scholarly journals The Perpetuation of Myth: Ideology in Bone Tomahawk

2020 ◽  
Vol 68 (1) ◽  
pp. 21-35
Author(s):  
Matthew Carter
Keyword(s):  
Nineteenth Century ◽  
Classical Period ◽  
Horror Film ◽  
Captivity Narrative ◽  
Colonial Culture

AbstractThe contemporary Western Bone Tomahawk is in the tradition of the settler-versus-Indian stories from the genre’s ‘classical’ period. Its story is informed by one of white America’s oldest and most paranoiac of racist-psychosexual myths: the captivity narrative. This article reads Bone Tomahawk’s figuration of the racial anxieties that inhere within nineteenth-century settler-colonial culture in the context of post-9/11 America. It also considers that the film’s imbrication of Horror film conventions into its essential Western framework amplifies its allegorical representation of contemporary America’s cultural and political-ideological mindset. As well, the use of Horror conventions amplifies the racial anxieties generated by its use of a mythic binary construct of an adversarial relationship between whites and ‘Indians.’ To a lesser extent, the article suggests that the film also embodies certain uncontained ideological contradictions that, though undeveloped, could be said to contest its ideological coherence.

The Blood on Satan's Claw

2021 ◽  
Author(s):  
David Evans-Powell
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Horror Film ◽  
Youth Movement ◽  
Counter Culture ◽  
British Cinema ◽  
English Identity ◽  
The Relationship

Widely regarded as one of the foundational 'Unholy Trinity' of folk horror film, The Blood on Satan's Claw (1971) has been comparatively over-shadowed, if not maligned, when compared to Witchfinder General (1968) and The Wicker Man (1973). While those horror bedfellows are now accepted as classics of British cinema, Piers Haggard's film remains undervalued, ironically so, given that it was Haggard who coined the term 'folk horror' in relation to his film. In this Devil's Advocate - the first monograph dedicated solely to an analysis of the film, and released to coincide with the 50th anniversary of the film’s release - David Evans-Powell explores the place of the film in the wider context of the folk horror sub-genre; its use of a seventeenth-century setting (which it shares with contemporaries such as Witchfinder General and Cry of the Banshee) in contrast to the generic nineteenth-century locales of Hammer; the influences of contemporary counter-culture and youth movement on the film; the importance of localism and landscape; the relationship between cultural notions of nature and civilisation; and the film as an expression of a wider contemporary crisis in English identity.

The shape of musical improvisation

2017 ◽  
Author(s):  
Milton Mermikides ◽  
Eugene Feygelson
Keyword(s):  
Nineteenth Century ◽  
Theoretical Model ◽  
Detailed Analysis ◽  
Final Section ◽  
Theoretical Framework ◽  
Classical Period ◽  
Violin Concerto ◽  
Fourth Section ◽  
Musical Space ◽  
The Third

This chapter presents practitioner–researcher perspectives on shape in improvisation. A theoretical framework based in jazz improvisational pedagogy and practice is established, and employed in the analysis of examples from both jazz and classical-period repertoire. The chapter is laid out in five sections. The first section provides a brief overview of improvisational research, while the second discusses the concept of improvisation as ‘chains-of-thought’ (a logical narrative established through the repetition and transformation of musical objects). The third reflects upon improvisation as the limitation and variation of a changing set of musical parameters. Using this concept, the fourth section builds a theoretical model of improvisation as navigation through multidimensional musical space (M-Space). The final section uses this model in a detailed analysis of the nineteenth-century violinist Hubert Léonard’s cadenza for Beethoven’s Violin Concerto Op. 61.

Alexander Scott: Constructing a Legitimate Geography of the Sahara from a Captivity Narrative, 1821

2016 ◽  
Vol 43 ◽  
pp. 63-94
Author(s):  
Sven D. Outram-Leman
Keyword(s):  
Nineteenth Century ◽  
West African ◽  
Early Nineteenth Century ◽  
Captivity Narrative

Abstract:Alexander Scott’s narrative of his captivity in the Sahara in the early nineteenth century presents a curious example of how information of foreign lands was received and legitimized in Britain. Through the input of individuals such as Joseph Banks and James Rennell, Scott’s tale was presented as an authoritative account of the inaccessible West African interior. This article pursues this process of authentication and demonstrates how elements of the editors” preconceived notion of the region colored the subsequent text and associated cartography.

