav. "The Method and the Madness." Romanian Journal of Communication and Public Relations 23, no. 1 (2021): 85. http://dx.doi.org/10.21018/rjcpr.2021.1.320.

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I highly recommend Hanganu-Bresch and Berkenkotter’s work to anyone who is interested in the vicissitudes of early psychiatric diagnosis, confinement and treatment. The book is well written and well documented. The reader benefits form the authors’ admirable knowledge on the evolution of psychiatry in the 19th century, the social co-creation of the institution of asylum and the many genres of discourse (from admission reports to science fiction) that have shaped these developments. While the book offers but a snapshot of a more extended historical process, I believe there is a lot to learn fro

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17

ICHIKAWA, MARIKO. "What to do with a Corpse?: Physical Reality and the Fictional World in the Shakespearean Theatre." Theatre Research International 29, no. 3 (2004): 201–15. http://dx.doi.org/10.1017/s0307883304000628.

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In the Shakespearean theatre, the removal of dead bodies from the stage was a theatrical necessity, owing to the absence of a curtain between the stage and the auditorium. Despite the many non-realistic conventions accepted in the theatre, the disposal of corpses had to be carried out in such a way as not to disrupt the reality of the fictional world. An analysis of certain kinds of intriguing situations, such as suicide scenes, reveals how efficiently Shakespeare and his contemporaries utilized the stage hangings, the upper gallery, and the stage trap so as to avoid the necessity of bringing

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18

Jamieson, D., and A. Roberts. "Responses of young Xenopus laevis tadpoles to light dimming: possible roles for the pineal eye." Journal of Experimental Biology 203, no. 12 (2000): 1857–67. http://dx.doi.org/10.1242/jeb.203.12.1857.

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When the light is dimmed, the pineal eye of hatchling Xenopus laevis tadpoles excites the central pattern generator for swimming, but the behavioural significance of pineal excitation is unclear. We show that tadpoles spend 99 % of their time hanging from the surface meniscus or solid objects using mucus secreted by a cement gland on the head. Attachment inhibits swimming, but unattached tadpoles swim spontaneously. Provided that their pineal eye is intact, they attach closer to the water surface in the dark than in the light and attach preferentially to the underside of floating objects that

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19

Gorman, Anna Viktoriia V. "The cognitive barriers on the way to trusting artificial intelligence (using examples from popular TV series)." Digital Scholar: Philosopher`s Lab 7, no. 2 (2024): 108–20. https://doi.org/10.32326/2618-9267-2024-7-2-108-120.

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The author proposed to classify the cogni-tive barriers that stand in the way of trust towards AI as mostly rational and irrational. The author further classifies rational barri-ers into the following three types: fear of technical unemployment, fear of losing control, and fear of discrimination accelera-tion. In this research paper, the author ana-lyzes these cognitive barriers by using ex-amples from the most popular TV series centered around AI-related risks: 1899, Westworld, Severance, and Black Mirror. These examples demonstrate the relevance of rational cognitive barriers linked to the u

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20

Leikam, Susanne. "American Studies, Sound Studies, and Cultural Memory." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (2020): 231–44. http://dx.doi.org/10.47060/jaaas.v1i2.56.

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Each year on April 18, the city of San Francisco commemorates the devastating 1906 earthquake and fire with a series of elaborate and tightly scripted ceremonies. As one of the key events, the ceremony at Lotta's Fountain features, among others, commemorative speeches, the hanging of a memorial wreath, and the ceremonial wailing of fire sirens, followed by a minute of silence for the victims. The acoustic tension building up between the sirens' piercing warning sounds and the ensuing collective gesture of mournful quietude is subsequently resolved by the communal sing-along of the upbeat theme

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M., Supriya. "Narrating the Silences of History: Mamang Dai’s The Black Hill." International Journal of English Literature and Social Sciences 8, no. 2 (2023): 215–21. http://dx.doi.org/10.22161/ijels.82.30.

