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Author: Murray Leeder
Publisher: Springer
ISBN: 1137583711
Category : Performing Arts
Languages : en
Pages : 216
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Book Description
This study sees the nineteenth century supernatural as a significant context for cinema’s first years. The book takes up the familiar notion of cinema as a “ghostly,” “spectral” or “haunted” medium and asks what made such association possible. Examining the history of the projected image and supernatural displays, psychical research and telepathy, spirit photography and X-rays, the skeletons of the danse macabre and the ghostly spaces of the mind, it uncovers many lost and fascinating connections. The Modern Supernatural and the Beginnings of Cinema locates film’s spectral affinities within a history stretching back to the beginning of screen practice and forward to the digital era. In addition to examining the use of supernatural themes by pioneering filmmakers like Georges Méliès and George Albert Smith, it also engages with the representations of cinema’s ghostly past in Guy Maddin’s recent online project Seances (2016). It is ideal for those interested in the history of cinema, the study of the supernatural and the pre-history of the horror film.
Author: Keith Williams
Publisher:
ISBN: 9781846313257
Category : Literary Criticism
Languages : en
Pages : 288
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Book Description
This book investigates WellsOCOs interest in cinema and related media technologies, by placing it back into the contemporary cultural and scientific contexts giving rise to them. It plugs a gap in understanding WellsOCOs contribution to exploring and advancing the possibilities of cinematic narrative and its social and ideological impacts in the modern period. Previous studies concentrate on adaptations: this book accounts for the specifically (proto)cinematic techniques and concerns of WellsOCOs texts. It also focuses on contemporary film-making OCyin dialogueOCO with his ideas. Alongside HollywoodOCOs later transactions, it gives equal weight to neglected British and continental European dimensions. Chapter 1 shows how early writings ( The Time Machine and short stories) feature many kinds of radically defamiliarised vision. These constitute imaginative speculations about the forms and potentials of moving image and electronic media. Chapter 2 discusses the power of voyeurism, OCyabsent presenceOCO and the disjunction of sound-image reproduction implied in The Invisible Man and its topical politics, updated in notable screen versions. Chapter 3 extends this to dystopian warnings of systematic surveillance, broadcasting of celebrity personae and OCypost-literateOCO video culture in When the Sleeper Wakes, a crucial template for urban futures on film. Chapter 4 analyses WellsOCOs belated return to screenwriting in the 1930s. It accounts for his OCybroadbrowOCO ambition of mediating between popular and avant-garde tendencies to promote his cause and its mixed results in Things to Come, The Man Who Could Work Miracles, etc. Chapter 5 finally surveys WellsOCOs legacy on both small and large screens. It considers whether, as well as being raided for scenarios for spectacular effects, his subtexts still nourish an evolving tradition of alternative SF, which duly critiques the innovations and applications of its host media."
Author: Murray Leeder
Publisher: Springer
ISBN: 1137583711
Category : Performing Arts
Languages : en
Pages : 216
Get Book Here
Book Description
This study sees the nineteenth century supernatural as a significant context for cinema’s first years. The book takes up the familiar notion of cinema as a “ghostly,” “spectral” or “haunted” medium and asks what made such association possible. Examining the history of the projected image and supernatural displays, psychical research and telepathy, spirit photography and X-rays, the skeletons of the danse macabre and the ghostly spaces of the mind, it uncovers many lost and fascinating connections. The Modern Supernatural and the Beginnings of Cinema locates film’s spectral affinities within a history stretching back to the beginning of screen practice and forward to the digital era. In addition to examining the use of supernatural themes by pioneering filmmakers like Georges Méliès and George Albert Smith, it also engages with the representations of cinema’s ghostly past in Guy Maddin’s recent online project Seances (2016). It is ideal for those interested in the history of cinema, the study of the supernatural and the pre-history of the horror film.
Author: Andrew Shail
Publisher: Routledge
ISBN: 0415806992
Category : Literary Criticism
Languages : en
Pages : 270
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Book Description
This book examines early British film and film culture as a substantial context for the emergence of modernism in literature. The study considers Conrad, Joyce, Woolf, Yeats, and Eliot, and treats literary modernism as a consequence of cinema's new accounts of language, time, collectivity, and the self.
