RED RIDING #1 by Tony Grisoni Based on the Novel "1974"
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Language and Style in David Peace's 1974: a Corpus Informed Analysis
Études de stylistique anglaise 4 | 2013 Style in Fiction Today Language and Style in David Peace’s 1974: a Corpus Informed Analysis Dan McIntyre Electronic version URL: http://journals.openedition.org/esa/1498 DOI: 10.4000/esa.1498 ISSN: 2650-2623 Publisher Société de stylistique anglaise Printed version Date of publication: 1 March 2013 Number of pages: 133-146 ISSN: 2116-1747 Electronic reference Dan McIntyre, « Language and Style in David Peace’s 1974: a Corpus Informed Analysis », Études de stylistique anglaise [Online], 4 | 2013, Online since 19 February 2019, connection on 01 May 2019. URL : http://journals.openedition.org/esa/1498 ; DOI : 10.4000/esa.1498 Études de Stylistique Anglaise LANGUAGE AND STYLE IN DAVID PEACE’S 1974: A CORPUS INFORMED ANALYSIS Dan McIntyre University of Huddersfield, UK Résumé : Cet article entend démontrer le potentiel interprétatif de l’analyse de corpus pour conforter ou corroborer une analyse stylistique qualitative. En s’intéressant à un passage du roman de David Peace, 1974, on démontre que l’analyse de corpus permet de valider des assertions qualitatives et de proposer une méthode relativement objective permettant de sélectionner un passage pour une analyse qualitative. Mots-clés : 1974, AntConc, linguistique de corpus, David Peace, “keyness”, Wmatrix. Introduction One of the inherent problems with analysing prose fiction is summed up by Leech and Short in their now famous Style in Fiction: …the sheer bulk of prose writing is intimidating; […] In prose, the problem of how to select – what sample passages, what features to study – is more acute, and the incompleteness of even the most detailed analysis more apparent. -
Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates. -
He Belonged to That Class of Men—Vaguely Unprepossessing, Often Bald, Short, Fat, Clever—Who Were Unaccountably Attractive to Certain Beautiful Women
McEw_9780385533416_2p_all_r1.qxp:Layout 1 1/20/10 11:06 AM Page 3 He belonged to that class of men—vaguely unprepossessing, often bald, short, fat, clever—who were unaccountably attractive to certain beautiful women. Or he believed he was, and thinking seemed to make it so. And it helped that some women believed he was a genius in need of rescue. But the Michael Beard of this time was a man of narrowed mental condition, anhedonic, monothematic, stricken. His fifth marriage was disintegrating, and he should have known how to behave, how to take the long view, how to take the blame. Weren’t marriages, his marriages, tidal, with one rolling out just before another rolled in? But this one was different. He did not know how to behave, long views pained him, and for once there was no blame for him to assume, as he saw it. It was his wife who was hav- ing the affair, and having it flagrantly, punitively, certainly without remorse. He was discovering in himself, among an array of emo- tions, intense moments of shame and longing. Patrice was seeing a builder, their builder, the one who had repointed their house, fitted 3 McEw_9780385533416_2p_all_r1.qxp:Layout 1 1/20/10 11:06 AM Page 4 IAN McEWAN their kitchen, retiled their bathroom, the very same heavyset fellow who in a tea break had once shown Michael a photo of his mock- Tudor house, renovated and tudorized by his own hand, with a boat on a trailer under a Victorian- style lamppost on the concreted front driveway, and space on which to erect a decommissioned red phone box. -
Chapter One Alexander Fleuret Woke up About Six O' Clock in the Morning and Found Himself Lying on the Bed Wearing Only Socks, M
