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13Th Biennial Conference of the International Gothic Association
13th Biennial Conference of the International Gothic Association: Gothic Traditions and Departures Universidad de las Américas Puebla (UDLAP) 18 – 21 July 2017 Conference Draft Programme 1 Conference Schedule Tuesday 18 July 10:00 – 18:00 hrs: Registration, Auditorio Guillermo y Sofía Jenkins (Foyer). 15:00 – 15:30 hrs: Welcome remarks, Auditorio Guillermo y Sofia Jenkins. 15:30 – 16:45 hrs: Opening Plenary Address, Auditorio Guillermo y Sofía Jenkins: Isabella Van Elferen (Kingston University) Dark Sound: Reverberations between Past and Future 16:45 – 18:15 hrs: PARALLEL PANELS SESSION A A1: Scottish Gothic Carol Margaret Davison (University of Windsor): “Gothic Scotland/Scottish Gothic: Theorizing a Scottish Gothic “tradition” from Ossian and Otranto and Beyond” Alison Milbank (University of Nottingham): “Black books and Brownies: The Problem of Mediation in Scottish Gothic” David Punter (University of Bristol): “History, Terror, Tourism: Peter May and Alan Bilton” A2: Gothic Borders: Decolonizing Monsters on the Borderlands Cynthia Saldivar (University of Texas Rio Grande Valley): “Out of Darkness: (Re)Defining Domestic Horror in Americo Paredes's The Shadow” Orquidea Morales (University of Michigan): “Indigenous Monsters: Border Horror Representation of the Border” William A. Calvo-Quirós (University of Michigan): “Border Specters and Monsters of Transformation: The Uncanny history of the U.S.-Mexico Border” A3: Female Gothic Departures Deborah Russell (University of York): “Gendered Traditions: Questioning the ‘Female Gothic’” Eugene -
After Fantastika Programme
#afterfantastika Visit: www.fantastikajournal.com After Fantastika July 6/7th, Lancaster University, UK Schedule Friday 6th 8.45 – 9.30 Registration (Management School Lecture Theatre 11/12) 9.30 – 10.50 Panels 1A & 1B 11.00 – 12.20 Panels 2A, 2B & 2C 12.30 – 1.30 Lunch 1.30 – 2.45 Keynote – Caroline Edwards 3.00 – 4.20 Panels 3A & 3B 4.30 – 6.00 Panels 4A & 4B Saturday 7th 10.30 – 12.00 Panels 5A & 5B 12.00 – 1.00 Lunch 1.00 – 2.15 Keynote – Andrew Tate 2.30 – 3.45 Panels 6A, 6B & 6C 4.00 – 5.00 Roundtable 5.00 Closing Remarks Acknowledgements Thank you to everyone who has helped contribute to either the journal or conference since they began, we massively appreciate your continued support and enthusiasm. We would especially like to thank the Department of English and Creative Writing for their backing – in particular Andrew Tate, Brian Baker, Catherine Spooner and Sara Wasson for their assistance in promoting and supporting these events. A huge thank you to all of our volunteers, chairs, and helpers without which these conferences would not be able to run as smoothly as they always have. Lastly, the biggest thanks of all must go to Chuckie Palmer-Patel who, although sadly not attending the conference in-person, has undoubtedly been an integral part of bringing together such a vibrant and engaging community – while we are all very sad that she cannot be here physically, you can catch her digital presence in panel 6B – technology willing! Thank you Kerry Dodd and Chuckie Palmer-Patel Conference Organisers #afterfantastika Visit: www.fantastikajournal.com -
Bryan Kneale Bryan Kneale Ra
BRYAN KNEALE BRYAN KNEALE RA Foreword by Brian Catling and essays by Andrew Lambirth, Jon Wood and Judith LeGrove PANGOLIN LONDON CONTENTS FOREWORD Another Brimful of Grace by Brian Catling 7 CHAPTER 1 The Opening Years by Andrew Lambirth 23 CHAPTER 2 First published in 2018 by Pangolin London Pangolin London, 90 York Way, London N1 9AG Productive Tensions by Jon Wood 55 E: [email protected] www.pangolinlondon.com ISBN 978-0-9956213-8-1 CHAPTER 3 All rights reserved. Except for the purpose of review, no part of this book may be reproduced, sorted in a Seeing Anew by Judith LeGrove 87 retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publishers. Pangolin London © All rights reserved Set in Gill Sans Light BIOGRAPHY 130 Designed by Pangolin London Printed in the UK by Healeys Printers INDEX 134 (ABOVE) ACKNOWLEDGEMENTS 136 Bryan Kneale, c.1950s (INSIDE COVER) Bryan Kneale with Catalyst Catalyst 1964, Steel Unique Height: 215 cm 4 5 FOREWORD ANOTHER BRIMFUL OF GRACE “BOAYL NAGH VEL AGGLE CHA VEL GRAYSE” BY BRIAN CATLING Since the first draft of this enthusiasm for Bryan’s that is as telling as a storm and as monumental as work, which I had the privilege to write a couple a runic glyph. And makes yet another lens to look of years ago, a whole new wealth of paintings back on a lifetime of distinctively original work. have been made, and it is in their illumination that Notwithstanding, it would be irreverent I keep some of the core material about the life to discuss these works without acknowledging of Bryan Kneale’s extraordinary talent. -