Author: J. P. Telotte
Publisher: Oxford University Press
ISBN: 0190949678
Category : Performing Arts
Languages : en
Pages : 201
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Book Description
What impact did the new art of film have on the development of another new art, the emerging science fiction genre, during the pre- and early post-World War II era? Focusing on such popular pulp magazines as Amazing Stories, Astounding Stories, and Wonder Stories, this book traces this early relationship between film and literature through four common features: stories that involve film or the film industry; film-related advertising; editorial matters and readers' letters commenting on film; and the magazines' heralded cover and story illustrations. By surveying these haunting traces of another medium in early science fiction discourse, we can begin to see the key role that a cinematic mindedness played in this formative era and to expand the early history of science fiction as a cultural idea beyond the usual boundaries that have been staked out by its literary manifestations and the genre's historians.
Author: Tung Charles M. Tung
Publisher: Edinburgh University Press
ISBN: 1474431364
Category : American fiction
Languages : en
Pages : 331
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Book Description
Bridging modernist studies and science fiction scholarshipModernism and Time Machines places the fascination with time in canonical works of twentieth-century literature and art side-by-side with the rise of time-travel narratives and alternate histories in popular culture. Both modernism and this cardinal trope of science fiction produce a range of effects and insights that go beyond the exhilarations of simply sliding back and forth in history. Together the modernist time-obsession and the fantasy of moving in time help us to rethink the shapes of time, the consistency of timespace and the nature of history.Key FeaturesDraws on insights from a range of sources, including critical geography, postcolonial theory, science and technology studies, and time studiesExamines different kinds of objects together: SF, Impressionism, and Henri Lefebvre's rhythmanalysis; evolutionary biology, Eliot's The Waste Land, and Leinster's "e;Sidewise in Time"e;; Woolf, Philip K. Dick's alternate history, and the film Interstellar; bullet time, Faulkner's racialized lag, and Jessica Hagedorn's postcolonial anachronism; "e;big history,"e; Olaf Stapledon's two-billion-year novel of the human species, and Terrence Malick's film Tree of Life
Author: Keith Williams
Publisher: Liverpool Science Fiction Text
ISBN: 9781846310607
Category : Performing Arts
Languages : en
Pages : 279
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Book Description
This book investigates Wells's interest in cinema and related media technologies, by placing it back into the contemporary cultural and scientific contexts giving rise to them. It plugs a gap in understanding Wells's contribution to exploring and advancing the possibilities of cinematic narrative and its social and ideological impacts in the modern period. Previous studies concentrate on adaptations: this book accounts for the specifically (proto)cinematic techniques and concerns of Wells's texts. It also focuses on contemporary film-making 'in dialogue' with his ideas. Alongside Hollywood's later transactions, it gives equal weight to neglected British and continental European dimensions. Chapter 1 shows how early writings (The Time Machine and short stories) feature many kinds of radically defamiliarised vision. These constitute imaginative speculations about the forms and potentials of moving image and electronic media. Chapter 2 discusses the power of voyeurism, 'absent presence' and the disjunction of sound-image reproduction implied in The Invisible Man and its topical politics, updated in notable screen versions. Chapter 3 extends this to dystopian warnings of systematic surveillance, broadcasting of celebrity personae and 'post-literate' video culture in When the Sleeper Wakes, a crucial template for urban futures on film. Chapter 4 analyses Wells's belated return to screenwriting in the 1930s. It accounts for his 'broadbrow' ambition of mediating between popular and avant-garde tendencies to promote his cause and its mixed results in Things to Come, The Man Who Could Work Miracles, etc. Chapter 5 finally surveys Wells's legacy on both small and large screens. It considers whether, as well as being raided for scenarios for spectacular effects, his subtexts still nourish an evolving tradition of alternative SF, which duly critiques the innovations and applications of its host media.
