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In terms of television production and scheduling, the ghost story offers an entirely different incentive during the festive season, in that it is sold as 'special', season-specific programming, as part of the Christmas television package. Emphasising the importance of sound in this teleplay, the TV Times article accompanying 'The Open Door' unusually focused on the creation of sound effects for the episode. Mystery and Imagination was produced during an innovative time in the history of British television, often referred to as the 'Golden Age' of television drama, and saw the Gothic drama on television being used to 'showcase' new production technologies and the talents of ABC's creative personnel. The remit behind Ghost Story for Christmas was to produce a television version of classic ghost stories, referencing the tradition of oral ghost storytelling at Christmas, and from 1971 to 1975 these stories were the adapted work of M.R. James.

Like many of his generation of Arab thinkers, the Moroccan historian Abdullah Laroui is often described as a defector from Marxism. This chapter presents a broad overview of Laroui's political thought that turns around the axis of historicism. It uses Laroui's early works, Contemporary Arab ideology (CAI), Arabs and Historical Thought (AHT), and The Crisis of the Arab Intellectual to elucidate his notions of traditionalism and historicism and the way they related to political action. Although acknowledging the relevance of twentieth-century critiques of historicism, humanism, and liberalism, Laroui insists that the historicist expression 'cultural retardation' is nevertheless the best way to describe the condition of Arab culture today. Laroui posits that European critiques of liberal notions of history, attractive as they may be for anti-colonial Arab intellectuals, assume liberal modernity, if in the form of a reaction to it.

This introduction presents an overview of the key concepts discussed in this book. The book provides autobiographical writings of Anne Clifford. During the early period of her life Anne entered into the Court life of Queen Anne of Denmark and her daughter the princess Elizabeth, and maintained a large circle of aristocratic friends and acquaintances. Anne Clifford lived during the reigns of four monarchs and two heads of state in her long life of eighty-six years. She experienced exile and isolation as well as great political power. Anne Clifford's surviving autobiographical writing reveals her deep commitment to maintaining a record or account of her life. The 1603 memoir and the 1616, 1617 and 1619 diary almost always appear together in the surviving manuscripts. This memoir and the diary have the most complex textual history of Anne's autobiographical writing.

This conclusion presents some closing thoughts on the concepts covered in this book. The book examines the dialogue between the textual domestic spaces of Gothic television and the extra-textual domestic spaces of the medium. In doing so, it argues that structures of identification are laid in place which render the Gothic on television as one of the most affective of genres. It is possible to look to the very fabric of the programmes in question to create a picture of the 'model viewer', who is 'recorded into' the texts of Gothic television. The recent bevy of supernatural serials on US television discussed in the book have a certain self-regenerative quality, guaranteeing that innovation and formal experimentation soon become repetitive and mundane. The anxieties surrounding the broadcast of Gothic television identified in the book might be seen as indicative of broader concerns around the propriety of television viewing as a whole.

Drawing on the histories of other international organisations, the chapter explores the practice of co-operative internationalism within the International Co-operative Alliance (ICA) from its foundation in 1895. The chapter traces the development of the ICA’s internal organisation and the conflict that this sometimes generated, especially over the need to balance the diverse interests of different national members. The chapter analyses the role of the International Co-operative Congresses, held triennially in different European cities and how these changed over the period. It asks what the co-operative congresses can tell us about the rituals and practices of inter-war internationalism, including practical matters such as language and the logistics of travel. It also examines the changing geography of international co-operation, tracing the shift in the ICA’s centre of gravity towards northern Europe over the period.

This chapter examines changes in the religious culture of Scottish towns between 1350 and 1560 that were not early Protestant or crypto-Protestant or even proto-Protestant, but rather Catholic. Sections on new devotional and educational approaches, the Council of Trent, public worship, and social discipline together portray a religious culture that was dynamic and responsive to international trends. In placing this religious culture of Scottish towns in the context of wider European currents, it becomes clear that urban Scots were participating in a deep social movement into early modernism. Since reforming momentum in Scotland began in an early modern Catholic environment and before the official Protestant Reformation, it may be necessary to reconsider an important question of causation in Scottish history: what the role of the Protestant Reformation was in bringing about social change. Specific social changes often thought to be the result of the Protestant Reformation in Scotland actually started before the Protestant Reformation, and therefore the Protestant Reformation cannot have been their trigger. Instead, it may be the case that the social changes described in this chapter and arising in a Catholic context actually helped ease the adoption of Protestantism in Scottish towns.

This chapter discusses the significance of referendum campaigns as an increasingly used form of direct democracy and explores the role of the mass media in determining how referendums are understood in the public sphere. It introduces the idea of media framing and sets out the research questions addressed in this book.

As in Gothic literary studies, it is possible to produce an initial taxonomy of Gothic television in order to distinguish the genre from the other generic categorisations which are applied to its texts. A study of Gothic fiction on television in the UK and US which attempted to be encyclopaedic in its coverage would include consideration of the some programmes, such as A Ghost Story and The Night Stalker. The uncanny is located in the moments in Gothic television in which the familiar traditions and conventions of television are made strange, when television's predominant genres and styles are both referred to and inverted. The chapter presents some key concepts discussed in the subsequent chapters of this book. The book aims to construct what Umberto Eco might call a 'model viewer' by reading the Gothic television drama's modes of address and by scrutinising its semantic and syntactic elements.