“XFR STN”: the New Museum's Stone Tape
NEWMUSEUM.ORG Published by The New Museum dedicates its Fifth Floor gallery space to “XFR STN” (Transfer Station), an open-door artist-centered media archiving project. 07/17–09/08/2013 © 2013 New Museum of Contemporary Art In the bygone era of amateur “taper” cultures, too, videotape copy-making was done behind closed doors—by home enthusiasts or enterprising copyright infringers. Off-air “XFR STN”: The New MuSEUM’S STONE TAPE taped compilations of network soaps or wacky cable-access shows, in addition to bootlegs of contraband classics like Cocksucker Blues or Superstar: the Karen Carpenter Story, were cre- ated anonymously and circulated underground. Even the now-defunct “old” Kim’s Video was rumored to homebrew their own copies of Monday/Wednesday/Friday Video Club INTRODUCTION titles, never broadcasting that fact to MWF honcho Alan W. Moore (who nonetheless could figure it out). For love or for gold, making homemade copies generally remained private— agnetic tape is compact, responsive—all the sales chatter says it is. Also: delicate, and whether for the development of a personal home library, to avert copyright infringement prone to lose its memory.” In the plot of Nigel Kneale’s seminal 1972 BBC TV special, M lawsuits, or to simply save the price of a legitimate store-bought copy. At friendly neigh- The Stone Tape, this visionary declaration spurs the teleplay’s research into new methods of borhood PAL-to-NTSC services, similarly, transfer is a backroom activity. At contempo- video preservation. Given that “tape’s finished…its day is done,” protagonist Peter Brock rary video preservation vendors, where videotape duplication is offered as a paid service, and his coterie of Ryan Electronics technicians embark on developing a groundbreaking this mysterious occlusion exists in climate-controlled, secure, off-site facilities that house new media format—one that will defeat the Japanese electronics industry, replace the need towering racks of electronic decks, cabling, and flashing lights. -
Volume 1 Issue 2
FANTASTIKA Fantastika Journal | Volume 1 | Issue 2 | December 2017 EDITOR’S NOTE “Fantastika” – a term appropriated from a range of Slavonic languages by John Clute – embraces the genres of Fantasy, Science Fiction, and Horror, but can also include Alternative Histories, Gothic, Steampunk, Young Adult Dystopian Fiction, or any other radically imaginative narrative space. The third annual Fantastika conference – Global Fantastika – held at Lancaster University, UK on July 4 & 5, 2016, considered a range of Global topics: productions of Fantastika globally; themes of contact within and across nations and borders; fictional and real empires; themes of globalization and global networks, mobilities, and migrations; and (post)colonial texts and readings, including no- tions of the ‘other.’ Some of the articles in this second issue of Fantastika Journal originate from the conference. The issue also includes articles and reviews from a range of international scholars, some of which are inspired by this Global theme. We are especially pleased to feature editorials from all of the keynotes speakers of the Global Fantastika conference. We hope this special Fantastika issue will stimulate discussion and contemplation of topics that are becoming so crucial and imperative in the world today, as we become a truly global community. Charul (Chuckie) Palmer-Patel HEAD EDITOR 1 Fantastika Journal | Volume 1 | Issue 2 | December 2017 ACKNOWLEDGEMENTS HEAD EDITOR Charul (Chuckie) Palmer-Patel CRITICAL CO-EDITORS AND NON-FICTION REVIEWS EDITORS Francis Gene-Rowe, Donna Mitchell FICTION AND NON-FICTION REVIEWS EDITOR Kerry Dodd ASSISTANT FICTION REVIEWS EDITORS Antonia Spencer, Monica Guerrasio DESIGN EDITOR AND COVER DESIGNER Sing Yun Lee CURRENT BOARD OF ADVISERS (IN ALPHABETICAL ORDER) Xavier Aldana Reyes Brian Baker Sarah Dillon Matt Foley Veronica Hollinger Rob Maslen Lorna Piatti-Farnell Adam Roberts Catherine Spooner Sherryl Vint We would also like to thank our peer reviewers and board of advisors for their kind consideration and efforts with this issue. -
