- 3 months ago
Στη Χώρα των Θαυμάτων: Γκόθικ (Wonderland: Gothic)
2023 | Επ. 4/4 | HD
Η σειρά ντοκιμαντέρ καλύπτει το φαινόμενο του "Gothic" – ένα καλλιτεχνικό ρεύμα που εμφανίζεται σε μυθιστορήματα, ποίηση, ζωγραφική και ταινίες και απεικονίζει την παράξενη, συναισθηματική και μερικές φορές φρικτή ανθρώπινη εσωτερική ζωή. Το "Gothic" εμφανίζεται με αξιοσημείωτες και ποικίλες αισθητικές μορφές από το 1780 μέχρι σήμερα, με έργα τόσο διαφορετικά όπως ο Δράκουλας, τα Ανεμοδαρμένα Ύψη, το Το Σκυλί των Μπάσκερβιλ, η Νύχτα των Ζωντανών Νεκρών και οι εξαιρετικοί πίνακες του Κάσπαρ Ντάβιντ Φρίντριχ.
Η αυτοκρατορική γοτθική λογοτεχνία καλύπτεται στην αρχή του τέταρτου επεισοδίου με την εξέταση των έργων του Ράντγιαρντ Κίπλινγκ, του σερ Άρθουρ Κόναν Ντόιλ και του Τζόσεφ Κόνραντ. Το επεισόδιο συνεχίζει με εξερεύνηση της γοτθικής τέχνης και περιλαμβάνει τα έργα του Χένρι Φιούζελι, του Γουίλιαμ Μπλέικ, του Κάσπαρ Ντάβιντ Φρίντριχ, του Τζόζεφ Ράιτ του Ντέρμπι, του Τζόσεφ Μάλορντ Γουίλιαμ Τέρνερ, του Τζον Μάρτιν, του Πολ Νας και άλλων. Εξετάζεται περαιτέρω στο επεισόδιο το νεογοτθικό στοιχείο στην αρχιτεκτονική στις εγχώριες και αποικιακές μορφές της, με κτίρια που ποικίλλουν από το Στρόμπερι Χιλ, το Αββαείο Φρόντχιλ και τον Σταθμό Σεν Πάνκρας ως έναν νεογοτθικό καθεδρικό ναό στο Βιετνάμ. Αξιολογείται με παραδείγματα η σχέση του κινηματογράφου με τη ζωγραφική. Ένα επιπλέον θέμα είναι το κουίρ γοτθικό στοιχείο, με συμπερίληψη πολλών παραδειγμάτων. Η έννοια της «επιστροφής των καταπιεσμένων» και η τάση του ανθρώπου προς το κακό και τη βία απεικονίζεται με τη συνέχιση μορφών πολέμου, και την ελπίδα ότι το γοτθικό είδος επιτρέπει την αναπαράσταση παλαιότερων καταπιεσμένων και αγνοημένων πλευρών της ανθρώπινης φύσης.
2023 | Επ. 4/4 | HD
Η σειρά ντοκιμαντέρ καλύπτει το φαινόμενο του "Gothic" – ένα καλλιτεχνικό ρεύμα που εμφανίζεται σε μυθιστορήματα, ποίηση, ζωγραφική και ταινίες και απεικονίζει την παράξενη, συναισθηματική και μερικές φορές φρικτή ανθρώπινη εσωτερική ζωή. Το "Gothic" εμφανίζεται με αξιοσημείωτες και ποικίλες αισθητικές μορφές από το 1780 μέχρι σήμερα, με έργα τόσο διαφορετικά όπως ο Δράκουλας, τα Ανεμοδαρμένα Ύψη, το Το Σκυλί των Μπάσκερβιλ, η Νύχτα των Ζωντανών Νεκρών και οι εξαιρετικοί πίνακες του Κάσπαρ Ντάβιντ Φρίντριχ.
Η αυτοκρατορική γοτθική λογοτεχνία καλύπτεται στην αρχή του τέταρτου επεισοδίου με την εξέταση των έργων του Ράντγιαρντ Κίπλινγκ, του σερ Άρθουρ Κόναν Ντόιλ και του Τζόσεφ Κόνραντ. Το επεισόδιο συνεχίζει με εξερεύνηση της γοτθικής τέχνης και περιλαμβάνει τα έργα του Χένρι Φιούζελι, του Γουίλιαμ Μπλέικ, του Κάσπαρ Ντάβιντ Φρίντριχ, του Τζόζεφ Ράιτ του Ντέρμπι, του Τζόσεφ Μάλορντ Γουίλιαμ Τέρνερ, του Τζον Μάρτιν, του Πολ Νας και άλλων. Εξετάζεται περαιτέρω στο επεισόδιο το νεογοτθικό στοιχείο στην αρχιτεκτονική στις εγχώριες και αποικιακές μορφές της, με κτίρια που ποικίλλουν από το Στρόμπερι Χιλ, το Αββαείο Φρόντχιλ και τον Σταθμό Σεν Πάνκρας ως έναν νεογοτθικό καθεδρικό ναό στο Βιετνάμ. Αξιολογείται με παραδείγματα η σχέση του κινηματογράφου με τη ζωγραφική. Ένα επιπλέον θέμα είναι το κουίρ γοτθικό στοιχείο, με συμπερίληψη πολλών παραδειγμάτων. Η έννοια της «επιστροφής των καταπιεσμένων» και η τάση του ανθρώπου προς το κακό και τη βία απεικονίζεται με τη συνέχιση μορφών πολέμου, και την ελπίδα ότι το γοτθικό είδος επιτρέπει την αναπαράσταση παλαιότερων καταπιεσμένων και αγνοημένων πλευρών της ανθρώπινης φύσης.
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00:00Υπότιτλοι AUTHORWAVE
00:30During the 19th century, Britain and other European countries
00:34either created or extended their overseas empires.