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Mamang Dai’s The Black Hill (2014) is based on recorded historical events of the journey of two French missionaries Nicholas-Michel Krick and Augustin-Etienne Bourry, who were engaged in a mission to set up a church in Tibet, but in the 1800s the only way to reach there was through northeast India—present day Arunachal Pradesh. While they were on the final leg of their journey, they were killed by Kaisha, a village chief of the Mishmi tribe of Arunachal Pradesh on August 2, 1854 at Somme village, near the Tibetan border. The Mishmee chief was later captured and sentenced to death by hanging in

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Stecopoulos, Harilaos. "Locating the Global South: Faulkner and Wright in Postwar Asia." Prospects 28 (October 2004): 465–96. http://dx.doi.org/10.1017/s0361233300001575.

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Of all the disturbing scenes to appear in The Ugly American (1958), William J. Lederer and Eugene Burdick's fictional account of U.S. foreign policy in Asia, none is more unnerving than the depiction of two French Foreign Legionnaires — one African American, one Vietnamese — returning from an ill-fated attempt to scout the Communist Vietnamese position:Davis was leading Apache. From fifty yards they could see that there was a gout of blood on Davis's cheek. At twenty-five yards they could see the mangled remains of his left eye, hanging in a cluster of tiny glistening cords and muscles…. “They

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Zammarchi, Enrico. "‘If I see a black dot, I shoot it on sight!’: Italian rap between anti- and neo-fascisms." Global Hip Hop Studies 1, no. 2 (2020): 293–312. http://dx.doi.org/10.1386/ghhs_00022_1.

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This article explores the connections between anti-fascism and hip hop in Italy between the 1990s and today. In the first part, I look at how several bands affiliated with the posse movement of the early 1990s relied on the network of students and of young people hanging out in the centri sociali (squatted centres) to spread their political messages. Picking up the baton from the militant singer-songwriters of the 1970s, Italian posses often mixed rap with other foreign musical influences such as reggae and punk, frequently rapping about the lack of anti-fascist activism among the youth and de

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Kukil, Lidiia. "Semantics of figurative and plastic solutions of Green Man mascarons in the Lviv architecture of the 19th century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 301–16. http://dx.doi.org/10.37131/2524-0943-2019-39-21.

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Background. The image of Green Man (Green Man — “the spirit of the forest”), which embodies a mythological forest deity, undoubtedly entered the city's architecture along with new Western stylistic tendencies and immediately gained popularity among the Lviv architects of that time. Mythological images, which were formed during the ancient history of mankind, have often remained topical for subsequent epochs, but it should be noted that in the 19th century these mask-images acquired exclusively a decorative function and canonicity of their depiction was altered by interpretations of the author'

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25

Marshall, P. David. "The Fiction of Public Life." M/C Journal 2, no. 1 (1999). http://dx.doi.org/10.5204/mcj.1738.

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One of Woody Allen's first jobs was as a gag/joke writer indirectly for New York gossip columnists. To coordinate with the appearance of famous people at grand openings, Allen would write appropriately witty lines that a star's press agent would work hard to get placed in a newspaper column like Walter Winchell's. The lines would be treated as authentic quotes as the star entered the premiere, club or ceremony (Lax 71). His reputation grew from this ability to see what would be humorous to say in a very public setting, or just generally what would make a particular star look more engaged, more

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Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi

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Pearce, Hanne. "News and Announcements." Deakin Review of Children's Literature 8, no. 2 (2018). http://dx.doi.org/10.20361/dr29403.

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Happy fall and early winter everyone! It seems most of the book festivals and meetings have passed for the year but there are certainly award announcements worth noting.  TD Canadian Children’s Literature Awards  Town Is by the Sea, written by Joanne Schwartz and illustrated by Sydney Smith, won the TD Canadian Children’s Literature Award ($50,000)  When the Moon Comes, written by Paul Harbridge and illustrated by Matt James, won the Marilyn Baillie Picture Book Award ($20,000)  #NotYourPrincess: Voices of Native American Women, edited by Lisa Charleyboy and Mary

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Bruns, Axel. "The Fiction of Copyright." M/C Journal 2, no. 1 (1999). http://dx.doi.org/10.5204/mcj.1737.

