timespace coordinates: Yorkshire 1974 / 1980 / 1983
Red Riding (2009) is a three-part television adaptation of English author David Peace‘s Red Riding Quartet (1999–2002). The quartet comprises the novels Nineteen Seventy-Four (1999), Nineteen Seventy-Seven (2000), Nineteen Eighty (2001) and Nineteen Eighty-Three (2002) and the first, third, and fourth of these books became three feature-length television episodes: Red Riding 1974, Red Riding 1980, and Red Riding 1983. They aired in the UK on Channel 4 beginning on 5 March 2009 and were produced by Revolution Films. The three films were released theatrically in the US in February 2010.
Set against a backdrop of serial murders from 1974 to 1983, including the Yorkshire Ripper killings, the books and films follow several recurring fictional characters through a bleak and violent world of multi-layered police corruption and organised crime. Although there are allusions to real-life crimes, the plot is fictional rather than a documentary or factual account of events. Both the books and films mix elements of fact, fiction, and conspiracy theory – a confection dubbed “Yorkshire Noir” by some critics – and are notable for a chronologically fractured narrative and for defying neat or trite endings and resolutions. The name of the series is a reference to the murders and to their location, the historic county of Yorkshire being traditionally divided into three areas known as ridings.
imdb – 74 80 83 / Historical basis / Theatrical film adaptation
timespace coordinates: 1947/’48 > 1919 England
(sad and spooky) The Little Stranger is a 2018 Irish/British/french gothic drama film directed by Lenny Abrahamson and written by Lucinda Coxon, based on the novel of same name by Sarah Waters. The film stars Domhnall Gleeson, Ruth Wilson, Will Poulter, and Charlotte Rampling. THE LITTLE STRANGER tells the story of Dr Faraday, the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long hot summer of 1948, he is called to a patient at Hundreds Hall, an 18th-century estate,, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries. But it is now in decline and its inhabitants – mother, son and daughter – are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how disturbingly, the family’s story is about to become entwined with his own. (rt)
spacetime coordinates: 19th-century England, Yorkshire > the Amazon and its tributaries > the Andes of Peru and Ecuador
” Pushing against its scientific reputation as downright boring, moss in particular served to create some botanical, aesthetic sense of a setting that allowed for illicit sexual encounters and for primal yearnings. The reasons for this strange dual identity of bryophytes as both mundane and as primal are relatively clear: realistically, moss provided a soft bed for sexual romps that had to take place outside of stuffy Victorian homes. Serving, perhaps predictably, as a slang term for pubic hair, moss was understood to be consistently moist and jewel-like, glittering like emerald colonies under light. (…) Although tropes of sexual encounters occurring in gardens and forests far predated the nineteenth century, both realistically and literarily, these hidden moss grottoes conjured up an image of something semi-religious, some secret refuge from the trials of urban — and overwhelming imperial tropical — life.”