00:39Imperial Gothic is seen in the colonial Imperial Gothic literature
00:43that emerges from the extensions of Imperial power and influence
00:48with their martial overlays and statements of white racial superiority.
00:53In Britain, leading Imperial Gothic literary exponents
01:00included Rudyard Kipling, Joseph Conrad
01:03and more surprisingly and more ambiguously, Sir Arthur Conan Doyle.
01:08In different ways, these authors understood the hauntings,
01:14conscious and unconscious, the Gothic violence
01:17and even Gothic forms of madness
01:19that could result from the experiences
01:22that characterised colonial power and rule.
01:26Kipling was far more complicated and interesting
01:33than the usual Imperialist racist.
01:38But it's particularly difficult to defend Kipling
01:42from the charge of racism
01:44when you're talking about Imperial Gothic
01:47because Imperial Gothic is all about
01:50the strangeness and the power and the uncontrollability,
01:54terror and horror and fascinated revulsion
01:58and the uncanniness of the world
02:03that the Raj British ruled.
02:06Respect is also important.
02:12You know, this is the redeeming side of Kipling.
02:15He can not only sometimes seem to think in their skin,
02:21but he also sort of indicates that, you know,
02:25these are people worthy of respect.
02:29He tends not to spell it out,
02:31but then Kipling was not a writer who spelled things out.
02:34I know only this.
02:37It is not good that I should have made you dearer
02:40than my own heart to me, Sahib.
02:44You are an Englishman.
02:46I am only a black girl.
02:49She was fairer than Bargold in the Mint
02:51and the widow of a black man.
02:55Then she sobbed and said,
02:58But on my soul and my mother's soul,
03:01I love you.
03:04There shall no harm come to you,
03:06whatever happens to me.
03:10Nothing would satisfy her
03:11save that all relations between them should end.
03:14He was to go away at once.
03:17And he went.
03:19As he dropped out of the window,
03:21she kissed his forehead twice,
03:24and he walked home, wondering.
03:27There was a young moon,
03:29and one stream of light fell down into Amir Nath's gully
03:33and struck the grating,
03:35which was drawn away as he knocked.
03:38From the black dark,
03:41Bysessa held out her arms into the moonlight.
03:45Both hands had been cut off at the wrists,
03:48and the stumps were nearly healed.
03:51A stone's throw out on either hand
03:54from that well-ordered road we tread,
03:56and all the world is wild and strange.
04:00Kipling knew that
04:03you don't have to go to India to find the Gothic.
04:06that's there inside you.
04:11He was somebody
04:12who actually lived very close
04:14to his own dark side.
04:16Otherwise, he could not have responded
04:18to India and Indian culture
04:21and its danger and fascination and seductiveness
04:24as intensely as he did.
04:27He had at least two mental breakdowns
04:31that I know of.
04:33He could take it as a sort of dogma
04:36that, of course, white men might rule,
04:39but another part of Kipling
04:41knew that Indians knew things that he didn't.
04:46Some Indians had wisdom that he didn't.
04:49In Without Benefit of Clergy,
04:51Holden is the hero this time
04:53and his common law wife, really.
04:56You could say that she's his Indian mistress,
04:58but he regards her as his wife,
05:00although he can't admit her existence
05:02to any of his colleagues.
05:03And she dies of the cholera
05:05and he comes home.
05:07And his butler, for the first and only time,
05:10lays a hand on his shoulder and says,
05:11Eat, Sahib, eat.
05:13Meat is good for sorrow.
05:15I also have known.
05:17Moreover, the shadows come and go.
05:19The shadows come and go.
05:22That's part of what I mean
05:24by Kipling's respect for Indians.
05:26This kind of grace and emotional intelligence,
05:31it just isn't part of the English culture of his characters.
05:36The rooftops are crammed with men, women and children
05:39and the air is full of undistinguishable noises.
05:44They are restless in the city of dreadful night
05:47and small wonder.
05:48The leper halted in the front porch for a moment
06:03and we jumped out on him with the sticks.
06:06He was wonderfully strong
06:08and we were afraid that he might escape
06:11or be fatally injured before we caught him.
06:14We had an idea that lepers were frail creatures.
06:18But this proved to be incorrect.
06:21Strickland knocked his legs from under him
06:24and I put my foot on his neck.
06:27He mewed hideously
06:28and even through my riding boots
06:31I could feel that his flesh
06:33was not the flesh of a clean man.
06:37He struck at us
06:38with his hand and feet stumps.
06:41We looped the lash of a dog whip round him
06:43under the armpits
06:44and dragged him backwards into the hall
06:47and so into the dining room
06:49where the beast lay.
06:52There we tied him with trunk straps.
06:54He made no attempt to escape
06:56but mewed.
06:59This horrifying Kipling story
07:01The Mark of the Beast
07:03is clear in its description
07:05of extreme colonial violence
07:08and the forms of retribution
07:10and madness that result.
07:13Sir Arthur Conan Doyle
07:14like Kipling
07:16though with his different
07:17more liberal attitudes to race
07:19was also fully aware
07:21of the hauntings that arise
07:23in the interactions
07:25between the colonizer
07:26and the colonized.
07:29It is sometimes forgotten
07:31that Dr. Watson
07:32had been a military doctor
07:34in Afghanistan.
07:38After much persuasion
07:40he consented to the operation
07:42and he asked me
07:44when it was over
07:45what fee I demanded.
07:47The poor fellow
07:49was almost a beggar
07:50so that idea of a fee
07:52was absurd
07:53but I answered in jest
07:55that my fee should be his hand
07:58and that I proposed to add it
08:00to my pathological collection.
08:02I shall want it back
08:06when I am dead
08:06he replied.
08:10That was the beginning
08:11of a most terrible haunting
08:13between an English doctor
08:14and an impoverished Afghan.
