By Eva Maria Leszner, Mary Frances Wogec

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Extra info for Knitted Lace Designs of Herbert Niebling Translation of Gestrickte Spitzendecken

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Seen several times in the background of landscape shots of the town; in the black and white flashbacks of many of the characters, and finally, in colour and shot from the air and at ground level, the Devil’s House is where Anthony, the mentally disabled brother of army veteran Richard, is taunted and tortured into taking his own life. A large, ruined gothic Victorian country house, which has in a previous incarnation been used as a zoo, the Devil’s House already suggests extreme confinement. Anthony’s fear of the building is linked thematically to the fear of the freak in the human menagerie/freakshow.

158), as effectively represented in images of human corporeality focused on the tragic scapegoat, and the potential to realize Williams’ ideal of a ‘common culture’ (Williams 1984, p. 318). The latter’s account of the importance of a ‘common culture’ was inspired by the long history of the working class ethic of solidarity. First proposed over half a century ago, it remains, as Eagleton argues, an objective which, whilst apparently ‘quaintly residual’, nevertheless still lies ahead of us (Eagleton 2000, p.

3 Photograph from the set of Dead Man’s Shoes (2004). Richard (Paddy Considine) and his brother Anthony (Toby Kebbell) make their way across England’s Midlands looking for revenge. c Dean Roberts in his absence – a disguise referred to as The Elephant Man, thus making the historical connection to previous regimes of power dependent on confinement and the spectacular control of the socially subordinate. 21 Crucially, for Foucault this was a moment when madness was produced as a spectacle. With the shift into modern regimes of power-knowledge, the social visibility of madness – and of that related figure of social marginality, the criminal – is diminished.

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