DOCSLIB.ORG

Starburst Magazine 005 (1978 12) (Marvel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Vol.l No. 5 50p SCIENCE FANTASY IN TELEVISION, CINEMA AND COMICS THE FILMING OF SUPERMAN THE MOVIE PRIZE WINNING COMPETITION IK STAR -REVIEW PLUS FULL COLOUR GIANT POSTER DOUG TRUMBULL SPEAKS! 1978 INC V1ICS C eoc SPECIAL PREVIEW - ^ SAVE ONTHE VERTBESTSCIENCE FICTION For the best science fiction look no further than the titles*, and a range of sf books costing as little as 85p! Science Fiction Club. Book For 26 years we have been PLUS a feature by a top author and a column of sf news. * offering some of the finest sf ever written, books carefully These are publishers' editions and slightly more expen- selected from the very best of all that is newly published. sive, but still amazingly good value at up to 25% less Special hardback Club editions at big savings on the than the bookshop price. bookshop price: for books costing £3.95 or more in the publisher's edition. Club members pay £1 .50 to £1 .75, Send no money, just return the coupon today. Your saving up to £2.50! only commitment is to take the first six top value Main On joining you will receive your first SF Book Club Selections, books by some of the giants and rising stars News describing the Main Selection, at least two new of the sf galaxy. Your introduction to a future of great sf reading TAKEANY4BOOKS Christopher Priest (plus ONLYIS'^EACI carriage) 2 nw.TixKf.i and save up to £16.55 vy/hen you join the Science Fiction Book Club Pub at £3.95 •ARWVE/IT EASTERWINE- THE "Divarno} IbnfrIWiabitaMt i AUTOBIOGRAPHY 0f{ AU-MYgNSREMEMBBlH) A KTISTEC MACHII Wessex •AS CONVEYED T( U6 al £3.9 R A LAFPERTY- FVTH hiM^Ubciai £4. at £3.96 f’ub at ‘Jo PHILIP Ke! DICK RO^Jl I HlfMMraiM ZELAZNY RICHARD ttftimk COWPER A i*ch iiWf To: Science FMjon Book Club, Brunei House,^lNewton Abbot, Devon Caliaupp I would like to join the Science Fiction Book Club for e six I month membership (one book e month) end will thereefter give one month's notice if I wish to resign. I clelm the four Introduc- tory books Indiceted et only 15p eech (plus 75p totel cerriege). PLEASE „ „ I SEND , ——— Pleete allow 21 I INTRODUCTORY | I T days for dalivary ^—"—*—" I BOOKS NOS. Mr/Mr»/Mit» I AddreM^ I THE SF BOOK CLUB MEANS I THE BEST IN SCIENCE FICTION I Signature (or If under 18 signature of Perent/Guerdlen IVK Science Fiction Book Club, Brunei House, Forde Rood, Newton Abbot, Devon Reg In Englend No 843946 {send no money POST TODAY! Vol 1, No 5 Dec. 1978 Edited and designed by Dez Skinn Assistant Editor: Alan McKenzie Layout : Chas Farnsbarns Art Assistance: Alan Murray Elina Fell Advertising : Top Team tCIENCE FANTASY IN TELEVISION. CINEMA AND COMICS Mail Order: Jill Howard Distribution : Comag elcome to issue 5 of Britain's Superman—The Movie 4 David Castell, editor of Films Illustrated, takes a look at the making of the most expensive only media science fiction W motion picture of all time. magazine, this month spot- lighting another eomic-book crea- The Starburst Competition 9 tion that has leaped over to the Win yourself one of many Hamlyn books in our special competition. silver Superman. Vreen, Things to Come 10 F or this special lead feature, we'd Find out all that's new in the world of movie and tv science fiction. like to thank I'ilms Illustrated editor, Starburst Review 16 David Castell. for taking time out We review not one but two sf movies that will be coming your way in the very near future of his hectic schedule to urite such an interesting and informative article. Lucas and Spielberg 20 True to our established style, Starburst looks at the two cinema giants behind Star Wars and Close Encounters respec- tively and brings you up to date on their latest ventures. we'll be featuring special elfects expert John Brosnan's look at Super- Dark Star 22 man — I he Mrivic next month, Starburst regular John Fleming casts a critical eye over this little-seen sf classic. as we did with Star Wars and ( lose Dark Star Poster 24 Kneounters in previous issues. A bonus 16^x111 full colour reproduction of the original Dark Star poster. Also next month, we'll be report- ing on the recent l irst British fan- John Carpenter Speaks 28 tasy film Convention. One half of the creative team behind the Dark Star movie talks to Starburst in this revealing interview. Plus, we'll be taking a look at Japan's new sf feature film. Message The Starburst Interview 34 from Space, and presenting the Douglas Trumbull, the genius behind the special effects of such movies as 2001. Silent Running and Close Encounters talks of his early