Angela Carter's Pyrotechnics

Charlotte Crofts is Associate Professor of Filmmaking at the University of the West of England, UK. She is editor-in-chief of Screenworks (2006-present). She has published a monograph on Angela Carter, Anagrams of Desire: Angela Carter’s Writing for Radio, Film and Television (MUP, 2003), a chapter ‘Curiously Downbeat Hybrid or Radical Retelling?: Neil Jordan's and Angela Carter's ‘The Company of Wolves’’ in Sisterhoods: Across the Literature/Media Divide (Pluto Press, 1999) and written about her Japanese writings in ‘'The Other of the Other': Angela Carter's 'New-Fangled' Orientalism’ in Re-Visiting Angela Carter: Texts, Contexts, Intertexts, ed. Rebecca Munford (Palgrave Macmillan, 2006). She is currently developing a feature-film adaptation of Angela Carter’s Japanese writings. She co-founded the Angela Carter Society with Caleb Sivyer, and Marie Mulvey-Roberts with whom she is developing a Smart phone app on Carter. Marie Mulvey-Roberts is Professor of English Literature at the University of the West of England, UK. She is the author of Dangerous Bodies: Historicising the Gothic Corporeal (MUP, 2016), winner of the Alan Lloyd Smith Memorial Prize. She has authored, edited and co-edited over 30 books. This will be her third edited book on Angela Carter. Recently she made a film on Carter’s The Bloody Chamber for Massolit, for use in schools (33,000 downloads). She was the co-curator of the Strange Worlds exhibition on Angela Carter at the Royal West Academy of Art in Bristol 2017 and co-edited the catalogue. She is the co-founder of Women’s Writing, for which she serves as Editor and runs two Carter websites with Charlotte Crofts.

Foreword
Gina Wisker (University of Brighton, UK)

Pyrotechnics: Angela Carter’s Incendiary Imagination
Charlotte Crofts (UWE Bristol, UK) & and Marie Mulvey-Roberts (UWE Bristol, UK)

SIGNS & OBJECTS
1. Carter and the Japanese Signs: Bunraku, Mishima, Irezumi and Sozo Araki
Natsumi Ikoma (International Christian University, Tokyo, Japan)
2. Some Kinds of Love: Angela Carter, Art and Objects
David Punter (University of Bristol, UK)
3. The Chance Encounter of a Stuffed Dodo, a Fallen Star, and a Fruit Woman Automaton… The Secret Life of Things Queering the Museal Gaze in Angela Carter’s Curiosity Cabinets
Anna Kérchy (University of Szeged, Hungary)


MUSIC, PERFORMANCE & FAIRYTALE
4. ‘Down to the Greenwood’: Angela Carter and Traditional Folksong
Hippolyta C. M. Paulusma (University of Cambridge, UK)
5. From Grizelda’s Patience to Feminist Grit: Angela Carter’s ‘The Patience of Grizelda’ as a Hidden Intertext to ‘The Bloody Chamber’
Martine Hennard Dutheil de la Rochère (University of Lausanne, Switzerland)
6. Of Tales, Tragic Opera, Transformation and ‘Tongues’: Tristan und Isolde in Angela Carter’s The Bloody Chamber
Ashley Riggs (University of Geneva, Switzerland)
7. Theatre, Adaptation, Angela Carter: A Case Study
Belinda Locke (PhD Queensland University of Technology, Brisbane Australia 2018; Malthouse Theatre, Melbourne, Victoria Australia)



WAYS OF SEEING
8. ‘What Then?’ Apocalypticism and Angela Carter’s Surrealist Aesthetics
Scott A Dimovitz (Regis University, Denver, USA)
9. Kaleidoscopes, Stereoscopes and Phantasmagoria: Critical and Creative Ways of Seeing in the Work of Angela Carter
Caleb Sivyer (UWE Bristol, UK)
10. ‘The Strangeness of the World Made Visible’: Reading Alignments between Angela Carter and Paula Rego
Beatrice Bijon (Australian National University, Canberra Australia)


MATERIAL BODIES

11. Perceiving Pleasures and Appetites in The Bloody Chamber: ‘Surprise me for dessert with every ice-cream in the ice box’ Maria José Pires (University of Lisbon Centre for English Studies, Portugal)
12. The Skin that Holds You In: States of Dress and Undress in Angela Carter’s Animal/Human Transformation Stories
Carys Crossen (University of Manchester, UK)
13. Angela Carter’s Questioning of ‘Age-appropriate’ Appearance and Behaviour in Wise Children
Zoe Brennan (UWE Bristol, UK)