Chapter One Alexander Fleuret woke up about six o' clock in the morning and found himself lying on the bed wearing only socks, Marks & Spencer navy underpants and brown PVC gloves. His head throbbed and his mouth felt oppressively dry. Sprawled over his bed, he stared at the ceiling. His frizzy black hair spilled across the white, overstuffed pillows. He opened his mouth, displaying only rotten stumps for teeth, put one hand to his fragile head while the other found the solid reassurance of the side of the bed. He craned forward groaning. He stumbled to the bathroom. Hearing to his dismay the cushioned but resolute footsteps of Carl on the stairs below, he made a dash for it. He mumbled a few words before scampering in and bolting the door, his hands clasped over his groin. Sober for over a year--and now this! Several embarrassing incidents had made him want to stop. He would drink between half and a full bottle of Bell's whisky a day on top of tranquillizers. One night he woke up in his best navy blue pin-striped suit, lying on his back halfway in the greenhouse doorway. The profound contemplation of the stars was the last thing he remembered. Halfway up the path there was a whisky bottle. Lately, morphine had been his main sedative, but he was still taking the odd Diazepam just out of habit. Regardless of whose company he was in, he would sit swigging from a bottle of Kaolin and Morphine mixture, up to three a day. When the kids were playing in the street outside, during the school holidays, they were a regular source of annoyance to him. -
Old Jack's Boat
OLD JACK’S BOAT / TX01: THE PEARL EARRING / POST PRODUCTION SCRIPT Post Production Script Old Jack’s Boat – TX01: The Pearl Earring By Tracey Hammett Characters appearing in this script: Jack Miss Bowline-Hitch Emily Scuttlebutt Ernie Starboard Pearl (Shelly Perriwinkle) MUSIC 1 10:00:00-0138 SCENE 1: TITLES/JACK’S INTRO/SONG IN THE TITLES OLD JACK’S BOAT TAKES A COURSE ALONG AN ANIMATED MAP. WEAVING IN AND OUT OF THE VARIOUS SITUATIONS AND CHARACTERS FROM THE STORIES. AT THE END OF THE ANIMATED JOURNEY, OLD JACK’S BOAT AT 20” RISES UP TO FORM THE ‘OLD JACKS’ BOAT LOGO. A FAST ZOOM IN TO THE BOAT’S PORTHOLE FINDS JACK EXITING HIS HOUSE ALONG WITH SALTY. 10:00:21 SCENE 2: OLD JACK’S COTTAGE JACK PULLS THE DOOR BEHIND HIM AND POINTS TO CAMERA JACK: Good day to you! JACK WINKS AND THEN STRIDES OFF DOWN THE ROAD WITH SALTY. THE MUSIC SEQUES INTO “JACK’S SONG” 10:00:28 SCENE 3: EXT VILLAGE SEES JACK WALKING THROUGH THE VILLAGE MEETING HIS VARIOUS FRIENDS. HIS FRIENDS ARE EACH ON THE WAY TO WORK. THERE IS A GENERAL AIR OF BUSY ACTIVITY AS EACH OF THE CHARACTERS GETS READY FOR 1 OLD JACK’S BOAT / TX01: THE PEARL EARRING / SHOOTING SCRIPT THEIR DAY. OLD JACK WAVES TO THEM AND THEY WAVE BACK. THE LYRICS OF THE SONG THAT JACK IS SINGING GIVE A BRIEF, FOND DESCRIPTION OF EACH OF THE CHARACTERS. AT THE END OF THIS INTRODUCTION SEQ THERE IS AN ANIMATED GRAPHIC OF A FISH THAT WIPES THROUGH FRAME. -
The Violences of Men: David Peace's 1974
The violences of men: David Peace’s 1974 The violences of men: David Peace’s 1974 THE VIOLENCES OF MEN: DAVID PEACE’S 1974 Ian Cummins: Salford University [email protected] Dr Martin King: Manchester Metropolitan University [email protected] A revised version of this paper was published CULTURE, SOCIETY & MASCULINITIES, VOLUME 6 ISSUE 1, SPRING 2014, PP. 91–108 1 | P a g e The violences of men: David Peace’s 1974 This article examines representations of hegemonic masculinity and the resultant “violences of men” in the context of literature on representations of men and masculinities and representations of policing in TV and films. Using bricolage as a theoretical hub, an analysis is made of hegemonic masculinity at work in the film 1974 (produced by Channel Four and Screen Yorkshire in 2005) based on the first of the novels from David Peace’s Red Riding quartet. An ex- amination of three of the film’s characters—a “young turk” journalist, an old- school Detective Inspector, and a criminal entrepreneur—and the ways in which they are drawn together in a plot which centres on violence and corruption, provides examples of the adaptive nature of hegemonic masculinity and the centrality of power and violence to this concept. The value of examin- ing the past in relation to the present is also addressed. Keywords: hegemonic masculinity, David Peace, bricolage, Red Riding Quartet (1999-2002) O’Sullivan (2005) has argued that it is difficult to tell what the real life impact of screen portrayals of policing have. -
London Home of Menswear