The Quatermass Experiment by Nigel Kneale the Quatermass Experiment by Nigel Kneale
Read Ebook {PDF EPUB} The Quatermass Experiment by Nigel Kneale The Quatermass Experiment by Nigel Kneale. He died in a London hospital after a period of ill health, his agent said. Kneale's The Quatermass Experiment in 1953 was the UK's first sci-fi serial and created its first TV hero, the alien-battling Bernard Quatermass. The writer, from the Isle of Man, has been cited as an influence by Stephen King and film-maker John Carpenter. The Quatermass Experiment told the story of an alien monster brought back to Earth by a British space rocket. Robert Simpson, on Hammer Films' official website, said it was "event television, emptying the streets and pubs for the six weeks of its duration". Last year BBC Four broadcast a live remake starring David Tennant and Jason Flemyng. Channel controller Janice Hadlow described the original as "one of the first 'must watch' TV experiences that inspired the water cooler chat of its day". It was followed by two further serials in the 1950s, Quatermass II and Quatermass and the Pit, with all three dramas later turned into films. A fourth serial, Quatermass, was made in 1979. Kneale also scripted TV dramas including 1984, The Year of the Sex Olympics and The Stone Tape, which are regarded as modern classics. His 1954 adaptation of George Orwell's 1984 was so shocking that questions were asked in the House of Commons about the suitability of such material for television. Kneale earned two Bafta best screenplay nominations for his film adaptations of John Osborne's plays Look Back in Anger and The Entertainer. -
Title: “'Towns That Go Bump in the Night': Haunted Urbanity and Ghostly
Title: “‘Towns that go bump in the night’: Haunted Urbanity and Ghostly Narratives in the UK” By: Alexander Hay Supernatural Studies: An Interdisciplinary Journal of Art, Media, and Culture, Vol. 6, No. 2, pp. 59-83 Supernatural Studies 59 “Towns that go bump in the night”: Haunted Urbanity and Ghostly Narratives in the UK Alexander Hay Most if not all towns and cities in the UK have at least one haunted landmark, often several. Locations ranging from Southampton to York to Cardiff, for example, are host to a wide range of venues and locations, from industrial estates to haunted theatres, all said to be host to spectral presences of one sort or another. It is fair to say, then, that paranormal urban landscapes loom large in British culture and its urban experience. Given the sheer number of these occurrences, what does this reveal about how we relate to our towns and cities? Do our large number of haunted cities and towns reflect an ongoing narrative tradition in our popular culture, or do haunted sites instead reflect a sense of alienation and disillusionment with our surroundings, be it in the form of shuttered pubs, the London Underground, or the nondescript environs of a semi- detached house with its own poltergeist? Other areas of interest in this paper include how press coverage both reflects and disseminate urban ghost narratives, alongside the rise of housing inequalities and entrenched poverty that increasingly define British towns and cities. Whether these urban ghosts exist, of course, is another matter. Keywords: city, ghosts, hauntings, homelessness, housing, media, news, town, urban Hauntings, both in fiction and reported as real events, loom large in the British cultural imagination, if the seventeen year lifespan of the Most Haunted TV show and regular, sensationalist coverage in both the popular and local press—for example, The Southern Daily Echo covers day-to-day life and hauntings in Southampton with much the same editorial tone as the national tabloid press—is anything to go by. -
SFRA Newsletter Publ Ished Ten Times a Year for the Science Fiction Research Association by Alan Newcomer, Hypatia Press, Eugene, Oregon
