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I should confess first of all that I find him compulsively readable, although he may not be to everybody's taste (profoundly influenced by Dickens, check). I can see his influence quite strongly in Dorothy Sayers (it doesn't hurt that some of the cases he discusses are cases she clearly used as inspiration for her stories, like Madeleine Smith (Harriet is kind of an inversion of Smith in Strong Poison) and Dr. Pritchard (quite explicitly, in the opening of Unnatural Death)). In those cases where I have found more modern writers with better evidence (e. . Summerscale's The Suspicions of Mr Whicher, Ruddick's Death at the Priory), Roughead is wrong wrong wrong, but I don't even care. I love him for his prose style, I love him for his cheerfully blatant partisanship, and I love him for the way he's trying, even when he's wrong, to piece together the story of what happened. have thus far resisted the urge to go to Amazon and just buy all the Roughead I can find, but it's a struggle. As I started, I did wonder how a work on crimes - some of which are well-documented by other writers - was chosen as a New York Review Book. But the author's pithy turn of phrase and legal know-how add much to his accounts. There are innocents who were jailed through police bungling and undoubted killers who got away with it. ascinating read. A collection of true-crime essays, mostly from the 19th century, mostly taking place in Glasgow. Roughhead writes in a style which is at once erudite and readable, and anyone who enjoys outdated slang will have a field day here; I particularly enjoyed Swarfed, meaning fainted, and Kitchen Fee, referring to the ends of leftover food given away to the poor as charity. The crimes are morbid, cruel, and fascinating, lovers poisoning each other slowly with arsenic, the brutal murder of a brother by her half-sister, and Roughhead's discussion of the court cases these crimes give rise to, the frequent incompetence and occasional excellence of the investigators, the fearless disinterest of the accused, the brilliance of some or other lawyer, are a pleasure to read. Recommended if you have any interest in this sort of thing at all.


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Her detractors, on the other hand, painted her as ignorant and rude, from dubious parentage (Betterton 1741, 111) and precociously wanton (Straub 1992, 90). Centuries later, Gwyn’s story of triumph has continued to fascinate us with innumerable cultural products inspired by her story. Most of these cultural products have drawn their inspiration for their re-fashioning of Nell from the fairy-tale quality of her royal affair, allowing for an admiration of a success story of the working classes. This paper focuses on a film directed by Herbert Wilcox in 1934, in an attempt at analysing not just the version of Gwyn it presents us with, but the close relationship between the character and the actress playing the “Protestant whore” (Conway 2013). In the 1930s Wilcox, one of the most successful British filmmakers, created a series of historical films following the lives of extraordinary women. Wilcox used his historical films for clear political ends in times of turmoil and austerity: to “assert the need for national unity. n response to different circumstances” (Chapman 2005, 64) and paint “Britain as a collective community” (Street 1997, 40) represented in the figure of Victoria, who withstands trials and tribulations, perseveres and takes her country to glory. The woman chosen to play such a role was Anna Neagle, Wilcox’s wife. After such box-office hits, Neagle went on to play roles carefully chosen to buttress and add to her image as a more powerful symbol of England than the white cliffs of Dover (Thumim in Street 1997, 124). The analogy was to accompany her throughout a career which revolved around her becoming an expert at one role, just like Gwyn had done: while Nell was the madcap, the quintessential Restoration heroine, Neagle became a “national emblem. by her portrayal of Britannia-like women. rdinary women transformed into heroines by extraordinary wartime circumstances” (Street 1997, 127), roles that held a strong appeal for audiences living through the austerity of the interwar period. The film resembles none of the archetypal Neagle roles, for it presents us not with a dignified lady who triumphs against all the odds, but with a rude street urchin who delights in bawdy repartee and in the mischievous humiliation of the Duchess of Portsmouth. Such a character seems to be in contradiction with the image of Neagle that she and her husband strove to exploit until it became their most successful formula and an inextricable part of her public persona. So how does pretty, witty Nell fit into this canon, amongst Queen Victoria and Nurse Edith Cadwell. How does the Protestant whore, mother of royal bastards contribute to Neagle’s image as an English Rose.


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. It questions the ideology, but I see it as an aesthetic, emotional film rather than a strictly educational one. . In “I’m a Civil War,” taken from the title of one of the Israel Prize Winner Chaim Gouri’s books of poetry, director Omri Lior explores the life and work of one of Israel’s most celebrated living authors. Born in Tel Aviv in 1923, Gouri left home to live on a kibbutz at the age of 15 and later became a member of the Palmach. It starts with his childhood in Tel Aviv and moves into his youth on the kibbutz and then his experiences in the ’30s and ’40s in the Palmach and later, the Six-Day War,” Lior said. Although Gouri does read several excerpts and discusses the influences on his work, Lior says that the film is not about his poetry. Rather, it’s about the life that created that poetry. Today, the 84-year-old Gouri still feels conflicted by the political and social reality in Israel today. As he stands on the northern border near Mettula with his beloved wife, Gouri says, “Everything has changed and the feeling of hatred and being under siege continues and the land continues to bleed. . Filmed for Israel’s 25th birthday, it includes scenes with the young Ariel Sharon, Abba Eben and Golda Meir. These two well-known politicians were members of the same party and often shared opinions and views, but their feuds and political battles were legendary. Rabin was a native-born sabra, and Peres represented the new immigrant. Their relationship illuminates many of the decisive moments in Israeli politics since its foundation in 1948. In “The Mystery of Aris San” and “Waiting for Godik,” a piece of Israel’s history is explored through the personal lives of two very different men in the entertainment industry.


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As a kid, he watched and studied horror films, learning their inner workings and trying to figure out what made them scary. Once he got to his teens, he knew he wanted to be a horror film director. However, this dream went off track for a little while, and Peele was led to various ventures in comedy. To Peele, comedy and horror are one in the same—conjoined twins, in his own words. Both mediums build toward the release of something, whether a laugh or a scare, to break the tension, and both attempt to get a visceral reaction out of the audience. For Peele, horror and comedy are the best ways for us to deal with our fears. Having spent several years in the discipline of comedy, Peele was able to learn a lot about the interconnected relationship between both mediums, and in Get Out, he integrated comedy into the story in a seamless manner, most of it coming from Rod Williams, the comic relief. In addition, the theme of racial identity and feeling like an outsider in the movie is something Peele himself dealt with in his youth. Peele’s mother is white, and his father, who passed away, was black. As a teen, Peele recalls that being biracial made him feel like he did not belong. He sometimes worried he sounded “too white” and when taking standardized tests, he was always confused at having to choose “other” for the racial category. Having such experiences, as well as others, Peele was able to approach Get Out from a deeply personal perspective. Being a fan of Stepford Wives and Rosemary’s Baby, films that deal with submissiveness and the female gender, Peele wanted to recreate that same idea, but from the perspective of race. And so, through personal experience, his career in comedy, and his love for horror, Get Out was conceived, taking the world by storm in 2017 and becoming a cultural phenomenon, as well as a hit for the horror genre. Throwing occasional jump-scares our way is the easiest method for horror films to check that they’ve scared us off their checklist. Granted, the CGI in the jump-scare might be impressive, but it need not be.