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An afterword
Richard J. Hand

, they have continued to need, despise and adore each other in their tale of creation, destruction, and pursuit. Just as the old seafarer in Samuel Taylor Coleridge’s Rime of the Ancient Mariner (1798) is cursed to tell his sorry tale again and again – and burden the listener in the process – so popular culture has endlessly retold the story of Frankenstein . Like all great myths and legends, Frankenstein thrives through its adaptability. Frankenstein has straddled the modern genres of horror and science fiction more successfully than any other single tale, but

in Adapting Frankenstein
Chris Abel

the street with a suitable handheld device – transformed the fundamentals of human connectivity in the electronic age. Significantly, in explaining the impact of the Net on our lives and consciousness, not only architects and urbanists but also writers in other fields commonly fall back on metaphors originating in the physical and spatial world of cities and urban communities, as well as other analogies with familiar cultural and social concepts. Even when the most fervent devotees of the Net, including science fiction writers like the much-quoted William Gibson,1

in The extended self
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Bruce Woodcock

Things are becoming less and less impossible. ( Collected Stories , 60) C HARACTERISING Carey’s stories takes us to the heart of his fictional practice. Most adopt a mixture of narrative modes, a central feature of his writing. They contain elements of science fiction, fantasy, fable and satire. Like much science fiction, many are explorations of ideas and possibilities, experiments in subversive thinking or ‘cognitive estrangement’. 1 Carey has described them as ‘a collection of “what if” stories’, 2 which

in Peter Carey
Complicating simplicity in Doctor Who
Benedict Morrison

confusions of an individual mind. Caligari is a both/and character: both head of the asylum and its most dangerous inhabitant, both scientist and necromancer, both villain and hero, a series of individually simple identities made complex by their plurality and combination. This reference to Caligari lurches the sequence sideways into an alternative world. Early Doctor Who stories are often divided according to a simplistic critical schema into either science fiction adventures or historicals. According to this taxonomy, ‘The Gunfighters’ is a

in Complexity / simplicity
Political and aesthetic disruption in Against the Day
Simon Malpas and Andrew Taylor

perhaps not quite as simply structured. … [W]e may for now at least have found the illusion, the effect, of controlling, reversing, slowing, speeding and repeating time.’42 The technology of capitalism, then, those inventions which are driven by an economy’s insatiable need 204 Thomas Pynchon to create and market, can also bring about transgressions in its fundamental laws. Against the Day, with its self-conscious awareness of science-fiction conventions and time-travelling possibilities, offers up a challenge to linearity’s dominance, formally and thematically

in Thomas Pynchon
Roger Singleton-Turner

working on numbered episode OL Off-line 2An 2 teams of animators working Sci-fi Recording day for science- fiction fantasy sequences CS Director completes camera script PR (Executive) Producers’ run AC1 Autoconform and episode number TR Technical run FX Digital video effects session FC Fine cut off-line with Executives’ notes Mu1 Composer writing and recording music to picture for numbered episode Studio (no.) Studio recording day; two episodes recorded over the two days TL Tracklay sound effects

in Cue and Cut
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Maker of books
Glyn White

critically judged or characterised by it. Lanark: A Life in Four Books (1981) Lanark, a large (561 pages) and complex novel, has been included in discussions of Scottish literature, urban writing, science fiction and postmodernism. The last of these terms is most problematic, especially if we follow Fredric Jameson’s description of postmodernism as ‘an alarming and

in Reading the graphic surface
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Sam Rohdie

Truth In the late 1930s, Orson Welles already had a distinguished and exceptionally brilliant career in theatre and in radio theatre while still in his late teens and early twenties. He became famous, indeed infamous, by a radio play based on the science fiction novel The War of the Worlds by the British novelist H.G. Wells. Welles dramatised the H.G. Wells novel as a radio documentary of an invasion by Martians of the United States that parodied the form: the report of the fictional invasion was presented as a news event taking place at the moment of broadcast

in Film modernism
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Brian McFarlane

decade after Barbados Quest, the intervening years having been occupied with television series, he ventured into the science-fiction genre, which must have seemed remote from his Gainsborough days. The first of the two, Frozen Alive, was a surprisingly effective example of the genre on a presumably limited budget, while Spaceflight shows more obvious signs of straitened circumstances. However, these two and the thrillers reveal a certain generic dexterity on Knowles’s part and the first three particularly reveal his story-telling skills to be still intact. They belong

in Four from the forties
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Tattoos, transgenics, and tech-noir in Dark angel
Will Slocombe

, Dark angel ’s characters were all ostensibly in their late teens or early twenties, trying to earn a living and work out where they fit in a post-apocalyptic Seattle in the aftermath of an Electro-Magnetic Pulse that cripples the United States of America. One of the most interesting aspects of the series is its mix of various generic tropes, from detective and crime fiction to science fiction (hereafter referred to as ‘sf’). This is perhaps not surprising: Cameron’s film credits included Terminator, Aliens and Strange days , whereas Eglee

in Tattoos in crime and detective narratives