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Surrealism, time travel, and ‘second sight’
Gavin Parkinson

history of the movement; lengthier discussion of this highly suggestive infatuation and one of its main outcomes in surrealism, Benayoun’s 1969 film Paris n’existe pas , opens unexpected avenues between surrealism and popular culture and even new paths of potential research into the movement. As I will show, Benayoun became a significant figure in the Paris surrealist group from the moment he made contact with it, soon after the war, when surrealism was becoming thoroughly historicised, had yet to engage with science fiction, and was soon to return to its earlier

in Surrealism and film after 1945
Leon Hunt

has become the art of world building’ (2006: 114), and this is particularly true of telefantasy (science fiction, fantasy and horror). Such worlds are sometimes named by the addition of the suffix ‘-verse’ – the ‘Buffyverse’ or the ‘Xenaverse’, ‘a “virtual universe” encompassing . . . diegesis, industry and production conditions, cast, crew and creators, fandom and fan-produced texts, publicity and promotional material and merchandise’ (Jones 2000: 10). The ‘(in)completely furnished world’ starts to take on several senses. There is what Matt Hills calls

in Cult British TV comedy
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Corporate medical horror in late twentieth-century American transfer fiction
Sara Wasson

corporate and financial imperatives as central drivers for predation. ‘The hospital itself harboured considerable violence’: fantasies of medical predation and profit The US saw rapid public acceptance of the concept of brain death (though acceptance is still not universal), but none the less the late 1960s and 1970s saw anxieties about the new death manifest in a range of media. 29 The New York Times , for example, warned in 1967 that ‘One need not be a science fiction writer to envision the possibility of future murder rings supplying healthy organs for black

in Transplantation Gothic
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Author: Andrew Teverson

Salman Rushdie is one of the world's most important writers of politicised fiction. He is a self-proclaimed controversialist, capable of exciting radically divergent viewpoints; a novelist of extraordinary imaginative range and power; and an erudite, and often fearless, commentator upon the state of global politics today. This critical study examines the intellectual, biographical, literary and cultural contexts from which Rushdie's fiction springs, in order to help the reader make sense of the often complex debates that surround the life and work of this major contemporary figure. It also offers detailed critical readings of all Rushdie's novels, from Grimus through to Shalimar the Clown.

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Moments in television

Substance and style have been attended to separately in different strands of television studies, from those who have sought to establish the discipline as serious and worthy of study, to the work of television aesthetics, which has taken stylistic achievement as a primary focus. This collection interrogates and overturns the typical relationships between the terms, instead setting them alongside one another and renegotiating their relationship through new perspectives and with reference to a range of television programming. Contributors draw attention to the ways substance and style inform one another, placing value on their integration and highlighting the potential for new meanings to form through their combination. In this way, the binary is used to re-evaluate television that has been deemed a failure, or to highlight the achievements of programming or creative personnel who are less celebrated. Chapters present style as a matter of substance, in terms of it being both part of the material constitution of television and an aspect of television that rewards detailed attention. Substance is developed through a range of interpretations which invite discussion of television’s essential qualities and capabilities as well as its meaningfulness, in conjunction with its stylistic achievements. Programmes studied comprise The Americans, Call the Midwife, Les Revenants, The Good Wife, Friends, The Simpsons, John From Cincinnati, Police Squad! and The Time Tunnel. Substance and style are evaluated across these examples from a wide range of television forms, formats and genres, which include series and serial dramas, sitcoms, science fiction, animation, horror, thrillers and period dramas.

Moments in television

This collection appraises an eclectic selection of programmes, exploring and weighing their particular achievements and their contribution to the television landscape. It does so via a simultaneous engagement with the concepts of complexity and simplicity. This book considers how complexity, which is currently attracting much interest in TV studies, impacts upon the practice of critical and evaluative interpretation. It engages reflectively and critically with a range of recent work on televisual complexity, expands existing conceptions of complex TV and directs attention to neglected sources and types of complexity. It also reassesses simplicity, a relatively neglected category in TV criticism, as a helpful criterion for evaluation. It seeks out and reappraises the importance of simple qualities to particular TV works, and explores how simplicity might be revalued as a potentially positive and valuable aesthetic feature. Finally, the book illuminates the creative achievements that arise from balancing simplicity with complexity.