08:21Sir Arthur Conan Doyle's
08:23Sherlock Holmes story
08:24The Adventure of the Yellow Face
08:26is a wholly sympathetic treatment
08:28of interracial marriage
08:30and the stepfather's love
08:32for a mixed race child
08:33When Munro's answer came
08:38it was one of which
08:39I love to think
08:40He lifted the little child
08:43kissed her
08:44and then
08:45still carrying her
08:46he held his other hand
08:48out to his wife
08:49and turned towards the door
08:50We can talk about it
08:53more comfortably at home
08:54said he
08:55I am not a very good man
08:57Effie
08:58but I think
08:59I am a better one
09:00than you have given me
09:01credit for being.
09:05Alright we're talking about
09:06using the language
09:07the genre
09:08the tropes
09:09of a colonizer
09:11that has already
09:12deemed you
09:12less than human
09:14has already
09:15loaded those tropes
09:17that genre
09:17with definitions
09:19which repeatedly mark you
09:20as lesser
09:21as subhuman
09:22a genre
09:24in which monstrosity
09:25is always coded
09:26monstrosity
09:28traditionally
09:29and typically
09:30codes racial otherness
09:32so for black authors
09:35and I would say
09:35any author of color
09:36this is also true
09:38for Indian authors
09:39for Native American authors
09:43how do you write
09:44within a genre
09:46that codes you
09:48as a monstrous other
09:50and has those codes
09:51so deeply embedded
09:52it's difficult
09:53to untouch them.
09:55Joseph Conrad
09:56drew on his own
09:57colonial experience
09:58of imperial power
10:00in the Belgian Congo
10:01in his novella
10:02Heart of Darkness
10:03and an unforgettable bitterness
10:07anything approaching
10:12the change
10:13that came over his features
10:14I've never seen before
10:16and hope never to see again
10:18oh
10:19I wasn't touched
10:21I was fascinated
10:22it was though a veil
10:24had been rent
10:25I saw on that ivory face
10:28the expression of somber pride
10:30of ruthless power
10:32of craven terror
10:34of an intense
10:35and hopeless despair
10:37did he live his life again
10:40in every detail of desire
10:42temptation
10:43and surrender
10:44during that supreme moment
10:46of complex knowledge
10:48he cried in a whisper
10:50at some image
10:51at some vision
10:52he cried out twice
10:54a cry
10:56there was no more
10:57than a breath
10:57the horror
10:59the horror
11:00it's not pulled
11:03from the past
11:04slavery is here
11:06now
11:07it just
11:07masquerades
11:08under another name
11:10and at the same time
11:13what's really horrifying
11:14in 21st century
11:15black diasporic gothic
11:17and again
11:19this gets back
11:19to that question
11:20of
11:20trying to differentiate
11:22between
11:23violator and violated
11:24is the horror
11:26of realizing
11:27that violence
11:29is not just
11:31called for
11:32but might be necessary
11:33just to survive
11:35lord now let us
11:39now my servant
11:42depart in peace
11:47according to the
11:49scholarship on the gothic
11:50thinking about the gothic
11:51as a phenomenon
11:52has tended to focus
11:53not exclusively
11:54but certainly very heavily
11:55on poetry
11:57on novels
11:57on fiction
11:58on texts
11:59but there's a very important
12:02perhaps rather overlooked
12:04visual aspect
12:05that gothic
12:06is a larger cultural phenomenon
12:07certainly in britain
12:08in that kind of key moment
12:10of say 1770
12:11to the 1820s
12:121830s
12:13thinking about the visual arts
12:17thinking about the
12:18many of the paintings
12:19some of the engraving
12:20the illustration
12:21some of the sculpture
12:23certainly the architecture
12:24of the late 18th and
12:24the early 19th century
12:25provides new perspective
12:27new ways of thinking
12:27about the gothic
12:28as a cultural phenomenon
12:29there are a couple of
12:32generations of artists
12:33who are working
12:34from the 1770s
12:351780s 1790s
12:36into the early 19th century
12:37who really engage
12:39in a very kind of
12:40vigorous and inventive way
12:41with gothic themes
12:42but ahead of this
12:43really there's
12:43Henry Fusley
12:44a swiss-born artist
12:47who became a sensation
12:48in the british art world
12:49in the 1770s and 1780s
12:51and he really kind of
12:53pioneered supernatural
12:55fantastic
12:56uncanny themes
12:57in visual art
12:58somebody whose art
13:00really was at the
13:01kind of
13:01the boundaries
13:02of good taste
13:03or legitimate taste
13:05Henry Fusley
13:06is really the pioneer
13:07gothic artist
13:08Fusley created
13:11perhaps the most
13:12single iconic
13:13gothic visual image
13:15the nightmare
13:16this famous
13:18famous painting
13:18famous instantly
13:19famous painting
13:20and famous ever since
13:21of a young woman
13:23lying in bed
13:24in a white dress
13:25clearly disturbed
13:26in her sleep
13:27as an evil imp
13:29sits on her chest
13:30and a horse
13:31sticks its evil
13:32looking face
13:33through the curtains
13:34at the back
13:34an image that was
13:35exhibited for the first
13:36time at the royal
13:37academy in 1782
13:38instantly created
13:40a sensation
13:40was reproduced
13:41lampooned
13:42talked about
13:43constantly in the
13:44centuries since
13:45the woman on the bed
13:47is very light-skinned
13:48she's pale
13:49she's fair-haired
13:50the imp
13:51is dark-skinned
13:52and has a kind of
13:54racially caricatured
13:56physiognomy
13:56there's something
13:58in the mix there
13:59which is drawing on
14:00folklore
14:00ideas about
14:01the gothic unconscious
14:02the return of the
14:03repressed
14:04the dream state
14:05and what that might
14:06unleash in all sorts
14:07of regards
14:08but it's also
