About 25 minutes into the sciencefiction film, Hollow Man (Paul Verhoeven, 2000), there is a striking
scene that marks the literal disappearance of the central character, Dr.
Sebastian Caine (Kevin Bacon), an ambitious young scientist working on an
invisibility serum. Keen to try out his chemical creation, Sebastian
persuades his team of fellow scientists to ignore normal protocols so that
Since its inception by the Council of Europe in 1989, Eurimages has been to the fore
in financing European co-productions with the aim of fostering integration and
cooperation in artistic and industry circles and has helped finance over 1,600
feature films, animations and documentaries. Taking as its thesis the idea that the
CoE seeks to perpetuate Europes utopian ideals, despite the dystopian realities that
frequently undermine both the EU and the continent at large, this article analyses
select Eurimages-funded dystopian films from industrial, aesthetic and socio-cultural
standpoints with a view toward decoding institutionally embedded critiques of the
This book argues the centrality of hybridity to Terry Gilliam's films. Gilliam had a collaborative approach to filmmaking and a desire to provoke audiences to their own interpretations as other forms of intertextual practice. Placing Gilliam in the category of cinematic fantasist does some preliminary critical work, but crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an extraordinary variety of genres. These include medieval comedy; children's historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Gilliam's work with Monty Python assured him a revered place in the history of that medium in Britain. As a result, the Python films, And Now for Something Completely Different, The Holy Grail, Life of Brian and The Meaning of Life, along with his own, Jabberwocky, Time Bandits, and Brazil, show him moving successfully into the British film industry. Most of his films have been adaptations of literary texts, and Jabberwocky forges an extended tale of monsters and market forces. The Adventures of Baron Munchausen builds on some tales from the original texts, constructing a complex examination of fantasy, representation and mortality. Taking crucial ingredients from medieval and older mythologies, the screenplay of The Fisher King resituates them and reworks them for modern America. Gilliam's complex interaction with Britain and America explains his ambiguous place in accounts of American and British films.
This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.
Until recently, little work had been conducted on television acting per se, let alone the various coalescing factors that underpin and help shape it. This book addresses that lack, utilising a selection of science fiction case studies from the world of BBC television drama to investigate how small screen performance has altered since the days of live production. This then-and-now comparison of performing for British television drama focuses on science fiction case studies to provide a multi-perspectival examination of the historical development of acting in UK television drama. By the mid-1970s, studio realism might be expected to have reached its apotheosis, yet it was by no means all-encompassing as a style of television acting. A new approach was therefore required, with much of the performance preparation now taking place on location rather than being perfected beforehand in a separate rehearsal space: the seeds of location realism. One of the most notable contrasts between early television drama and the modern day is the shift from multi-camera studio to single camera location filming. Comparing the original versions of The Quatermass Experiment, Doctor Who and Survivors with their respective modern-day re-makes, the book unpacks the developments that have resulted from the shift from multi-camera studio to single camera location production. Examining changing acting styles from distinct eras of television production, the book makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium.
Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides an interdisciplinary account of performance in film and television and examines a much neglected area in people's understanding of how popular genres and performance intersect on screen. The advent of star studies certainly challenged the traditional notion of the director as the single or most important creative force in a film. Genre theory emerged as an academic area in the 1960s and 1970s, partly as a reaction to the auteurism of the period and partly as a way of addressing popular cinematic forms. Television studies have also developed catalogues of genres, some specific to the medium and some that refer to familiar cinematic genres. The book describes certain acting patterns in the classic noirs Maltese Falcon, The Big Sleep, Out of the Past and the neo-noirs Chinatown. British television drama in the 1970s had a special interest in the genre of horror. There is no film genre to which performance is as crucial as it is to the biopic. To explore comedy performance is to acknowledge that there is something that defines a performance as 'comic'. The book also examines drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.
production under which
all the creative personnel labour. This chapter explores the multiple
determinants of the televison actors’ agency and creativity: time; the
actor’s status within the cast; the visual nature of the medium; input
from other creative personnel and, last and most importantly in terms of
this volume, the genre. The sciencefiction genre poses unique challenges
for actors, as will become apparent. And what better
This essay connects a study of the commissioning and production processes of the well-known science-fiction drama series Doctor Who with the larger theoretical question of the understandings of ‘quality’ guiding its production and reception. The serial most fully discussed is ‘The Daleks’ (BBC 1963), which ensured Doctor Who’s survival by attracting significant audiences with a futuristic sciencefiction adventure. 1 As James Chapman has noted ( 2002 :3–4), the evaluation and justification of quality in British television drama has focused on its social
The decade of the 1990s was
characterised by a range of sciencefiction, fantasy and horror films
that constituted a revival in the respective genres, both in terms of
critical acclaim and box office takings. The development of cinematic
effects during this period, with regards to creating fantastical worlds
and gruesome monsters, led to the eventual dominance of computer
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.