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After the extreme turn of the late 1980s and early 1990s of metal music, three northern England-based bands – My Dying Bride and Paradise Lost from Bradford, and Anathema…
After the extreme turn of the late 1980s and early 1990s of metal music, three northern England-based bands – My Dying Bride and Paradise Lost from Bradford, and Anathema from Liverpool, commonly referred to as ‘the Peaceville Three’ – went on to pioneer the musical style which came to be known as death/doom. Mid-1990s have seen these bands’ stylistic shift into a more gothic rock-influenced sound. This Paradise Lost-led shift gave birth to the style gothic/doom. Around this deviation, these bands also started to employ a different sense, or rather a sense, of locality in their music: Paradise Lost started calling themselves a Yorkshire band, instead of specifically Bradford; Anathema shot a video for their 1995 song ‘The Silent Enigma’ in Saddleworth Moor (historically part of West Riding of Yorkshire) in Manchester; and later, My Dying Bride became more and more ingrained in the Goth culture of Whitby, including releasing an extended-play titled The Barghest o’ Whitby (2011), a Dracula-inspired trail guide, and frequently appearing in festivals in Whitby. This ethnographic research with both musicians and fans further suggests the involvement of the North in making and perception of gothic/doom. Applying Michel de Certau’s idea stating that ‘every story is a spacial practice’ within the context of northern England landscape, gothic/doom metal style emerges as an act of northernness. The author proposes to discuss how this act is performed within these bands’ oeuvre and how it is perceived from the listener perspective using interviews with people from around the world, and musicological analyses of significant songs from the repertoire of this trio.
David Peace’s Red Riding quartet (1974; 1977; 1980; 1983) was published in the UK between 1999 and 2002. The novels are an excoriating portrayal of the violences of men…
David Peace’s Red Riding quartet ( 1974; 1977; 1980; 1983 ) was published in the UK between 1999 and 2002. The novels are an excoriating portrayal of the violences of men, focusing on paedophilia and child murder, the hunt for the Yorkshire Ripper and, predominantly, the blurring of boundaries between the activities of police officers, criminals and entrepreneurs. This chapter aims to examine the way in which the criminal entrepreneur draws on socially constructed ideas of masculinity and the capitalist ideal in order to establish identity. This will be achieved through an examination of John Dawson, a character central to the UK Channel Four/Screen Yorkshire’s Red Riding Trilogy, the filmed version of the novels, first screened in 2009. The central role of networks of powerful men in creating space for the criminal entrepreneur and the cultural similarities between police officers and criminal entrepreneur will be explored.
Using the research approach of bricolage, the chapter provides a reflexive commentary on the films, drawing on a number of other texts and sources, including news accounts of featured events and interviews with the author David Peace and the series co-producer Jamie Nuttgens – an analysis of the texts, using a framework suggested by van Dijk (1993) and McKee (2003) features.
The centrality of the idea of hegemonic masculinity to the activities of both police officers, and criminals and businessmen and Hearn’s (2004) assertion that the cultural ideal and institutional power are inextricably linked are examined through an analysis of the role of Dawson (and his three linked characters in the novels) in the Red Riding Trilogy.
The chapter provides an analysis of one film series but could provide a template to apply to other texts in relation to topic.
The social implications of the findings of the research are discussed in relation to work on the impact of media representations (Dyer, 1993; Hall, 1997).
It is intended that the chapter will add to the growing body of academic work on the criminal entrepreneur and the ways in which media representation of particular groups may impact on public perception and construction of social policy.