14:09an image about
14:10fear of otherness
14:11fear of race
14:13after Henry Fusley
14:21you have as a key figure
14:22William Blake
14:22and there are very
14:24strong gothic themes
14:25within Blake's writings
14:27and his visual art
14:28as well
14:29ghosts and spectres
14:31the presence of the
14:32medieval past
14:33is really important
14:34in his art
14:34but there were people
14:36before him
14:37look at Joseph Wright
14:38of Derby
14:39artists in the
14:401760s and 1770s
14:42George Romney
14:43working in very inventive
14:47graphic styles
14:48often with more
14:49private works of art
14:50rather than things
14:50that they were showing
14:51in public
14:51for an artist like
14:53William Blake
14:54he's obviously very
14:55idiosyncratic
14:56and a lot of his art
14:56is under the radar
14:58really
14:58it's circulating
14:59in quite a small circle
15:00of friends and patrons
15:01for him
15:02the gothic represents
15:04an idea of
15:05authenticity
15:05of deep history
15:07a way of challenging
15:08the status quo
15:09and creating his own
15:10imaginative world
15:11what are those
15:19golden builders doing
15:20near mournful
15:22ever weeping
15:23Paddington
15:24standing above
15:26that mighty ruined
15:28where Satan
15:29the first victory won
15:30where Albion
15:33slept
15:34beneath the fatal tree
15:35and the druid's
15:38golden knife
15:39rioted in human gore
15:42in offerings of human life
15:44they groaned aloud
15:47on London's stone
15:48they groaned aloud
15:50on Tyburn's brook
15:52Albion gave his deadly groan
15:55and all the Atlantic
15:56mountains shook
15:57Albion's spectre
16:00from his loins
16:01tore forth
16:03in all the pump of war
16:04Satan his name
16:07in flames of fire
16:09he stretched his druid
16:12pillars far
16:13William Blake's
16:16Ghost of a Flea
16:17this tiny image
16:19certainly
16:19you know
16:19it's a few inches tall
16:21really kind of
16:22embodies
16:23a whole
16:24idea
16:25of
16:26vampiric
16:27monstrosity
16:27so the gothic
16:30for visual artists
16:31I think much more
16:31than for
16:32literary writers
16:33gothic
16:34for visual artists
16:36is about exploring
16:37the possibility
16:38of creating an art
16:40which is autonomous
16:41which is
16:42which derives from
16:43the artist's imagination
16:44that landscape paintings
16:46in the early 19th century
16:47in Britain
16:47is an incredibly diverse
16:49and energetic form
16:51and it takes all sorts
16:52of different directions
16:53with Turner
16:53particularly
16:54you have a bold
16:56imaginative
16:57kind of intellectually
16:58ambitious art
16:59which is often gothic
17:01because
17:02well there are kind of
17:02gothic castles
17:03and there's medieval motifs
17:04but also gothic
17:05and it's conjuring
17:06of subjective states
17:07and of imagination
17:09and sometimes of dream
17:10and uncertainty
17:11but then on the other
17:14kind of extreme
17:15you have artists
17:15who are painting
17:16apocalyptic
17:17imaginative
17:18sensational themes
17:20key amongst these
17:22is John Martin
17:22John Martin
17:24is a fascinating figure
17:25very commercially successful
17:27he had his ups and downs
17:28but on the whole
17:29a very prominent
17:31public figure
17:32and known particularly
17:33for paintings
17:35of vast apocalyptic
17:37and biblical scenes
17:39teeming with figures
17:41often with supernatural elements
17:43or shocking atmospheric effects
17:46lightning storms
17:48huge waves
17:50for some people
17:51John Martin
17:52is a painter of the sublime
17:53he's a painter of
17:54the highest imagination
17:56but for many critics
17:58John Martin
17:59is an outrageous figure
18:00he's a showman
18:00Caspar David Friedrich
18:04is regarded as the most important
18:06German artist
18:07of his generation
18:08his work is full of
18:10gothic description
18:11evocation of the divine
18:13and the tragedy of nature
18:15Friedrich's early life
18:17is absolutely shadowed
18:20by tragedy
18:21he lost his mother
18:22when he was seven
18:23he lost two of his sisters
18:26by the time he was 18
18:27when he was 13 years old
18:30his brother Johann
18:32tried to rescue him
18:34because they were on thin ice
18:35they'd gone skating
18:36Johann fell through the ice
18:42Friedrich had to watch his brother die
18:45the wanderer above the sea of fog
18:50is one of his paintings
18:52which I find most melancholy
18:54by having a figure in the foreground
18:56what we are forced to do
18:59is to look at this landscape
19:01as though it was one
19:02that we were looking at
19:03rather than this unknown spectator
19:06is one that must have taken him back
19:16to those childhood experiences
19:17another picture
19:24shows a sea that is completely frozen
19:27but it's frozen
19:29almost as though it had been captured
19:31at the point where
19:32the wave was breaking
19:33there's nobody there
19:35it's just a barren ice scape
19:38but one that is itself quite dramatic
19:40because it's as though
19:41a moment of great upheaval
19:43has just suddenly been frozen
19:45it's actually a very influential picture
19:49and it's one that Paul Nash
19:51one of the war artists
19:53in the Second World War
19:54would return to
19:55in showing crashed aircraft
19:57forming a similar kind of landscape
20:00of rising forms
20:01all of which are frozen in time
20:04the participants
20:06in the Gothic story
20:07painting, film
20:09are all seeking a reason
20:12seeking an understanding
20:13seeking something
20:15to make sense
20:16of what we are
20:19the playfulness
20:22that in my view
20:24is always associated
20:25with the terror of Gothic
20:27is one of the ways
