British Science Fiction Film And Television Critical Essays

Focusing on Ken Russell’s deliciously camp Lair of the White Worm (1988), as well as his Gothic (1986) and Fall of the Louse of Usher (2002), this talk argues for the notion of a ‘trash adaptation’, explores its special relevance to the Gothic, and considers whether the royal route to Britain’s political unconscious is its ‘lost continent’ of trash horror films.Stanley Kubrick’s A Clockwork Orange (1971) has enjoyed a remarkable afterlife in popular culture, influencing fashion, glam, punk rock, and films maudits such from Killer’s Moon to Battle Royale.

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In recent years Hollywood has taken to remaking a number of cult films for wider popular audiences, notably 1970s horror films such as The Texas Chain Saw Massacre, Last House on the Left, Halloween and Dawn of the Dead, in the hope of exploiting their cult cachet, and at the same time have adapted Asian horror films, such as Ringu, with cult reputations in the West.

For many fans the remakes strip the ‘originals’ of their cult aura by appropriating, commercialising or negating the very pleasures that made the films cult in the first place –from quirkiness, obscurity and ambiguity to an intense evocation of a particular time or place rarely addressed in mainstream movies.

The focus is rather on the role of adaptation in Spielberg’s career, profile and reception as a director in the context of a film production culture in which adaptation is just one reference point in a matrix of intertextual relations created by synergic cross-promotion (e.g.

video games, graphic and literary novelisations, CD soundtracks, multiple Director’s Cuts and DVD versions, prequels, sequels and franchises).

Crucial, for example, is how in the 1980s literary adaptation, as opposed to cinematic homage and pastiche, signified a new ‘seriousness’ in his films, while maintaining continuities with his most important themes (war, fatherhood, redemption).

Spielberg is compared with Hitchcock, Kubrick, Cronenberg and Peter Jackson, each of whom established and transformed his authorial signature through different approaches to adaptation.Episode storylines were constructed around spectacular effects, and the settings and design were conceived using bright primary colours, for example in the bright red of the laboratory, though colour broadcasting had only just begun.Music was also important, using distinctive motifs that combined traditional orchestral instruments with futuristic, electronic instruments.Television links domestic space to the world beyond, but the home and the demands of growing up were a consistent theme in was a product of the moment of 1968 in exploring the potential of childhood in a techno-utopian future.References Barr, F., ‘The Modtastic world of Gerry Anderson’, at https:// Bignell, J., ‘”Anything can happen in the next half-hour”: Gerry Anderson’s transnational science fiction’, in T. This pop became the foundation for fan culture and consumer products including comics, toy vehicles, dress-up costumes, LP records and confectionary.The series was planned to entertain both child and adult audiences, and bring them together.These might include piloting a supersonic aeroplane, or becoming an astronaut to rescue a space station’s crew. Cooke (2006: 110), for example, places among a group of television series that “mediated in their different ways the utopian hopes and dreams of a new Aquarian order of enlightenment and rationality led by the young.” The science fictional world of the series was conceived by its creator Gerry Anderson as an opportunity for the visual revelation of technologies and physical action.This emphasis is clear from the opening credit sequence: each episode began with a lengthy two-minute sequence showed the operation of the spinning spherical BIG RAT computer, with Joe inside it.Mistress Pamela (1974), The Bawdy Adventures of Tom Jones (1976), Joseph Andrews (1977), Cruel Passion (1977), Lady Chatterley’s Lover (1981) and Fanny Hill (1983), loosely based on notorious historical novels, emphasised the frissons of sex across class boundaries and presented the past as an erotic playground, at any rate for men.This paper focuses on Cruel Passion, based on The Marquis De Sade’s Justine, and the parallels it draws between the pre-Victorian licentiousness of the eighteenth century and the dangerous revival in the 1970s of the repressed energies of an older bawdy England.


Comments British Science Fiction Film And Television Critical Essays

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