University of South Florida Scholar Commons Digital Collection - Science Fiction & Fantasy Digital Collection - Science Fiction & Fantasy Publications 11-1-1991 SFRA ewN sletter 192 Science Fiction Research Association Follow this and additional works at: http://scholarcommons.usf.edu/scifistud_pub Part of the Fiction Commons Scholar Commons Citation Science Fiction Research Association, "SFRA eN wsletter 192 " (1991). Digital Collection - Science Fiction & Fantasy Publications. Paper 135. http://scholarcommons.usf.edu/scifistud_pub/135 This Article is brought to you for free and open access by the Digital Collection - Science Fiction & Fantasy at Scholar Commons. It has been accepted for inclusion in Digital Collection - Science Fiction & Fantasy Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Past Presidents of ~ Thomas D. Clareson (1970-76) Arthur O. Lewis, Jr. (1977-78) Joe De Bolt (1979-80) James Gunn (1981-82) Patricia S. Warrick (1983-84) Donald M. Hassler (1985-86) William H. Hardesty (1987-89) Elizabeth Anne Hull (1989-90) Past Editors of the Newsletter Fred Lerner (1971-74) Beverly Friend (1974-78) Roald Tweet (1978-81) Elizabeth Anne Hull (1981-84) Richard W. Miller (1984-87) Robert A. Collins (1987-89) Pilgrim Award Winners J. O. Bailey (1970) Marjorie Hope Nicolson (1971 ) Julius Kagarlitski (1972) Jack Williamson (1973) I. F. Clarke (1974) Damon Knight (1975) James Gunn (1976) Thomas D. Clareson (1977) Brian W. Aldiss (1978) Darko Suvin (1979) Peter Nicholls (1980) Sam Moskowitz (1981 ) Neil Barron (1982) H. Bruce Franklin (1983) Everett Bleiler (1984) Samuel R. Delany (1985) George Slusser (1986) Gary K. Wolfe (1987) Joanna Russ (1988) Ursula K. -
Alien Nation: a Season of Cult British TV (17 to 24 July 2011)
The Star and Shadow Cinema presents: Alien Nation: A Season of Cult British TV (17 to 24 July 2011) A celebration of the freaky, spooky and obscure side of UK television drama. Programmed by James Leggott (Lecturer in Film and TV, Northumbria University) from the darker corners of the BBC archives, with special guest introductions, this is a rare chance to catch some of the most haunting telefantasy ever transmitted. Expect angelic encounters, sacrificial offerings, gothic nightmares, dinner parties from hell, a very frightened Jane Asher, BBC Radiophonic weirdness… and Michael Parkinson being possessed by an evil spirit. Sunday 17th July, 7.30pm: The Stone Tape (1972, 90min) Wednesday 20th July, 7.30pm: Ghostwatch (1992, 95min) Thursday 21st July, 7.30pm: Penda’s Fen (1974, 90min) Sunday 24th July, 7.30pm: Schalcken the Painter (1979, 70min) + The Exorcism (1972, 50min) Sunday 17th July, 7.30pm: The Stone Tape (1972, 90min) The “Alien Nation” season of British telefantasy opens with this startling fusion of science fiction and supernatural horror. Penned by Nigel Kneale (the Godfather of British telefantasy) and first broadcast as part of the BBC’s tradition of ghost tales for Christmas, this futuristic story concerns a group of scientists who discover that their newfangled recording device is picking up disturbing transmissions from the past. Wednesday 20th July, 7.30pm: Ghostwatch (1992, 95min) This infamous BBC mockumentary about an evil spirit possessing a suburban household was taken by some audiences as a genuine live broadcast upon its first (and only) broadcast on Halloween in 1992. A prophetic satire on reality television, it is also a multilayered ghost story that repays repeated viewing. -
Here We Are: Spatial Personalization and Inhabitance in Byron and Lovecraft”
Conference Programme Tuesday 18 July 10:00 – 18:00 hrs: Registration, Auditorio Guillermo y Sofía Jenkins (Lobby). 15:00 – 15:30 hrs: Opening Ceremony, Auditorio Guillermo y Sofia Jenkins. 15:30 – 16:45 hrs: Opening Plenary Address, Auditorio Guillermo y Sofía Jenkins: Isabella van Elferen (Kingston University) Dark Sound: Being and Timbre in Gothic (Chair: Steven Bruhm) 16:45 – 18:15 hrs: PARALLEL PANELS SESSION A A1: Scottish Gothic (Chair: Carol Margaret Davison) – Room: CS 106 Carol Margaret Davison (University of Windsor): “Gothic Scotland/Scottish Gothic: Theorizing a Scottish Gothic ‘Tradition’ from Ossian and Otranto and Beyond” Alison Milbank (University of Nottingham): “Black books and Brownies: The Problem of Mediation in Scottish Gothic” David Punter (University of Bristol): “History, Terror, Tourism: Peter May and Alan Bilton” A2: Female Gothic Departures (Chair: Kathleen Hudson) – Room: CS 107 Deborah Russell (University of York): “Gendered Traditions: Questioning the ‘Female Gothic’” Eugene Kim (Kingston University): “Woolf after Radcliffe: Rethinking the Tradition of Female Gothic” Norma Aceves (University of Florida at Gainesville): “Feminist Disability Studies Goes Goth: The Hypertrophy of Female Monstrosity in Charlotte Dacre’s!Zofloya” A3: Chapbooks, Dreadfuls, and the Victorian Gothic Tradition (Chair: Ilse Bussing) – Room: CS 108 Franz Potter (National University): “The Horror of ‘Disposable Rubbish’: The Rise of the Gothic Chapbook” Sophie Raine (Lancaster University): “Habit-ual Offenders: The Voyeuristic Reader -
FRANKENSTEIN GANDALF’S WHALE of a TALE Sir Ian Mckellen EXCLUSIVE!