career. second part of our Doug Trumbull talk-in. The Cannes Film Festival 40 But our big surprise feature, in Tony Crawley was there and covers the movies that were on show, all of which will soon be answer to many questions about surfacing at your local cinema. Blake's 7. Dr W ho and T he .Survivors, Book World 42 is an interview with writer creator Our monthly look at the wide variety of sf books currently on release. Terry Nation. Battlestar Galactica Be here! 45 A bonus, colour photo-preview of the film/tv series that threatens to out-star Star Wars. uHMthly hv V/izrvr/ ( or/rrt v. Jih/hio Kt’nii\h town Hihi'I, / \ I// pfum^rt/phii ttmtrm i\ iopirmht o! . HHi \/K. AM . i n\, i otunthia. < li . I Ml. M(,M. IK. M< Al nivftsal. Stmiu- imrrmin. Kititk. iHtntiflh ( enlurf-^l it.x, I iiilrtl Arity/s. ti'mm'r Itrnthfrx. I*nrutmmnt IHA twii (Ippitlun. am! upprars m rf/r thfir Editor kitui pt’nniwion. All rrttuwttfi^ toiUrnt ix topyriulu © Murvel ( imiu\ I hi IV7/i All rtKliix rfxrrvnl. C otuepi hy Dr; Skinn. Minted in I nylund. 4 AVith Superman: The Movie set for a December 15th London release, David Castell, editor of Films Illustrated and former presenter of BBC tv’s cinema showcase programme Film Night, takes a look at the progress of the movie from the initial concept to the completed film. fourth 933, the year of the Great The following year, George Lowther effects and agreed to a big budget. The sky 1 American Depression. A dreamy teen- presented him in novel form. The Adventures was the limit. Would $25,000,000 be ager named Jerry Siegel wiled away a of Superman television programme started enough? Spengler and Salkind Jnr hot, summer night thinking up a character in America in 1954, more animated swallowed hard. Yes, they said, that would for a story he was toying with. The next cartoons in the '60s and a Broadway be enough. Wrong again. Superman: The morning he took his idea to a close friend, musical in 1966. The guy got around. Movie ultimately burst its financial banks Joe Shuster, an aspiring cartoonist. Between You might think that the decision to to the tune of an additional $40,000,000. them they thrashed out the details. Their make a major movie would have been a The start date was put back and back. And hero would be “like Samson, Hercules and momentous one, taken with cigar-belching once the cameras rolled, as late as Match all the strong men we have ever heard of, enthusiasm around a Hollywood board- 1977, the thirty-week schedule stretched to all rolled into one,” said Siegel. “Only more room table. Wrong. It was in May 1974, sixty-five. so,” added Shuster. They called him in a sidewalk Paris cafe that producer The gestation period was elephantine. Superman. Alexander Salkind turned to his son, Ilya, Pierre Spengler negotiated the rights with Forty-five years later, the Man of Steel and family friend, Pierre Spengler, both DC Comics. The Salkinds were unknown was being born again, for Superman: The in their twenties, are asked what they were to the publishers so all manner of things Movie. Not so casual this time, for the going to do next. The trio had just had a were written into the contract. Among the interim years had built a detailed mythology resounding success with The Three Musket- clauses was one agreeing that the film would around Superman. He had become one of eers and were delighted to have its sequel, not be a send-up, another that it would not the most durable of the American legends, as well as The Prince and the Pauper in the be pornographic (not so bizarre a condition outlasting Betty Grable, outselling the pipeline. “What next? What about Super- when you think of the fairy tales and Bible. During World War IF, Superman manT’ asked Ilya. Alexander had never children's classics that have lately been was standard issue in Gl duffle bags. heard of him, but his son described the revamped into soft-core sex material). Goebbels attacked him publicly as being incredible feats of the Man of Steel in a way Spengler’s business nose told him that they “a Jew-monger”. He had been the central that excited the older man’s imagination. were sitting on a veritable goldmine—not .” figure in Action Comics; in a syndicated “It would have to be big. he mused, a single film, but a Bond-\\V.e series that newspaper strip; in a serialised radio suggesting that he go to his backers and see could last a decade and hinge on four programme from 1940 onwards; in three if the idea tickled their fancy.
Recommended publications
  • Guests We Are Pleased to Announce That the Following Guests Have Confirmed That They Can Attend

