British Science Fiction Film And Television Critical Essays

British Science Fiction Film And Television Critical Essays-11
Amy Bride completed her MA in American Literature and Culture at the University of Manchester, where she is due to start her Ph D, funded by the AHRC, in American Gothic, slavery, and finance, in September 2015.She also holds a PGCE in Post-Compulsory Education and Training from Staffordshire University.

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Hunter is Professor of Film Studies at De Montfort University, Leicester.

Sources range widely from pulp blockbusters and airport novels (Jaws, Jurassic Park, The Lost World) to contemporary literary novels (The Color Purple, Empire of the Sun, Schindler’s List), genre classics (War of the Worlds), non-fiction (Munich, Catch Me If You Can), children’s books (War Horse), short stories (A.

This paper discusses Hammer in relation to the ' New British Revisionism' - recent work by academics and fan scholars that has redrawn the canon of British cinema to highlight the importance of exploitation and cult films - and shows how empirical, archival and historical approaches have contributed to a more nuanced understanding of its place within British film history.

As well as comedy, social realism and horror, the British sex film eroticised that most distinctive of British genres, classic literary adaptation.

uses cookies to personalize content, tailor ads and improve the user experience. He is the author of British Trash Cinema (BFI/Palgrave, 2013), Cult Film as a Guide to Life (Bloomsbury, 2016), and co-editor of The Routledge Companion to British Cinema History (2017).

By using our site, you agree to our collection of information through the use of cookies. Address: Leicester Media School Faculty of Technology De Montfort University Clephan Building The Gateway Leicester LE1 9BHLike most Hollywood films, Spielberg’s have tended to be adaptations from previously published material.

Focusing on Ken Russell’s deliciously camp Lair of the White Worm (1988), as well as his Gothic (1986) and Fall of the Louse of Usher (2002), this talk argues for the notion of a ‘trash adaptation’, explores its special relevance to the Gothic, and considers whether the royal route to Britain’s political unconscious is its ‘lost continent’ of trash horror films.

Stanley Kubrick’s A Clockwork Orange (1971) has enjoyed a remarkable afterlife in popular culture, influencing fashion, glam, punk rock, and films maudits such from Killer’s Moon to Battle Royale.

The focus is rather on the role of adaptation in Spielberg’s career, profile and reception as a director in the context of a film production culture in which adaptation is just one reference point in a matrix of intertextual relations created by synergic cross-promotion (e.g.

video games, graphic and literary novelisations, CD soundtracks, multiple Director’s Cuts and DVD versions, prequels, sequels and franchises).


Comments British Science Fiction Film And Television Critical Essays

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