20:29in which it is
20:30a serious mode
20:32because play is serious
20:35play is the way
20:37in which we can create
20:40imaginative responses
20:42to real threats
20:44threats that arise
20:47from the culture
20:48in which we find ourselves
20:50threats that might arise
20:52for instance
20:53from the dehumanizing
20:56effects of capitalism
20:58the dehumanizing effects
21:01of unchecked militarism
21:04we can find ways
21:06of resistance
21:07within those spaces
21:09those imaginative spaces
21:12that Gothic creates for us
21:15I remember
21:15I can actually remember
21:17certain feelings
21:18as a child
21:19where you know
21:19you're new to the world
21:20and so you know
21:21there's this whole world
21:22going on
21:23so how do you really
21:23learn about it
21:24I mean
21:25to me those stories
21:26were the way
21:26to learn about it
21:27I never thought of myself
21:29as a strange child
21:31I mean
21:31I like monster movies
21:32and I played
21:33in the local cemetery
21:34but most of the kids did
21:36once you're sort of
21:39looked upon as strange
21:41then there's kind of
21:42a freedom about it
21:43you're able to kind of act
21:44you know
21:44a bit more eccentrically
21:46than you know
21:47the other kids
21:49because they've put you
21:50in that category
21:51oh my
21:53I can see that
21:55I disturbed you
21:55how stupid of me
21:57you know
21:57for me
21:58watching Frankenstein
21:59and seeing the angry villagers
22:01I could relate them
22:02to like my neighbors
22:03and all
22:04and actually
22:04it helped me
22:06you know
22:06it helped me
22:06to kind of understand
22:07that people can be good
22:08and be bad
22:09and things aren't
22:10what they seem
22:11all the time
22:12and it's
22:12I think it's
22:14the most positive way
22:15of learning about life
22:17the Gothic revival
22:23in architecture
22:24is an extraordinary
22:25cultural phenomenon
22:27I think it's useful
22:30to think about it
22:31in two distinct phases
22:32a first stage
22:35or a first wave
22:36if you like
22:37that kicks off
22:38round about
22:39the mid-18th century
22:40with people like
22:41Horace Walpole
22:42and his circle
22:43self-consciously building
22:46in a Gothic style
22:48reviving a style
22:49that is very much
22:50maligned
22:50out of fashion
22:52not in keeping
22:53with the neoclassical
22:54tastes of the age
22:55William Beckford
22:59was the richest man
23:00in England
23:01through his ownership
23:02of extensive
23:02slave plantations
23:04in Jamaica
23:04in Fontel Abbey
23:09Beckford built
23:10the most extraordinary
23:11Gothic house
23:12ever built
23:13in Britain
23:13wealth derived
23:17from Jamaican plantations
23:19like Beckford's
23:20was a major component
23:22in the expansion
23:23of the British economy
23:24in the 18th and 19th centuries
23:26Fontel Abbey
23:28is an extraordinary
23:29experiment
23:31if you like
23:32it is
23:34an expression
23:35of hubris
23:36an expression
23:37of wealth
23:39it is
23:42an expression
23:43of what we would
23:44now call
23:44high camp
23:46but the sheer scale
23:49is impressive
23:49too
23:50when we go back
23:54to the original
23:55Gothic
23:56the medieval Gothic
23:57that
23:58aspirational
24:00aspect
24:01of Gothic
24:02architecture
24:02is very much
24:03associated
24:04with
24:04a theology
24:05when we
24:09get to
24:10someone like
24:11William Beckford
24:12scale
24:14has been divested
24:15of its theology
24:16and scale
24:17is taken up
24:18instead
24:18by the
24:2018th century
24:21aesthetic
24:21of the sublime
24:23that which
24:25overwhelms
24:26that which
24:27dwarfs
24:29human existence
24:30in the face
24:31of sublime
24:33grandeur
24:34but it is
24:37also
24:38fuelled
24:40by the
24:40crazy
24:41yet creative
24:43images
24:44and
24:46designs
24:47of
24:48James
24:48Wyatt
24:49who is
24:50a notoriously
24:51unreliable
24:53and
24:53controversial
24:54Gothic
24:56revival
24:56architect
24:57he does
24:59work
25:00with
25:00Beckford
25:01at
25:01Font Hill
25:01Abbey
25:02driven
25:03by this
25:04need
25:04to impress
25:05to overwhelm
25:06when the
25:08central tower
25:11at Font Hill
25:12collapses and
25:13destroys part of the
25:15building
25:15now it's not the first
25:16time that the tower
25:18had collapsed
25:19but it is
25:20one after which
25:21Beckford did not
25:23repair
25:24and it was clear
25:26that from this time
25:27already he was
25:28thinking of getting rid
25:30of Font Hill Abbey
25:31but it is I think
25:32kind of symbolic
25:33perhaps of the end
25:36of the first wave
25:38of the Gothic
25:39revival
25:40the sign of a kind
25:42of Babel-like
25:44hubris
25:45that had come to
25:46nothing
25:46then later we have
25:50a second wave
25:52of the Gothic
25:52revival
25:53very much
25:54associated with
25:55some of the most
25:56well-known
25:57buildings in London
25:59St. Pancras
26:00Station
26:00perhaps more
26:02markedly
26:03the rebuilt
26:04Houses of Parliament
26:05of Pugin and
26:06Barrie
26:07what you have
26:09in the
26:10rebuilding
26:12of the Houses
26:13of Parliament
26:13for example
26:14is a kind
26:16of Tory
26:17sermon
26:18in stone
26:19a statement
26:23of authority
26:24of civic
26:26virtues
26:26of establishment
26:28values
26:29and perhaps
26:30of a conservative
26:31cultural politics
26:32the American
26:36context
26:37architecturally
26:38is interesting
26:39because if you look
26:40at a city
26:41like Washington
26:43it's very
26:44self-consciously
26:45classical
26:46very much
26:47like
26:48post-revolutionary
26:50France
26:50a deliberate
26:52turning
26:52of the back
26:54upon the Gothic
26:55style
26:55associated with