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It is the same spectacle all over the Western world: whenever delegates gather to discuss the development and consequences of new media technologies, a handful of people among them will stand out from the crowd, and somehow seem not quite to fit in with the remaining assortment of techno-evangelists, Internet ethnographers, multimedia project leaders, and online culture critics. At some point in the proceedings, they'll get to the podium and hold a talk on their ideas for the future of copyright protection and intellectual property (IP) rights in the information age; when they are finished, th

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Hackett, Lisa J., and Jo Coghlan. "Bubbles." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2763.

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Welcome to the ‘bubbles’ issue of M/C Journal. When we first pitched the idea of ‘bubbles’ for an issue of M/C Journal it was 2019, several months before COVID-19 was identified in Wuhan, China, and the resulting pandemic that brought the term ‘bubble’ to prominence in ways we had not even imagined. Our pre-pandemic line of enquiry focussed on how bubbles manifested themselves within popular culture and society and how the media reported on these concepts. Thinking about bubbles from bubbly champagne to the ‘political bubble’ we asked researchers to think about the ephemeral nature of bubbles.

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Mercer, Erin. "“A deluge of shrieking unreason”: Supernaturalism and Settlement in New Zealand Gothic Fiction." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.846.

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Like any genre or mode, the Gothic is malleable, changing according to time and place. This is particularly apparent when what is considered Gothic in one era is compared with that of another. The giant helmet that falls from the sky in Horace Walpole’s Castle of Otranto (1764) is a very different threat to the ravenous vampires that stalk the novels of Anne Rice, just as Ann Radcliffe’s animated portraits may not inspire anxiety for a contemporary reader of Stephen King. The mutability of Gothic is also apparent across various versions of national Gothic that have emerged, with the specificit

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Harris, Sandy, Sandra Lowery, and Michael Arnold. "When Women Educators are Commuters in Commuter Marriages." Advancing Women in Leadership Journal 10 (June 12, 2017). http://dx.doi.org/10.21423/awlj-v10.a150.

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"How difficult for [women], then, to achieve a balance in the midst of thesecontradictory tensions, and yet how necessary for the proper functioning of ourlives." (Anne Morrow Lindbergh, Gifts from the Sea in Exley, 1996).She put down the telephone and shouted with glee! The dream job she had alwayswanted was hers. Just 40, with a new Ph.D. degree hanging on her wall, she wasnow officially a university professor. The new job was located 3 l/2 hours away fromher home and she and her husband who owned a small business had alreadydiscussed how she would rent a small apartment and work there four

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Franks, Rachel. "Building a Professional Profile: Charles Dickens and the Rise of the “Detective Force”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1214.

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it se

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Franks, Rachel. "A True Crime Tale: Re-imagining Governor Arthur’s Proclamation to the Aborigines." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1036.

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Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over r

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West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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Quaiattini, Andrea. "Rez Rebel by M. Florence." Deakin Review of Children's Literature 7, no. 3 (2018). http://dx.doi.org/10.20361/g2jh5p.

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Florence, Melanie. Rez Rebel. James Lorimer & Company, 2017.Narrated by Floyd Twofeathers, a young Cree teenager living on the fictional Bitter Lake Reserve, Rez Rebel sheds important and much-needed light onto the suicide crisis faced by Indigenous communities across Canada.Suicides on Bitter Lake Reserve are rampant. Though Floyd occupies a position of status in his community, with his father being the hereditary chief and his mother a traditional healer, he is not immune from the tragedy—his best friend Aaron had committed suicide. However, after a suicide pact leaves four young girls d

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Nairn, Angelique. "Crafting the Grotesque." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3164.