    Guests We Are Pleased to Announce That the Following Guests Have Confirmed That They Can Attend

    Welcome to this progress report for the Festival. Every year we start with a big task… be better than before. With 28 years of festivals under our belts it’s a big ask, but from the feedback we receive expectations are usually exceeded. The biggest source of disappointment from attendees is that they didn’t hear about the festival earlier and missed out on some fantastic weekends. The upcoming 29th Festival of Fantastic Films will be held over the weekend of October 26– 28 in the Manchester Conference Centre (The Pendulum Hotel) and looks set to be another cracker. So do everyone a favour and spread the word. Guests We are pleased to announce that the following guests have confirmed that they can attend Michael Craig Simon Andreu Aldo Lado Dez Skinn Ray Brady 1 A message from the Festival’s Chairman And so we approach the 29th Festival - a position that none of us who began it all could ever have envisioned. We thought that if it went on for about five years, we would be happy. My biggest regret is that I am the only one of that original formation group who is still actively involved in the organisation. I'm not sure if that's because I am a real survivor or if I just don't like quitting. Each year as we look at putting on another Festival, I think of those people who were there at the outset - Harry Nadler, Dave Trengove, and Tony Edwards, without whom the event wouldn’t be what it is.
  • Alan Moore's Miracleman: Harbinger of the Modern Age of Comics

    Alan Moore's Miracleman: Harbinger of the Modern Age of Comics

    Alan Moore’s Miracleman: Harbinger of the Modern Age of Comics Jeremy Larance Introduction On May 26, 2014, Marvel Comics ran a full-page advertisement in the New York Times for Alan Moore’s Miracleman, Book One: A Dream of Flying, calling the work “the series that redefined comics… in print for the first time in over 20 years.” Such an ad, particularly one of this size, is a rare move for the comic book industry in general but one especially rare for a graphic novel consisting primarily of just four comic books originally published over thirty years before- hand. Of course, it helps that the series’ author is a profitable lumi- nary such as Moore, but the advertisement inexplicably makes no reference to Moore at all. Instead, Marvel uses a blurb from Time to establish the reputation of its “new” re-release: “A must-read for scholars of the genre, and of the comic book medium as a whole.” That line came from an article written by Graeme McMillan, but it is worth noting that McMillan’s full quote from the original article begins with a specific reference to Moore: “[Miracleman] represents, thanks to an erratic publishing schedule that both predated and fol- lowed Moore’s own Watchmen, Moore’s simultaneous first and last words on ‘realism’ in superhero comics—something that makes it a must-read for scholars of the genre, and of the comic book medium as a whole.” Marvel’s excerpt, in other words, leaves out the very thing that McMillan claims is the most important aspect of Miracle- man’s critical reputation as a “missing link” in the study of Moore’s influence on the superhero genre and on the “medium as a whole.” To be fair to Marvel, for reasons that will be explained below, Moore refused to have his name associated with the Miracleman reprints, so the company was legally obligated to leave his name off of all advertisements.
  • Master Class with Douglas Trumbull Selected Bibliography 1 the Higher

    Master Class with Douglas Trumbull Selected Bibliography 1 the Higher

    Master Class with Douglas Trumbull Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Redefining the “Cinema of Attractions” (General) Abel, Richard. “The Cinema of Attractions.” in The Cine Goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1994. ---. “The Cinema of Attractions in France, 1896-1904.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 63-75. Buckland, Warren. “A Rational Reconstruction of ‘The Cinema of Attractions’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 41- 56. Bukatman, Scott. “Spectacle, Attractions and Visual Pleasure.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 71-82. Elsaesser, Thomas. “Discipline through Diegesis: The Rube Film between ‘Attractions’ and ‘Narrative Integration’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 205-223. Gaudreault, André and Tom Gunning. “Early Cinema as a Challenge to Film History.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 365-380. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Wide Angle 8.
  • Legacy Effects Impact of Motion Control and CG

    Legacy Effects Impact of Motion Control and CG

    Cory Radtke CVFX: Legacy Effects Impact of Motion Control And CG Imaging In Cinema “It’s easy to create something that has a lot of luster, but it’s very hard to make something that has a lot of depth.” These words, from John Dykstra – a motion control pioneer – encapsulate the state of mind in the film effects industry in the late 60’s. Special effects for cinema had reached a point which at audiences required more impressive visuals that were more detailed and realistic to suspend their disbelief. The weariness had set in, in the 50’s/early 60’s because of the bombardment of super low budget B-movie action and horror films. With the established use of stop motion and optical printing techniques, effects technicians- provoked by visionary filmmakers worked to push the envelope. The content also dictated the advancements necessary to tell/show the stories. One such film that changed the industry forever was Stanley Kubrick’s 2001: A Space Odyssey. The production of the film gave birth to motion control and and slit-scan photography, pushed by a visionary and a vision - “Do it right, do it better then do it all over again”(Costa 5). Kubrick helped open the door to following decades of visual marvels that have since become staples in motion picture effects work. Innovation after innovation, the technical achievements pushed forward by motion-control - soon after included: Star Wars, Close Encounters of the Third Kind, and Superman, and Blade Runner. (Edwards 2-9). As 2001 opened the door to motion-control, subsequent films – most notably Star Wars adapted and advanced the technology with the minds at the newly created ILM, by George Lucas.