Author: Sarah Cole
Publisher: Columbia University Press
ISBN: 0231550162
Category : Literary Criticism
Languages : en
Pages : 455
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Book Description
H. G. Wells played a central role in defining the intellectual, political, and literary character of the twentieth century. A prolific literary innovator, he coined such concepts as “time machine,” “war of the worlds,” and “atomic bomb,” exerting vast influence on popular ideas of time and futurity, progress and decline, and humanity’s place in the universe. Wells was a public intellectual with a worldwide readership. He met with world leaders, including Roosevelt, Lenin, Stalin, and Churchill, and his books were international best-sellers. Yet critics and scholars have largely forgotten his accomplishments or relegated them to genre fiction, overlooking their breadth and diversity. In Inventing Tomorrow, Sarah Cole provides a definitive account of Wells’s work and ideas. She contends that Wells casts new light on modernism and its values: on topics from warfare to science to time, his work resonates both thematically and aesthetically with some of the most ambitious modernists. At the same time, unlike many modernists, Wells believed that literature had a pressing place in public life, and his works reached a wide range of readers. While recognizing Wells’s limitations, Cole offers a new account of his distinctive style as well as his interventions into social and political thought. She illuminates how Wells embodies twentieth-century literature at its most expansive and engaged. An ambitious rethinking of Wells as both writer and thinker, Inventing Tomorrow suggests that he offers a timely model for literature’s moral responsibility to imagine a better global future.
Author: James Chapman
Publisher: Bloomsbury Publishing
ISBN: 0857733125
Category : Performing Arts
Languages : en
Pages : 326
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Book Description
Cinema and science fiction were made for each other. Science fiction has been at the cutting edge of film technology and the genre has produced some of the most ambitious, imaginative and visually spectacular films ever made. Yet science fiction cinema is about more than just state-of-the-art special effects. It has also provided a vehicle for film-makers and writers to comment on their own societies and cultures. In this new study of the genre, James Chapman and Nicholas Cull examine a series of landmark science fiction films from the 1930s to the present. They include genre classics, including 'Things to Come', 'Forbidden Planet', 'Planet of the Apes' and '2001: A Space Odyssey', alongside modern blockbusters 'Star Wars' and 'Avatar'. They consider both screen originals and adaptations of the work of major science fiction authors such as H.G. Wells and Arthur C. Clarke. They range widely across the genre from pulp adventure and space opera to political allegory and speculative documentary- there is even a science fiction musical. Chapman and Cull explore the contexts and document the production histories of each film to show how they made their way to the screen- and why they turned out the way they did. Informed throughout by extensive original research in US and British archives, Projecting Tomorrow will be essential reading for all students and fans of science fiction cinema.
Author: Tony Jappy
Publisher: Bloomsbury Publishing
ISBN: 1350076139
Category : Language Arts & Disciplines
Languages : en
Pages : 423
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Book Description
This book considers the work and influence of Charles Sanders Peirce, showing how the concepts and ideas he developed continue to impact and shape contemporary research issues. Written by a team of leading international scholars of semiotics, linguistics and philosophy, this Companion examines the growing impact of Peirce's thought and semiotic theories on a range of different fields. Discussing topics such as narrative, architecture, design, aesthetics and linguistics, the book furthers understanding of the contemporary pertinence of Peircean concepts in theoretical and empirical fashion. The Bloomsbury Companion to Contemporary Peircean Semiotics is the definitive guide to the enduring legacy of one of the world's greatest semioticians.
Author: Alison Peirse
Publisher: Bloomsbury Publishing
ISBN: 0857734083
Category : Performing Arts
Languages : en
Pages : 247
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Book Description
After Dracula tells of films set in London music halls and Yorkshire coal mines, South Sea Islands and Hungarian modernist houses of horror, with narrators that survey the outskirts of contemporary Paris and travel back in time to ancient Egypt. Alison Peirse argues that Dracula (1931) has been canonised to the detriment of other innovative and original 1930s horror films in Europe and America. By casting out the deified vampire, she reveals a cycle of films made over the 1930s that straddle both the pre- and post-regulatory era of the Hays Production Code an stringent censorship from the British Board of Film Censors. These films are indepenedent and studio productions, literary adaptations, folktales and original screenplays, and include Werewolf of London, The Man Who Changed His Mind, Island of Lost Souls and Vampyr. The book considers the horror genre's international evolution during this period, engaging with a number of European horror films that have hitherto received cursory attention. It focuses on the interplay between Continental, British and transatlantic contexts, and particularly on the intriguing, the obscure and the underrated.