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Introduction Special effects (SFX) makeup has long been a powerful tool in the world of performance, used to transform, distort, and reimagine the human form in service of storytelling. From the eerie creatures of horror to the fantastical beings of science fiction, prosthetic makeup plays a crucial role in shaping the visual language of genre media. The American television show Face Off (2011-2018) brought this behind-the-scenes artistry to the forefront, offering viewers an in-depth look at the creative processes of professional special effects and prosthetic makeup artists. Running for 13 s

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Leung, Colette. "The Orphan King by S. Brouwer." Deakin Review of Children's Literature 4, no. 1 (2014). http://dx.doi.org/10.20361/g21s5s.

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Brouwer, Sigmund. The Orphan King. Merlin’s Immortals 1. Colorado: WaterBrook Press, 2012. Print.This young adult fantasy novel is the story of a young man named Thomas. Thomas is raised as an orphan in a monastery run by greedy and corrupt monks who eat food and take money instead of helping others. This monastery is set in Northern England, during AD 1312, and Brouwer’s medieval world is portrayed as one filled with corruption and poverty, where select few are working to improve the lives of others and strive towards a greater good. These few work in secret, and are known as Merlin’s Immorta

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Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho

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Waelder, Pau. "The Constant Murmur of Data." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.228.

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Our daily environment is surrounded by a paradoxically silent and invisible flow: the coming and going of data through our network cables, routers and wireless devices. This data is not just 1s and 0s, but bits of the conversations, images, sounds, thoughts and other forms of information that result from our interaction with the world around us. If we can speak of a global ambience, it is certainly derived from this constant flow of data. It is an endless murmur that speaks to our machines and gives us a sense of awareness of a certain form of surrounding that is independent from our actual, p

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Leaver, Tama, and Suzanne Srdarov. "ChatGPT Isn't Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3004.

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Introduction Author Arthur C. Clarke famously argued that in science fiction literature “any sufficiently advanced technology is indistinguishable from magic” (Clarke). On 30 November 2022, technology company OpenAI publicly released their Large Language Model (LLM)-based chatbot ChatGPT (Chat Generative Pre-Trained Transformer), and instantly it was hailed as world-changing. Initial media stories about ChatGPT highlighted the speed with which it generated new material as evidence that this tool might be both genuinely creative and actually intelligent, in both exciting and disturbing ways. In

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Balanzategui, Jessica. "“You have a secret that you don't want to tell me”: The Child as Trauma in Spanish and American Horror Film." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.854.

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In the years surrounding the turn of the millennium, there emerged an assemblage of American and Spanish horror films fixated on uncanny child characters. Caught in the symbolic abyss between death and life, these figures are central to the films’ building of suspense and Gothic frisson—they are at once familiar and unfamiliar, vulnerable and threatening, innocent yet unnervingly inscrutable. Despite being conceived and produced in two very different cultural climates, these films construct the child as an embodiment of trauma in parallel ways. In turn, these Gothic children express the waveri

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Leurs, Koen, and Sandra Ponzanesi. "Mediated Crossroads: Youthful Digital Diasporas." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.324.

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What strikes me about the habits of the people who spend so much time on the Net—well, it’s so new that we don't know what will come next—is in fact precisely how niche in character it is. You ask people what nets they are on, and they’re all so specialised! The Argentines on the Argentine Net and so forth. And it’s particularly the Argentines who are not in Argentina. (Anderson, in Gower, par. 5) The preceding quotation, taken from his 1996 interview with Eric Gower, sees Benedict Anderson reflecting on the formation of imagined, transnational communities on the Internet. Anderson is, of cour

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Fraim, John. "Friendly Persuasion." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1825.

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"If people don't trust their information, it's not much better than a Marxist-Leninist society." -- Orville Schell Dean, Graduate School of Journalism, UC Berkeley "Most people aren't very discerning. Maybe they need good financial information, but I don't think people know what good information is when you get into culture, society, and politics." -- Steven Brill,Chairman and Editor-in-chief, Brill's Content Once upon a time, not very long ago, advertisements were easy to recognise. They had simple personalities with goals not much more complicated than selling you a bar of soap or a box of c

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Wilken, Rowan, and Anthony McCosker. "The Everyday Work of Lists." M/C Journal 15, no. 5 (2012). http://dx.doi.org/10.5204/mcj.554.

