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Michael Winterbottom is the most prolific and the most audacious of British filmmakers in the last twenty years. His television career began in the cutting-rooms at Thames Television, and his first directing experience was on the Thames TV documentaries, Ingmar Bergman: The Magic Lantern and Ingmar Bergman: The Director, made in 1988. Winterbottom has featured in top ten lists in Britain and his name has become a moniker of distinction in the promotion of his own films. This book articulates the ideas which have led to the name 'Michael Winterbottom' being associated with a particular body of work and, second, by turning to those factors which tend to dissipate the idea of Winterbottom as the single source of a world view and style, and to relocate his films within a constellation of directors, films and (principally European) national cinemas. It is important to acknowledge that all of his films employ realism across a variety of styles, genres and historical representations. The book focuses on Welcome to Sarajevo, Wonderland, In This World and The Road to Guantánamo, with a brief reference to 24 Hour Party People as five very different films that have particular relationships with the historical world that they represent. It considers what Winterbottom has done with such popular genres as the road movie, the musical and the sciencefiction thriller, how far he has adapted their conventions to contemporary film practice and ideology, and whether these films, in reworking Hollywood genres, exhibit any peculiarly British inflections.

Science fiction and the futures of the body
Alistair Brown

inhabit and, most significantly for the context of the present book, our familial and sexual relations. 3 This chapter looks towards the futures of incest through the lens of science fiction. By examining the depiction of incest in three narratives concerned with different posthuman technologies of reproduction and embodiment – androids ( Abiogenesis ), genetic cloning ( Plan for Chaos ), and artificial

in Incest in contemporary literature
Star Trek and the transfiguration of naval history
Jonathan Rayner

TNWC06 16/11/06 11:26 AM Page 153 6 ‘Damn the photon torpedoes!’ Star Trek and the transfiguration of naval history ‘If any enemy planes appear, shoot ’em down in a friendly fashion.’ (Admiral William Halsey, 1943)1 The science fiction navy While the US Navy’s varied and controversial roles in the Cold War received partial, negative, evasive or allegorical representations in the feature films of that period, a positive and celebratory depiction of the Navy’s activities and traditions can be found in the contemporaneous television series, Star Trek. Initially

in The naval war film
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Science fiction meets detection in Gun, With Occasional Music
James Peacock

science fiction its ontological counterpart (McHale, 1987 : 16), does the modification of the former by the latter in Lethem’s novel represent some kind of evolution of the detective genre, equipping it to navigate its way through and speak more eloquently to a world characterised by hybridity, fluidity, uncertainty, simulation and multiple subjectivities? This is a world, as Adam Roberts observes (Roberts, 2006 : 28

in Jonathan Lethem
Dana Phillips

, and while resilience can be a measure of the abiding strengths of natural systems, it can also result in new environmental woes in its own right (such as a preponderance of invasive Phragmites reeds, and the further decline of megafauna like elephants that I hinted at above). Science fiction, speculative fiction and the pre-posterous historical novel That all four of the terms I just spent some time defining are marked, in varying degrees, by ambiguity underscores their structural importance to the narratives in which they are employed as tropes, owing to a

in Literature and sustainability
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Television, style and substance in The Time Tunnel
Jonathan Bignell

This chapter argues that the US science fiction adventure series The Time Tunnel (1966–67) is about television: about the capabilities of the medium, the experience of watching it and the technological apparatus that television comprises. Visually, the series often adopts a grandiose, excessive visual style, especially in the opening episode focused on here. Key images are characterised by a sense of scale and visual spectacle, and the format seems calculated to advertise the attractions of colour television and the episodic adventure

in Substance / style
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The rise of the ‘cosmic traveller’
Neil Cornwell

Much science fiction is pure Romance. Romance is the story of an elsewhere . (Umberto Eco, Reflections on The Name of the Rose ) Among examples in the relatively unusual genre of early works of Russian science fiction are to be found stories by Vladimir Odoevsky. 1 Two works of his are concerned with the impending catastrophic approach of a comet to the Earth. In an early story of just five pages, ‘Two

in Odoevsky’s four pathways into modern fiction
Science fiction, singularity, and the flesh
Caroline Bassett

In this chapter questions about AI that ELIZA foregrounded are explored in new places and times – in science fiction, which has long dealt in AI, singularity, and the computational. SF claims a privileged relationship to the technological future, and the tax on dissenting projections is lower than that for the apostates of computer science and industry. More specifically, it claims the privilege that comes with attention. It attends to the future, it explores, invents, and/or speculates on possible forms of life. Through the form of attention

in Anti-computing
Mary Shelley’s motivic novel as adjacent adaptation
Kyle William Bishop

intersects with existing narrative structures, as often occurs in television. Due to the episodic nature of television serials, adaptations of Frankenstein that appear as part of existing narrative arcs must take a more fragmented approach to translating Shelley’s tale to the small screen. In a number of science-fiction, fantasy, and horror television shows, motivic elements from Frankenstein – characters, plot points, symbols, and themes – tend to appear in one, almost ubiquitous episode. Rather than taking place over the course of the entire

in Adapting Frankenstein
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Brian McFarlane and Deane Williams

treating subjects of contemporary significance; and there are a road movie, a musical, a science-fiction thriller, a sex drama, and films in the humanist/realist mode. Mere generic diversity would not, of itself, be a matter for critical applause. However, arguably, no other British director, certainly not in recent times, has shown accomplishment over such a genre range. Contemporaries such as Ken Loach, Mike Leigh and Shane

in Michael Winterbottom