LONDON IS THE HOME OF MENSWEAR TEN ICONIC STYLES BRITAIN GAVE THE WORLD TEN ICONIC STYLES BRITAIN GAVE THE WORLD The home of the world’s oldest milliner and the birthplace of THE THREE PIECE SUIT DANDY the brogue shoe; London has evolved into the leading centre of innovation and craftsmanship in men’s fashion. We have given the In October 1666, Charles II introduced a ‘new At the beginning of the 19th century George world the three-piece suit, the trench coat and the bowler hat. fashion’. He adopted a long waistcoat to be worn (Beau) Brummell established a new mode of with a knee-length coat and similar-length shirt. dress for men that observed a sartorial code Since 1666, the areas of Mayfair, Piccadilly and St. James have Samuel Pepys, the son of a tailor recorded in his that advocated a simplified form of tailcoat, a become synonymous with quality, refinement and craftsmanship diary that Charles had adopted ‘a long cassocke linen shirt, an elaborately knotted cravat and full after being colonised by generations of hatters, shoemakers, shirt- close to the body, of black cloth, and pinked with length ‘pantaloons’ rather than knee breeches and makers, jewellers and perfumers. white silk under it, and a coat over it’. This marked stockings. An arbiter of fashion and a close friend the birth of the English suiting tradition and over of the Prince Regent, Brummell had high standards Today the influence of this exclusive enclave of quality menswear time the waistcoat lost its sleeves and got shorter of cleanliness and it is claimed that he took five has spread across London and beyond. -
A Journey to George Scott King
Fuel For A Future Reminisce: A Journey To George Scott King We still don’t have a blind in our bathroom. Religiously, every week, my girlfriend tapes a new piece of plain A4 paper to the window. In her imagination this works as a temporary blind, stopping the local perverts and sex pests from staring at her while she has a shower. I don’t know why she doesn’t tape up three pieces of A4 to com- pletely block out the window, or why we don’t get a blind. As I stood in the shower a few weeks ago, trying to hide behind the sheet of paper, I was struck by a thought, ‘If we lived by the sea, with no neighbours, we wouldn’t need a blind. Or a piece of paper’. This is my ‘escape fantasy’. Nothing new. I dream of leaving Lon- don a few times every week. I don’t just think about leaving either, I take my fantasy to new heights, I research it, I live it. I’m one of those people you see in seaside towns; one of the tossers who spends their whole weekend looking in estate agents’ windows, blocking the pavement while loudly discussing the relative merits of the Kent coastline, marveling at how many ‘sea glimpses’ you can buy for the price of a basement flat in Finsbury Park. After the shower I go and I sit at my desk. I type ESTATE AGENTS WHITSTABLE into Google. It’s always the same thought process: ‘We could sell this house and move to the seaside. -
The Impact & Presence Pocketbook
THE IMPACT & PRESENCE POCKETBOOK By Pam Jones & Janie van Hool Drawings by Phil Hailstone "This little gem tells you all you need to know about making a positive impact. The user- friendly format and excellent content make it essential for anyone in business." Maura O'Mahony, Management Development Manager, Allied Irish Bank (GB) "Provides invaluable advice on how to develop yourself, great tips and hints on how to do it and useful exercises to get you started." James Moncrieff, Director, LMT Consulting "A fun, pragmatic approach developed by experts in their fields. Applicable in areas of business and personal life." Monica Kinder, Assistant Manager, Management Development, Allied Irish Bank (GB) Published by: MANAGEMENT Management Pocketbooks Ltd POCKETBOOKS Laurel House, Station Approach, Alresford, Hants SO24 9JH, U.K. Tel: +44 (0)1962 735573 Fax: +44 (0)1962 733637 E-mail: [email protected] Website: www.pocketbook.co.uk All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. This edition published 2004. © Pam Jones and Janie van Hool 2004 British Library Cataloguing-in-Publication Data – A catalogue record for this book is available from the British Library. ISBN 1 903776 18 X Design, typesetting and graphics by efex ltd. Printed in U.K. CONTENTS INTRODUCTION 5 DEVELOPING YOUR 71 Who should use this book?, impact and PERSONAL BRAND presence -
Prologue – Asian Trader