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IntroductionThis article explores the work of lists in mediating the materiality and complexity of everyday life. In contemporary cultural contexts the endless proliferation of listing forms and practices takes on a “self-reflexivity” that signals their functional and productive role in negotiating the everyday. Grocery lists, to do lists, and other fragmentary notes work as personal tools for ordering and managing daily needs and activities. But what do these fragments tell us about the work of lists? Do they “merely” describe or provide analytical insight into the everyday? To address these

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Pugsley, Peter. "At Home in Singaporean Sitcoms." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2695.

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   The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the

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Lambert, Anthony, and Catherine Simpson. "Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.81.

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“People live here, they die here so they must leave traces.” (Read 140) “Whatever colonialism was and is, it has made this place unsettling and unsettled.” (Gibson, Badland 2) Introduction What does it mean for [a] country to be haunted? In much theoretical work in film and Cultural Studies since the 1990s, the Australian continent, more often than not, bears traces of long suppressed traumas which inevitably resurface to haunt the present (Gelder and Jacobs; Gibson; Read; Collins and Davis). Felicity Collins and Therese Davis illuminate the ways Australian cinema acts as a public sphere, or “

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Glitsos, Laura. "From Rivers to Confetti: Reconfigurations of Time through New Media Narratives." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1584.

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IntroductionIn the contemporary West, experiences of time are shaped by—and inextricably linked to—the nature of media production and consumption. In Derrida and Steigler’s estimation, teletechnologies bring time “into play” and thus produce time as an “artifact”, that is, a knowable product (3). How and why time becomes “artifactually” produced, according to these thinkers, is a result of the various properties of media production; media ensure that “gestures” (which can be understood here as the cultural moments marked as significant in some way, especially public ones) are registered. Being

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Lawson, Jenny. "Food Confessions: Disclosing the Self through the Performance of Food." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.199.

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At the end of the episode “Crowd Pleasers,” from her television series Nigella Feasts, we see British food writer and television cook Nigella Lawson in her nightgown opening her fridge in the dark. The fridge light reveals the remnant dishes of chili con carne that she prepared earlier on in the programme. She scoops up a dollop of soured cream and chili onto a spoon and shovels it into her mouth, nods approvingly and then picks up the entire chili dish. She eats another mouthful, utters a satisfied “umm” sound, closes the fridge door and walks away, taking the dish of chili with her. This rec

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Mullen, Mark. "It Was Not Death for I Stood Up…and Fragged the Dumb-Ass MoFo Who'd Wasted Me." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2134.

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I remember the first time I saw a dead body. I spawned just before dawn; around me engines were clattering into life, the dim silhouettes of tanks beginning to move out in a steady grinding rumble. I could dimly make out a few other people, the anonymity of their shadowy outlines belied by the names hanging over their heads in a comforting blue. Suddenly, a stream of tracers arced across the sky; explosions sounded nearby, then closer still; a tank ahead of me stopped, turned sluggishly, and fired off a couple of rounds, rocking slightly against the recoil. The radio was filled with talk of Ge

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Peaty, Gwyneth. "Power in Silence: Captions, Deafness, and the Final Girl." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1268.

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IntroductionThe horror film Hush (2016) has attracted attention since its release due to the uniqueness of its central character—a deaf–mute author who lives in a world of silence. Maddie Young (Kate Siegel) moves into a remote cabin in the woods to recover from a breakup and finish her new novel. Aside from a cat, she is alone in the house, only engaging with loved ones via online messaging or video chats during which she uses American Sign Language (ASL). Maddie cannot hear nor speak, so writing is her primary mode of creative expression, and a key source of information for the audience. Thi

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