Search results

You are looking at 1 - 10 of 16 items for :

  • "science fiction" x
  • Manchester Shakespeare x
  • Refine by access: All content x
Clear All
Representing the supernatural in film adaptations of A Midsummer Night’s Dream
Gayle Allan

Midsummer Night’s Dream (2016), David Kerr utilises the science fantasy/fiction genre, to inform his representations of the fairies and their supernatural powers. While the film is not a science fiction/fantasy, it harnesses some of the genre's tropes and pays homage to notable films. 45 Kerr's Athenian court is a totalitarian regime with a brutal and tyrannical Theseus, complete with stormtroopers and sets adorned with iconography that combines 1940's fascism and George Lucas's original Star Wars

in Shakespeare and the supernatural
Instead of a conclusion
Ruth Morse

’s Pygmalion and Galatea of 1871 in mind, though there had been many prior retellings in English, and by Rousseau in French. 21 In an article on The Tempest and science fiction, I missed the Pygmalion references completely. See Ruth Morse, ‘Monsters, magicians, movies: The Tempest and

in Interweaving myths in Shakespeare and his contemporaries
Abstract only
Topology, religion and science
Peter J. Smith

Discoveries in his Travels; such as Nations of Giants and Pigmies, Flying Islands , and Territories inhabited by Horses , that for good Polity and Manners vied with the most civilized People in Europe.’ 118 Note how the elements of science fiction are predicated upon ‘good Polity and Manners’. Houyhnhnm government is clearly on a par – if not better than – that of ‘the most civilized People in

in Between two stools
Abstract only
Shakespeare’s voyage to Greece
Richard Wilson

of Contract’, in Montaigne After Theory: Theory After Montaigne ’, ed. Zahi Zalloua (Seattle: University of Washington Press, 2009), p. 173. 5 Fredric Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (London: Verso, 2007), p. 1

in Free Will
Abstract only
Appropriation, dislocation, and crossmapping
Elisabeth Bronfen

Jonathan Nolan and Lisa Joy’s Westworld , the spectrality of cultural ventriloquism is foregrounded. In reference to a quote from Romeo and Juliet , ‘these violent delights have violent ends,’ the pathos formula re-surfacing most prominently in my reading encapsulates the enmeshment of violence and creation. Yet the string of Shakespeare quotes, uttered by a malfunctioning host, not only suggests a collision between this science-fiction western and Shakespeare’s romantic tragedy. It also affords a serial interconnection between the TV series and two further plays, The

in Serial Shakespeare
Divine destruction in Friar Bacon and Friar Bungay
Chloe Porter

and Thomas Warren, 1638), pp. 22–5. 55 William Poole, ‘Kepler’s Somnium and Francis Godwin’s The Man in the Moone : Births of Science-Fiction 1593–1638’, in Chloë Houston (ed.), New Worlds Reflected: Travel and Utopia in the Early Modern Period (Farnham: Ashgate, 2010), pp. 57–69, p

in Making and unmaking in early modern English drama
Abstract only
Through everything
Nicholas Royle

. Her writing is a new kind of science fiction or poetic science criticism. It has to do with nanoments, narratoids, omnicisence and ornithophony, with ‘literature’ as a land as much of the ancient past as of the unforeseeable future. 19 In her books centuries collapse in a twinkling. A pair of scissors expands into a world. ✂ ‘Critical writing’ has to do with cutting . ‘Criticism’, ‘crisis’, ‘critical’ – all these words come down, or up, from the ancient Greek verb krinein , to cut, to discern, judge, decide. Decision is a cut- word too: the scissors are

in Hélène Cixous
Abstract only
Jeremy Tambling

gone home. It is the voice of Margaret Thatcher announcing the ‘one country two systems’ plan for Hong Kong that was initiated for fifty years only, after the British colony reverted to Chinese rule in 1997. 2046 is 49 years after, 2047 being the name of a science-fiction story that the leading figure Chow Mo-wan (Tony Leung) has written. 2046 is the place, in this science-fiction, where people go

in On anachronism
Robert Shaughnessy

’s Shakespeare as contemporary by pitching it somewhere between Carnaby Street and the shiny plastic milieu of 1960s science fiction. This was a world in which, but for the odd fetishistic flash of leather, little was not ersatz or synthetic: Koltai’s chicly minimalist settings were based on plain, geometrically angled surfaces, ‘a transparent plexiglass wall’ upstage, ‘a few geometrical

in As You Like It
A renaissance of vampires and zombies
Kinga Földváry

combine horror with elements of science-fiction cinema: ‘In particular, the Blade films, Underworld (2003), Van Helsing (2004), and Underworld: Evolution (2006) have contributed to a reconception of generic conventions and iconography that undermines the laws of religion and folklore in favor of the laws of science and technology.’ 13 The Underworld films feature several dark and doomed love plots, which is the single thematic element actually reminiscent of Shakespeare’s Romeo and Juliet , but this connection is regularly mentioned by reviewers and fans

in Cowboy Hamlets and zombie Romeos