prologue – asian trader You learn to expect certain questions in this business. Like ‘Are you on the phone?’ And ‘Do you have any bags?’ And ‘Where are the eggs?’ And ‘Why are you always on the phone?’ And ‘Could I have a bag for the eggs when you’re off the phone?’ But there is one query that comes up more often than any other: ‘Are you open?’ A pet irritation for many shop owners, given that they probably wouldn’t choose to wake up at 4 a.m. seven days a week to stand in front of a fag stand unless they were actually trading. But in the case of Bains Stores, it’s a valid query. An advert in the window for a discontinued chocolate bar suggests the shop may have closed in 1994. The security shutters are often stuck a quarter open, adding to the general air of dilapidation. A push or kick of the door triggers something which is more ‘grating alarm’ than ‘tinkling shop bell’. We could, frankly, make more of an effort. But, believe me, your entrepreneurial spirit would also be blunted if the tower block opposite your shop had been demolished to make way for an estate of eco-homes that failed, continually, to be built. If a long- standing non-compete arrangement with Buy Express, a nearby Indian superstore, meant you could not stock alcohol, lottery tickets, or other material which might make Bains Stores a finan- cially viable concern. If you had to spend fifteen hours a day being patronised (‘You. -
Red Riding Nineteen Eighty Pdf, Epub, Ebook
RED RIDING NINETEEN EIGHTY PDF, EPUB, EBOOK David Peace | 384 pages | 04 Sep 2008 | Profile Books Ltd | 9781846687075 | English | London, United Kingdom Red Riding Nineteen Eighty PDF Book Nolan takes Hunter downstairs to the cells where Hunter enters to see Craven slouched back in a chair, shot through his head. Sometimes I don't who is talking,,,perhaps it doesn't matter. Our newest hero is the upstanding type of cop that all the others hate - brought in to decide whether or not they've done their jobs properly, nobody is surprised that his path isn't smooth. Required reading It helped that several of the Oh lordy lordy. Also the Really difficult and depressing novel. To accept cookies from this site, please click the Allow Cookies button below. It is also revealed that he knew about the innocence of Michael Myshkin Daniel Mays , a mentally retarded man who was accused of the serial killings in He's in a class of his own in terms of ambition. Sydney Morning Herald , 11 November Also the constant stream of consciousness rumblings from multiple characters was as annoying as it was indecipherable. Close It appears you don't have the ability to view PDFs in this browser. July Serpent's Tail. Because of this, I would give this one a 3. He ends up returning to Laws' home to enact revenge, but in the last moment finds himself unable to do so due to Laws' mind-numbing, domineering influence on him. He lives in Tokyo. Other Editions Extremely dark, graphic and hard hitting. -
Mascarenhas The-Psychology-Of-Time
For Matthew Murtagh 1 March–December 1967 Barbara The laboratory, in Cumbria, was home to four young scientists. Margaret was a baroness turned cosmologist. Lucille had come from the Toxteth slums to make radio waves travel faster than light. Grace – who never gave the same account of her history twice – was an expert in the behaviour of matter. And the last was Barbara: the baby of the group, hair so fair it was nearly white, ruddy-cheeked and naively wholesome. She specialised in nuclear fission. All four women were combining their knowledge in a new, and unique, project. They did so in near isolation. The lab overlooked the Lakeland Fells. Some nights, when Barbara’s head was too full of equations, she would run outside with Grace and yell at the darkness because they liked to hear the echo. There were no neighbours close enough to complain. No one visited by day either – not even the postman. Each month Barbara collected mail from the village five miles away: bills for Margaret, the latest Paris Match for Grace, and letters from Lucille’s grandmother in Montego Bay. But one spring afternoon, a van stopped outside the lab with a delivery for them all. The driver jumped out and pulled open the rear doors. He unloaded a hutch full of rabbits. 1 When he left, the women carried the hutch to the workroom, and peered inside. The rabbits had crammed themselves into the darkest corner. Their ears and limbs lay flat against their bodies. Each hair trembled. The rabbits were watchful and chary of their new owners.