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      <image:title>Articles - ‘To muddy death’: The Fantasy of Ophelia in Visual Culture - Make it stand out</image:title>
      <image:caption>Daisy Ridley as Ophelia in Ophelia, (2018)</image:caption>
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      <image:title>Articles - ‘To muddy death’: The Fantasy of Ophelia in Visual Culture - Make it stand out</image:title>
      <image:caption>Opening shot of Ophelia (2018) which echoes Millais’ painting</image:caption>
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      <image:title>Articles - ‘To muddy death’: The Fantasy of Ophelia in Visual Culture - Make it stand out</image:title>
      <image:caption>Hamlet and Ophelia get married in Ophelia (2018), nature reintroduced as a positive and intimate space</image:caption>
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      <image:title>Articles - ‘To muddy death’: The Fantasy of Ophelia in Visual Culture - Make it stand out</image:title>
      <image:caption>Ophelia, John William Waterhouse, 1889</image:caption>
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      <image:title>Articles - ‘To muddy death’: The Fantasy of Ophelia in Visual Culture - Make it stand out</image:title>
      <image:caption>Nick Cave And The Bad Seeds, Kylie Minogue (2000), album cover for “Where The Wild Roses Grow” Pre-Raphaelite imagery of Ophelia’s mass appeal transcends reference to the character herself</image:caption>
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      <image:title>Articles - ‘To muddy death’: The Fantasy of Ophelia in Visual Culture - Make it stand out</image:title>
      <image:caption>Ophelia, Sir John Everett Millais, 1851-2</image:caption>
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