The contributors to this collection come from diverse areas of TV studies, bringing with them myriad interests, expertise and perspectives. All chapters undertake close analysis of selected moments in television, considering a wide range of stylistic elements including mise-en-scène, spatial organisation and composition, scripting, costuming, characterisation, performance, lighting and sound design, colour and patterning. The range of television works addressed is similarly broad, covering UK and US drama, comedy-drama, sitcom, animation, science fiction, adaptation and advertisement. Programmes comprise The Handmaid’s Tale, House of Cards, Father Ted, Rick and Morty, Killing Eve, The Wire, Veep, Doctor Who, Vanity Fair and The Long Wait.

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Moments in television

In television scholarship, sound and image have been attended to in different ways, but image has historically dominated. The chapters gathered here attend to both: they weigh the impact and significance of specific choices of sound and image, explore their interactions, and assess their roles in establishing meaning and style. The contributors address a wide range of technical and stylistic elements relating to the television image. They consider production design choices, the spatial organisation of the television frame and how camera movements position and reposition parts of the visible world. They explore mise-en-scène, landscapes and backgrounds, settings and scenery, and costumes and props. They attend to details of actors’ performances, as well as lighting design and patterns of colour and scale. As regards sound, each chapter distinguishes different components on a soundtrack, delineating diegetic from non-diegetic sound, and evaluating the roles of elements such as music, dialogue, voice-over, bodily sounds, performed and non-performed sounds. Attending to sound design, contributors address motifs, repetition and rhythm in both music and non-musical sound. Consideration is also given to the significance of quietness, the absence of sounds, and silence. Programmes studied comprise The Twilight Zone, Inspector Morse, Children of the Stones, Dancing on the Edge, Road, Twin Peaks: The Return, Bodyguard, The Walking Dead and Mad Men. Sound and image are evaluated across these examples from a wide range of television forms, formats and genres, which includes series, serial and one-off dramas, children’s programmes, science fiction, thrillers and detective shows.

The British Interplanetary Society before the Second World War
Charlotte Sleigh

cosmic science and science fiction. Although he does not acknowledge the cosmic designation of the ‘éspaces’ of his title, Foucault’s account of how space as medieval, ordered emplacement was transformed into an infinite potentiality of spatial extension is founded on a discussion of that astronomical hero, Galileo. One might say that ‘space’, in the cosmic sense, was implicated in space, in the heterotopian sense, from its inception (one need only think of the counter-site of the Starship Enterprise, first launched in the year before Foucault’s lecture). Certainly the

in Scientific governance in Britain, 1914–79
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The future of cities and the future of war
Adam Page

The first chapter covers the period from the end of the First World War until 1935, when the Air Raid Precautions Sub-Committee became a department in the Home Office. It draws together military, literary, planning and architectural visions of urban areas to highlight how dystopian versions of the future and responses to contemporary urban problems influenced the development of air power theories. It demonstrates that there was a widespread assumption that cities would be the primary targets in air war, and highlights the way airpower theorists’ arguments drew on perceptions of urban populations as weak and vulnerable. Science fiction and cultural anxieties about the future and cities were concentrated around the threat of bombing, and architects and planners were recasting their task as planning for survival in an anticipated era of air war. The three sections of this chapter connect the speculations and extrapolations of airpower theory to the debates in urbanism about the problems of the cities, and highlight the influence of aviation and the aerial view on speculations about the future shape of society and the possibility of urban annihilation from the air.

in Architectures of survival
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Brooklyn goes to space in Girl in Landscape
James Peacock

some accommodation to the idea that there’s some things that science fiction writers do that might be okay , another planet is the line they won’t cross, and so no one wants to read a book set on another planet’ (Personal Interview, 2009). It is true that Girl in Landscape ‘crosses the line’, but this argument proceeds from a desire to unpack Lethem’s statements with the aim of complicating them and

in Jonathan Lethem