This chapter contains collection of texts between 1670 and 1826 connected with the Gothic Aesthetic. A rash of translations from the German in the early 1790s, including Johann Christoph Friedrich von Schiller's novella The Ghost-Seer, had a decisive impact on the development of Gothic fiction in Britain. Ann Radcliffe's final work of fiction, Gaston de Blondeville, was published posthumously in 1826. This was first published separately in the New Monthly Magazine, as an independent essay in aesthetic theory. It suggests the continuing importance of Shakespeare, and contemporary methods of staging his plays, as an example for modern writers employing effects of terror, specifically the supernatural. The originality of William Collins's Ode lies in the fact that personified Fear is positively wooed rather than avoided by the aspiring poet. It can be measured against another, far more conventional, 'Ode to Fear' by Andrew Erskine.

Terry Gilliam was keen to develop two very different projects, The Ministry and Theseus and the Minotaur, a proposal that would resurface several times in his career. By late 1979 Gilliam had Denis O'Brien's verbal backing for Time Bandits. Fantasy in Time Bandits is not an escape from reality, but a means of tapping into the realms that rationality has neglected, or replaced with a world mediated by the commercial media, ideology and tradition. Time Bandits marks the first of several films that feature children as protagonists or as critical observers of the actions and failings of adults. Time Bandits seems to function simply as the cinematic version of a Bildungsroman, a novel of development. Gilliam had teamed up with producer Arnon Milchan in his efforts to realise Brazil, which had been on hold since 1979.

The third chapter deals with the wholesale importation of a British team sport, rugby, into France. Led by Baron de Coubertin, the founder of the Olympics, who was the referee in the first French championship, its adoption by the French was a self-conscious response to defeat in the Franco–Prussian War. Choosing rugby over the more proletarian soccer, an haute-bourgeois and aristocratic elite played rugby at Paris’ most exclusive clubs, a moment reimagined by Henri Rousseau. But rugby could not be confined to these environs for long, and by the time of Delaunay’s The Cardiff Team, with its press photograph source, the sport was included alongside aeroplanes, the Eiffel Tower and advertising as a cipher of all that was modern in the Paris of 1913. Also on view at that year’s Salon des Indépendants was another picture of rugby, The Football Players, cementing the sport as a theme for salon cubism. During the First World War, rugby was celebrated by French nationalists as a sport that had trained its participants to become heroes on the battlefield. This, I surmise, is what led André Lhote to produce his cubist paintings of rugby during and after the conflict.

The second chapter deals with two individual sports. Boxing and tennis might appear strange bedfellows, but as well as being primarily individual sports, they are also united by their transatlantic nature. The flamboyant figures of boxer Jack Johnson and tennis player Suzanne Lenglen were famous on both sides of the Atlantic. Johnson lived it up in nightclubs in both Paris and London, Lenglen played host to American film stars on the French Riviera. Boxing’s Americanism is traced in the writings and life of Cravan that culminated in the fight against Johnson in Barcelona, which is then refracted through the fascination of American journal The Soil for both boxing and Cravan. Tennis was particularly associated with modernist architecture, with players featuring in books written by Le Corbusier, Adolf Behne and Sigfried Giedion. It was also a rare example of a sport where the women’s game attracted as much, if not more, attention than that of the men. This, I contend, caused problems for Le Corbusier, who preferred to concentrate on the geometrical court and the anonymous male players that he includes in his Urbanisme, rather than the glamour and fashion of Lenglen, a woman dressed by the couturier Jean Patou and who served as an inspiration for a Jean Cocteau piece for the Ballets Russes.

This chapter explores framing as a broader theory of understanding media content and political communication in general. It reviews key themes in frame analysis and discusses previous work on the framing of political campaigns in different contexts. It also explores existing research on the generic frames commonly found in the coverage of political campaigns, and particularly of elections. Research exploring the conditions that give rise to such generic frames is also reviewed, with a view to establishing what may be learned from this research for the analysis of referendum campaigns.

The first two decades of the 1900s witnessed a rapid expansion of European mobility and changes in European health conditions in Malawi. The Royal Scottish Geographical Society (RSGS) and the older and more established Royal Geographical Society (RGS) connected early experts on health in Malawi and facilitated discussions about health, spaces and mobility in the African interior. The emphasis on balance extended to mental health, and those with tendencies towards mental illness or 'loss of nerve force' were unequivocally counselled against travelling to Central Africa. Discussions about health and colonisation largely focused on the acclimatisation of Europeans in the tropics, and the issue of malarial fevers remained central. Horace Waller was convinced that miasmatic poison was a major contributory factor in disagreements between Europeans and argued that frequent arguments were a sure sign that the 'fever poison' was at work.

This chapter examines townspeople’s participation in parishes, guilds, and the burghs themselves. Each of these groups employed religious symbols to express a sense of community and each deployed religious mechanisms to strengthen communal endeavours. Although their memberships were frequently overlapping and sometimes also contested, for the most part the various communities of religion in Scottish towns were seen as mutually reinforcing rather than mutually exclusive. The smooth and harmonious unity within and between groups that was espoused in theory was sometimes punctured in practice by conflicts arising from the messy realities of day-to-day life, but when this happened Scottish townspeople sought to heal the rift through reconciliation enacted in religiously significant space. Thus for most Scottish townspeople different religious communities and their various goals tended to be complementary in principle. Even if there were in practice certain areas of tension and occasional instances of outright hostility between different religious groups, devotion within the parish and the guild was, nonetheless, generally seen as intrinsic to the welfare of the town.

As in the case of the major European film industries, Australia's history of filmmaking represented a source of nostalgia, pride and regret for those who sought the rebirth of the national cinema during the 1970s. The standard to which all other national forms of film expression are compared is that of Hollywood, and the American film industry casts an equally long shadow in economic terms. The ideological purpose behind the dominant representations and images of nationhood produced by the Australian cinema is linked to enduring colonial, cultural associations. The stereotypes of Australianness which emerged in early, successful or favoured cinematic representations have entered the consciousness of local and foreign audiences. The Adventures of Barry McKenzie and They're A Weird Mob stressed the contrasting commercial and generic influence of America in Australian cinema. These films depict the solitary Australian either abroad or at home and successful at home and overseas.