26:56the ascendance
26:58of the colonial
26:59centre
26:59and to a certain
27:01extent
27:02monarchical
27:03past
27:03for Republican
27:06contexts
27:07like post-revolutionary
27:09France
27:09and like America
27:10the Gothic
27:11is not the chosen
27:12style
27:13the most physical
27:16and politically
27:17significant
27:18imperial Gothic
27:19can be seen
27:20in Gothic
27:20colonial architecture
27:21with a reach
27:23going far beyond
27:24India
27:24Australia
27:25the British Empire
27:26but even
27:27to Vietnam
27:28you often have
27:30Gothic Revival
27:31buildings built
27:33in colonial
27:33contexts
27:34as a sign
27:36of colonial
27:37power
27:37and British
27:39authority
27:40in the colonies
27:41throughout the world
27:44large
27:45and sometimes
27:46fantastical
27:46buildings
27:47were built
27:48to be seen
27:48as statements
27:49of the central
27:50colonial power
27:51the end of the
28:0018th century
28:00is absolutely
28:01a moment
28:02at which
28:02the possibility
28:03of art
28:04playing a social
28:04function
28:05of art
28:06having a kind
28:07of moral role
28:07within society
28:08is up for grabs
28:11the sense
28:13that culture
28:14has kind of
28:15lost its way
28:15it's become
28:16commercial
28:17and debased
28:18or it's become
28:19an instrument
28:20of commerce
28:21society
28:24kind of lacks
28:26enough
28:27common sense
28:29or common values
28:30for art
28:31to articulate
28:31that
28:32cultural commentators
28:35in the field
28:37of architecture
28:38they look back
28:39to the Gothic
28:40the kind of
28:40medieval Gothic
28:41as a moment
28:42of certainty
28:43as a moment
28:43of authenticity
28:44as a moment
28:45of a kind
28:45of common
28:46culture
28:46because the
28:47understanding
28:47is that
28:48we've lost
28:49that in the
28:50modern world
28:50now the payoff
28:51is what you have
28:53instead
28:54is individual liberty
28:55individual freedom
28:56and the creative artist
28:58is the exemplar
28:59of that
28:59the artist's freedom
29:02is the freedom
29:03of society
29:04at its highest pitch
29:05how do you square
29:07that off
29:08and I don't know
29:08how you do
29:09and I think
29:09that's a dilemma
29:10that's a question
29:11which is within
29:12Gothic visual art
29:13at the end
29:14of the 18th century
29:14that it's art
29:16which is understood
29:17to be unusually
29:18imaginatively free
29:20and expressive
29:22even
29:22and yet
29:24what's it about
29:24what's it for
29:25what does it tell you
29:26about society
29:27and 300
29:28320
29:28at 350
29:29how does it
29:30create a sense
29:31of value
29:32or of certainty
29:33and it doesn't
29:34so is this
29:36the kind of payoff
29:37that the artist's
29:39freedom
29:40is won
29:41at the expense
29:41of any
29:42real sense
29:43of certainty
29:44about cultural value
29:45or even the value
29:46of culture
29:46the efficacy
29:49of these images
29:50is to do with
29:51the degree
29:51that they engage
29:52and they entertain
29:53now you might say
29:55art
29:57culture
29:59should have
30:00a clearer
30:01political position
30:02it should be more
30:02clearly political legible
30:03frankly it's not
30:05and so much
30:06that we have
30:07in terms of social
30:08media discourse
30:08or media discourse
30:10generally
30:10or cultural discourse
30:12has it both ways
30:14I think that's the thing
30:15which really emerges
30:16as part of the gothic
30:17in the late 18th century
30:18is having your cake
30:19and eating it
30:19you know
30:20having art
30:21which can appear
30:22high-minded
30:22but which is also
30:23very debased
30:24art which might come
30:25from a place
30:26of kind of
30:27liberal progressiveness
30:29but actually
30:30opens up
30:31and makes visible
30:33very regressive
30:34or violent
30:37positions as well
30:38whether you
30:40think of the gothic
30:42as a positive
30:42cultural phenomenon
30:43or a negative one
30:45I don't think
30:46it's easy to resolve
30:47one way or another
30:48but what it does mark
30:50is the point at which
30:51that question
30:52becomes a real question
30:55it becomes a question
30:57of which cannot be resolved
30:59what is art for
31:01and who is it for
31:03and what stories
31:05should it tell
31:06those are questions
31:07that the gothic
31:08opens up
31:08the gothic persists
31:15and adapts
31:16too silly
31:19to be taken seriously
31:21but too full
31:22of sublime terror
31:23to leave feathers
31:24unruffled
31:25it finds fresh
31:28political horrors
31:29to satirize
31:30and condemn
31:31and new desires
31:33to conceal
31:33and reveal
31:34it is always available
31:37on the fringe
31:38of our society
31:39and its fears
31:40in the end
31:43the one
31:44coal-eyed teen
31:45dressed in black
31:46who watches
31:47gothic horror movies
31:48at noon
31:49has something
31:50of the spirit
31:51of the tribes
31:51that sacked Rome
31:53barbarous
31:54possibly
31:55but throwing off
31:56all that is
31:57constraining
31:58and plight
31:58by transgressing
32:01against all moral
32:02and aesthetic norms
32:04we are proposing
32:05something more reckless
32:06and free
32:07the relationship
32:11between the visual
32:13gothic
32:13of the 18th
32:14and 19th century
32:15and modern cinema
32:16is
32:17a really rich
32:18field to explore
32:20hasn't really
32:29probably been explored
32:30fully enough
32:31keep still you little devil
32:41or I'll cut your throat
32:41no sir
32:42no
32:42there's a kind of
32:45proto-cinematic quality
32:46within the 18th century
32:48gothic
32:48we know
32:50from the early days
32:52of Hollywood
32:52that art directors
32:54knew John Martin's work
32:56they knew Henry Fusley's art