Hybridity in the Vernacular: Nineteenth-Century Muslim Reform and Resistance

PMLA ◽  
2017 ◽  
Vol 132 (1) ◽  
pp. 171-178
Author(s):  
Maryam Wasif Khan
Keyword(s):  
Nineteenth Century ◽  
The State ◽  
Colonial Power ◽  
Large Collection ◽  
The Past ◽  
Colonial Culture ◽  
Colonial Experience ◽  
Theoretical Conception ◽  
Dark Space ◽  
Colonial Text

[W]hat attracted Nussooh's immediate attention was a cabinet of books. There was a large collection of volumes; but whether Persian or Urdu, all were of the same kind, equally indecent and irreligious. Looking to the beauty of the binding, the excellence of the lithography, the fineness of the paper, the elegance of the style, and the propriety of the diction, Kulleem's books made a valuable library, but their contents were mischievous and degrading; and after Nussooh had examined them one by one, he resolved to commit them also to the flames.—Nazir Ahmad, The Repentance of NussoohIn the past twenty-five years, no theoretical conception has summed up the complexity of the colonial experience, and the possibilities of its interpretation, as well as Homi K. Bhabha's “hybridity.” “he sign of the productivity of colonial power,” but also the “name for the strategic reversal of the process of domination through disavowal,” hybridity exposes the uncomfortable state in which colonial culture settled and expanded and, today, continues to beleaguer the state of being “postcolonial” (Bhabha 112). Signiied by the “discovery of the book,” hegemony was marked by the miracle of an object that was at once authoritative and unknowable, one that the supposedly unlettered native could hold in reverent hands (102). In the dark space of the native's hands and narrated within a native register, however, the “colonial text emerges uncertainly” (107). he intent to civilize and anglicize a body of social, religious, and aesthetic practices in the colony, then, is adulterated, perhaps even unconsciously resisted, once it is disseminated by way of the seemingly irrefutable book.

Colonial culture in the Pacific, in Robert Louis Stevenson and Jack London

Race & Class ◽  
2007 ◽  
Vol 48 (3) ◽  
pp. 63-82
Author(s):  
Lawrence Phillips
Keyword(s):  
Nineteenth Century ◽  
Jack London ◽  
Robert Louis Stevenson ◽  
Spanish American ◽  
Spanish American War ◽  
Old World ◽  
Colonial Culture ◽  
The Pacific ◽  
The Us ◽  
The Caribbean

One intriguing aspect of western colonisation at the turn of the nineteenth century in the South Pacific is the development within the US of a distinctly ‘Old World’ imperial imaginary. This happened after the Spanish-American War of 1898 through which the US acquired extra-territorial possessions in the Caribbean and the Pacific-the inspiration for Rudyard Kipling’s poem ‘The White Man’s Burden’. This essay explores this transition from one phase of colonialism to another through the work of two prominent authors who lived and worked in the region during this tumultuous period: Robert Louis Stevenson and Jack London.

Blurring Boundaries: The Limits of "White Town" in Colonial Calcutta

2000 ◽  
Vol 59 (2) ◽  
pp. 154-179 ◽  
Author(s):  
Swati Chattopadhyay
Keyword(s):  
Nineteenth Century ◽  
Spatial Analysis ◽  
Spatial Structure ◽  
Everyday Life ◽  
Critical Aspect ◽  
Black And White ◽  
Colonial Culture ◽  
Central Argument ◽  
Black Towns ◽  
The City

Scholars assume colonial Calcutta was a dual city split into "black" and "white" towns. The critical aspect of colonial Calcutta, however, did not lie in such divisions, but in the blurring of boundaries between the two. The rhetorical categories of "white" and "black" towns were used to sustain the British desire to maintain difference in a city in which everyday life compromised such distinctions. The central argument of this essay rests on an analysis of a clearly distinguishable "pattern" of nineteenth-century colonial buildings that borrowed from indigenous as well as foreign sources. It is only by juxtaposing the spatial analysis with written and pictorial documentation that we can understand how these spaces operated in everyday practice. The attempt is to bridge the gap between rhetoric and practice, and to suggest that the spatial structure of Calcutta, from the building scale to the city scale, spoke of the hybrid conditions of colonial culture-a hybridity that did not simply reside in the native body and the native city, but one that the colonizers themselves inhabited.

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