FATHER OF FRANKENSTEIN GANDALF’S WHALE OF A TALE Sir Ian McKellen EXCLUSIVE! FAMILY VALUES CHARLES MANSON AND THE MOVIES! HIGH RISE HELL THE HEIGHT OF HORROR TOWER OF EVIL SNAPE ISLAND MEMORIES DRILLER THRILLER DENTIST STAR CORBIN BERNSEN INTERVIEWED NASTY MAN EXploitation WIZard Matt Cimber DSD - ISSUE 03 “ONE OF THE UNDISPUTED HIGH POINTS OF HORROR TELEVISION... NIGEL KNEALE’S MASTERFUL MIX OF THE SCIENTIFIC AND THE SUPERNATURAL CAN STILL HAUNT YOU LIKE NO OTHER” PHELIM O’NEILL – THE GUARDIAN Nigel (Quatermass) Kneale’s legendary small screen frightener The Stone Tape was originally commissioned as a feature length ghost story for Christmas in 1972. The setting for this creepy classic is a traditionally spooky old house which is bought by an electronics company to house their new recording media research division. The building has been completely renovated apart from one room that the superstitious workmen have refused to enter. Of course computer programmers, Peter (Michael Bryant) and Jill (Jane Asher) are made of sterner stuff and investigate the room, finding nothing more scary than a few tins of pre-war spam and a letter to Santa from a young girl probably now long dead. Things get a bit more spooky though when the scientists knock down an old wood panel to discover a stone staircase. It is on this that the psychically susceptible Jill sees the ghost of a terrified 19th-century servant girl. Peter believes in what she has seen but treats it as a scientific problem. He thinks that the stone walls have acted like a kind of recording tape to keep replaying this traumatic event and determines to use this ghostly event to further his team’s research. -
THE STONE TAPE by Nigel Kneale Producer: Innes Lloyd Director
THE STONE TAPE by Nigel Kneale Producer: Innes Lloyd Director: Peter Sasdy Produced on BBC Television, December 25, 1972 OUTSIDE TASKERLANDS HOUSE — DAY A SMALL CAR, an Austin 1300, is being carefully driven down the last of along drive and into the forecourt of the house. There is much evidence of the massive rebuilding this ugly la te-Victorian structure has undergone. There are contractors I huts on the lawn, and a large caravan. There are piles of material — - sand and reinforcing metal and heavy pipes. Some scaffolding clings to the centre parts of the building. The car pulls in behind large motor vans. There are two vans, both emblazoned with the name “Ryan Electric Products”. one has unloaded, the other is just finishing. Men are shifting bulky apparatus onto trolleys and moving it inside the house. The car driver is JILL GREELEY, aged about 30. There is a very feminine, strong directness about her, so that what she is seems far more important than what she does. What she does is computer programming. She surveys the house, oppressed by the sight of it. Her eyes go along the whole ugly length. One end of it looks still untreated, smothered in ivy. She is so absorbed that she hardly notices that the vans are moving. She looks round. One of them is backing straight towards her, huge and blind. She blips her horn but it still comes on. She glances to the side and sees the other van backing towards her from that direction. She has moved in too close; neither of the unseen drivers has noticed her.