32:57they knew it through prints
32:58and they knew it through
32:59productions
32:59they're using them
33:01as a kind of source book
33:02for what a monster
33:04would look like
33:05or what a gothic castle
33:08should look like
33:09there are scenes
33:18in many of the Dracula films
33:21and the Frankenstein films
33:23where a coach is
33:26ploughing its way
33:27through some mountainous
33:29landscape or other
33:30usually painted on glass
33:31by a special effects artist
33:33in Hollywood
33:33and there you will see
33:35on a summit of rock
33:37a crucifix raised
33:39with a figure on it
33:40not the crucifixion
33:42but a crucifix
33:43representing that
33:44that's an image
33:45which is shown
33:46over and over again
33:47early German cinema
33:49because not all of it
33:49was necessarily expressionistic
33:51is looking to certain
33:53painting traditions
33:54expressionism
33:55very actively
33:56to try and portray
33:57their stories
33:58tell their stories
33:59a good example
34:00is Caligari
34:01which is looking
34:03to expressionism
34:04in art
34:05to tell its story
34:06of an unhinged
34:07villainous character
34:09but this is where
34:16the visual language
34:17may be echoing
34:18what is happening socially
34:19not always in a direct way
34:23cinema is always made
34:25with an audience in mind
34:26and it cannot help
34:27but reflect its time
34:28we go back to those texts
34:30especially as critics
34:32as academics
34:32and we mine them
34:34for those connections
34:35whether they're there
34:38always from the start
34:39is hard to ascertain
34:41so we look for example
34:43now at a text
34:44like Frankenstein
34:45and it's almost difficult
34:47not to see
34:47in that film
34:48a critique of
34:49the Nazis
34:50for example
34:51I don't know
34:53if that was necessarily
34:54a deliberate idea
34:55when the film
34:56was being put together
34:57but I guess you could argue
34:58it was in the air
34:59any one of these
35:00these artists
35:02who are engaging
35:02with gothic themes
35:03and the gothic imagination
35:04is open to interpretation
35:06and it's a kind of
35:08multifaceted phenomenon
35:09I think almost that's
35:12the kind of characteristic
35:12the defining characteristic
35:13of the gothic
35:14is that ambiguity
35:15is the way that
35:16these themes
35:17can be at once
35:19high-minded
35:20and debased
35:21enlightening
35:22and regressive
35:23a fairy tale
35:25it's like
35:25well you know
35:26there's
35:27in some people's mind
35:28it's a very
35:29light story
35:30for children
35:30and other people
35:31it's this
35:32incredibly dark
35:33you know
35:34almost horror stories
35:36things
35:36for me
35:37have always had
35:38different meanings
35:39same with the word
35:40normal
35:40it's like
35:41it's such a disturbing
35:42word
35:43you know
35:43they just throw
35:44you're not normal
35:45you are normal
35:46and it's such a
35:48meanings of words
35:51have
35:52sometimes
35:53complete opposite
35:54meanings for me
35:55queer gothic
35:57is
35:58mainstream
36:00increasingly
36:01and we only
36:02have to look
36:02at
36:03a film
36:04like
36:04the Rocky Horror Picture Show
36:06to see
36:08how
36:08the standard
36:10canonical gothic text
36:12such as
36:14Mary Shelley's
36:14Frankenstein
36:15is queered up
36:17in
36:18that
36:19classic
36:20piece of cinema
36:21which
36:21has become
36:23a cult classic
36:25all we wanted to do
36:26was to use
36:27your telephone
36:27goddammit
36:28a reasonable request
36:29which you've chosen
36:30to ignore
36:31don't be ungrateful
36:32ungrateful
36:32how forceful
36:35you are Brad
36:36such a perfect
36:38specimen of manhood
36:39so
36:40dominant
36:41gothic is used
36:44to articulate
36:45alternative modes
36:47of desiring
36:48non-heteronormative
36:50modes of desiring
36:51I suppose
36:56you'll want these
36:56pulled down
36:57won't you
36:57yes
36:58finish your wine
37:05it'll warm you
37:06stand by the fire
37:10for a moment
37:11mustn't catch cold
37:14why are you looking
37:21at me that way
37:22won't I do
37:24yes you'll do
37:26very well indeed
37:27sexualized identities
37:30different forms
37:31of sexuality
37:32are punctuated
37:33in the body
37:34of the monster
37:35so the monster
37:36always does
37:37important
37:38cultural work
37:39demonstrating
37:40the problems
37:42of these social evils
37:44and showing us
37:45how to avoid them
37:46we think of
37:56Stevenson's
37:57Dr. Jekyll
37:57and Mr. Hyde
37:58please
38:00or Oscar Wilde's
38:06The Picture of Dorian Gray
38:08these tales of doubling
38:10are very closely tied
38:13into the double lives
38:15that many homosexual men
38:18of the 19th century
38:19were expected to lead
38:21this fundamental trope
38:26of doubling
38:27which is so important
38:28to the Freudian uncanny
38:29later
38:30is intimately tied
38:32into sexual practices
38:35of the late Victorian period
38:38now the queer
38:40gothic will continue
38:41and in fact
38:43its most popular
38:45point of application
38:46or uptake today
38:48is in horror film
38:50Sally I hear something
38:51Tobe Hooper
38:52the director of the
38:53unremittingly violent
38:55horror film
38:56The Texas Chainsaw Massacre
38:57said of it
38:58man was the real monster here
39:01just wearing a different face
39:03so I put a literal mask
39:05on the monster
39:05I think it's important
39:08to recognise
39:09that within
39:11the gothic
39:12there is
39:12a powerful
39:14and enduring
39:15association
39:16with young people
39:18finding
39:19an identity
39:20finding a way
39:22of coping
39:23with the demands
39:25of becoming
39:27fully adult
39:29it involves
39:30it involves
39:31thinking about
39:32models
39:33of power
39:35political power
39:36social
39:37cultural
39:38power
39:39but it also
39:40involves
39:41creating means
39:43of confronting
39:45dealing with
39:47perhaps even
39:47escaping
39:48those models
39:50creating
39:51a kind
39:52of generous
39:53otherness
39:54in a way
39:56that isn't
39:57replicated
39:58in other
39:59art forms
40:00it is hard
40:08not to see
40:09in war
40:09and particularly
40:11the first world war
40:12the ultimate expression
40:14of the gothic notion
40:16of the return
40:17of the repressed
40:18that which is not
40:22wanted to be known
40:23the violence
40:27that lies
40:28at the heart
40:28of the nature
40:29of man
40:29the delusion
40:34that is not
40:34acknowledged
40:35the facts
40:37that are not
40:38known
40:38or just
40:39forgotten
40:39or never
40:40known
40:41the murder
40:46most foul
40:47of humankind
40:48by humankind
40:49going beyond race
40:56into the heart
40:57of darkness
40:57itself
40:58the loss
41:01of control
41:02of life
41:02itself
41:03the ultimate
41:07hallucination
41:08the final
41:13haunting
41:13that has no
41:14end
41:15in the end
41:20of life
41:21itself
41:21the wounded
41:28the war spent
41:30the sick
41:32received
41:32no exemption
41:33that flesh
41:37we had nursed
41:37from the first
41:38and all cleanness
41:40was given
41:41to corruption
41:42unveiled
41:42and assailed
41:44by the malice
41:45of heaven
41:45by the heart
41:48shaking
41:48jests of decay
41:49where it
41:51lulled
41:52on the wires
41:52to be blanched
41:55or gay-painted
41:56by fumes
41:57to be scindered
41:59by fires
42:00to be senselessly
42:02tossed
42:03and re-tossed
42:04in stale
42:05mutilation
42:06from crater
42:08to crater
42:09for this
42:11we shall take
42:13expiation
42:14but who shall
42:17return us
42:17our children
42:19a man knelt
42:26behind a line
42:27of headstones
42:28evidently a gardener
42:31for he was firming
42:32a young plant
42:33in the soft earth
42:34she went
42:36towards him
42:36her paper
42:37in her hand
42:38he rose
42:40at her approach
42:41without prelude
42:42or salutation
42:43asked
42:43who are you
42:45looking for
42:45lieutenant
42:49michael
42:49churrell
42:50my nephew
42:51said helen
42:52slowly
42:52the man
42:55lifted his eyes
42:56and looked at her
42:58with infinite
42:59compassion
42:59before he turned
43:01from the fresh
43:02sown grass
43:02towards the naked
43:04black crosses
43:05come with me
43:09he said
43:09and i will show you
43:11where your son lies
43:13when helen
43:19left the cemetery
43:20she turned
43:21for a last look
43:22in the distance
43:26she saw the man
43:28bending over
43:28his young plants
43:29and she went away
43:31supposing him
43:33to be the gardener
43:34Kipling likens
43:38the gardener
43:39to the figure
43:40of Jesus Christ
43:41a haunting
43:44a benevolent ghost
43:48it could well
44:05be argued
44:05that the gothic
44:07isn't finally
44:09a very useful term
44:11it's vague
44:13you can't really
44:14pin it down
44:16it is
44:17very inclusive
44:18of a huge number
44:21of cultural
44:22phenomena
44:23i believe
44:26gothic writers
44:27are optimistic
44:29in terms of
44:31believing
44:33their willingness
44:33to show
44:34the ugliness
44:36will mean
44:36people will recognize
44:37it or at least
44:38meditate on it
44:39mary shelley's
44:41frankenstein
44:42was meant to
44:43meditate
44:44on the
44:46abolitionist
44:46debates
44:47was meant as
44:49an invitation
44:50to meditate
44:51on the nature
44:52of racial
44:53difference
44:53to think about
44:55the challenge
44:56of always
44:58being aware
44:59of the need
45:00to continue
45:01resisting oppression
45:03for yourself
45:05and for others
45:06it's a mode
45:07that enables
45:08people to think
45:10to think about
45:11those deeply
45:12troubling
45:13boundaries
45:14boundaries
45:16between
45:17the living
45:18and the dead
45:20the wealthy
45:22and the powerless
45:23the male
45:25and the female
45:26the animal
45:28and the human
45:29there is within
45:31the gothic
45:33a resistance
45:35to the
45:37how can I put it
45:39the claimed
45:40superiority
45:41of the intellectual
45:43and the abstract
45:45the gothic
45:47enables people
45:48who feel excluded
45:50from that voice
45:51nevertheless
45:53to think about
45:55the terms
45:55of their
45:57lived
45:58experience
45:59its multiplicity
46:02and its imaginative
46:04exuberance
46:05and its
46:07playfulness
46:08which I do think
46:09is at the heart
46:11of its forms
46:13of terror
46:15mean that
46:16it is
46:17always useful
46:19has been useful
46:20and is
46:21perhaps more useful
46:23now than ever
46:24we have to do
46:25the work
46:26of imagining
46:27what we want
46:29to see
46:29and then work out
46:31the method
46:31of getting there
46:32the best example
46:34I can give you
46:34is the abolition
46:35of slavery
46:36in the mid
46:3818th century
46:40it seems
46:41a world
46:42without slavery
46:43was an impossibility
46:44and yet we were able
46:46to imagine
46:47an existence
46:49without the system
46:51of institutionalized slavery
46:52now that's not to say
46:53that slavery
46:53doesn't continue
46:54under another name
46:55but we don't have it
46:57institutionalized
46:58in the same way
46:59there was at least
47:00some step forward
47:01but we found a way
47:03to end it
47:03and we will not
47:05be satisfied
47:06until justice rolls
47:07down like waters
47:09and righteousness
47:10like a mighty stream
47:11and peace
47:13and seemingly
47:15and
47:18and
47:18and
47:19and
47:19and
47:19Υπότιτλοι AUTHORWAVE
47:49Υπότιτλοι AUTHORWAVE
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