  • Sfiff 2019 Program Here

    SantaFeIndependent.com 2019 team and advisory board 2019 SFIFF TEAM Jacques Paisner Artistic Director Liesette Paisner Bailey Executive Director Jena Braziel Guest Service Director Derek Horne Director of Shorts Programmer Beau Farrell Associate Programmer Stephanie Love Office Manager Dawn Hoffman Events Manager Deb French Venue Coordinator Chris Bredenberg Tech Director Allie Salazar Graphic Designer Blake Lewis Headquarters Manager Castle Searcy Festival Dailies Adelaide Zhang Box Office Assistant Sarah Mease Box Office Assistant Eileen O’Brien MC Sage Paisner Photographer 2019 SFIFF ADVISORY BOARD Gary Farmer, Chair Chris Eyre Kirk Ellis David Sontag Alexandria Bombach Nicole Guillemet “A young Sundance” Alton Walpole —Indiewire Kimi Ginoza Green Paul Langland Beth Caldarello Xavier Horan “An all inclusive Marissa Juarez resort for cinephiles...” —Filmmaker Magazine “Bringing the community together” 505-349-1414 —Slant Magazine www.santafeindependent.com • [email protected] 418 Montezuma Ave. Suite 22 Santa Fe, NM 87501 3 AD AD welcome WELCOME Dear Santa Fe Independent Film Festival Visitors and Community, Welcome to Santa Fe, and to the festival The Albuquerque Journal calls “The Next Sundance.” The Santa Fe Independent Film Festival (SFIFF), now in its eleventh year, has become one of Santa Fe’s most celebrated annual events. I know you will enjoy SFIFF’s world-class programming and award-winning guests, including renowned ac- tors Jane Seymour and Tantoo Cardinal. I encourage you to investi- gate the many activities, museums, galleries, restaurants, and more that Santa Fe has to offer. The Santa Fe Independent Film Festival fills five days with screen- ings, workshops, educational panels, book signings, and celebra- tions.
  • Application of the Public Advocates Office for Rehearing of Resolution E

    Application of the Public Advocates Office for Rehearing of Resolution E

    BEFORE THE PUBLIC UTILITIES COMMISSION OF THE STATE OF CALIFORNIA FILED 05/19/21 04:59 PM Application of the Public Advocates Office A2105013 for Rehearing of Resolution E-5139. A.21-05- CERTIFICATE OF SERVICE I hereby certify that I have on this date served a copy of APPLICATION OF THE PUBLIC ADVOCATES OFFICE FOR REHEARING OF RESOLUTION E-5139 to all known parties by either United States mail or electronic mail, to each party named on the official service list attached in R.16-02-007. An electronic copy was sent to the assigned Administrative Law Judge. Executed on May 19, 2021 at San Francisco, California. /s/ Sara J. Powell Sara J. Powell 385030264 1 / 47 CPUC Home CALIFORNIA PUBLIC UTILITIES COMMISSION Service Lists PROCEEDING: R1602007 - CPUC - OIR TO DEVELO FILER: CPUC LIST NAME: LIST LAST CHANGED: APRIL 13, 2021 Parties DAMON FRANZ DAVID LYONS DIR - POLICY & ELECTRICITY MARKETS ATTORNEY TESLA, INC. PAUL HASTINGS LLP EMAIL ONLY EMAIL ONLY EMAIL ONLY, CA 00000 EMAIL ONLY, CA 00000 FOR: TESLA, INC. (FORMERLY: SOLARCITY FOR: LA PALOMA GENERATING COMPANY,LLC CORPORATION) JEFFREY KEHNE JOHN W. LESLIE, ESQ. CHIEF DEVELOPMENT OFFICE / GEN.COUNSEL ATTORNEY MEGELLAN WIND LLC DENTONS US LLP EMAIL ONLY EMAIL ONLY EMAIL ONLY, DC 00000 EMAIL ONLY, CA 00000 FOR: MAGELLAN WIND LLC FOR: SHELL ENERGY NORTH AMERICA (U.S.), L.P. MATTHEW FREEDMAN MERRIAN BORGESON STAFF ATTORNEY SR. SCIENTIST THE UTILITY REFORM NETWORK NATURAL RESOURCES DEFENSE COUNCIL EMAIL ONLY EMAIL ONLY EMAIL ONLY, CA 00000 EMAIL ONLY, CA 00000 FOR: THE UTILITY REFORM NETWORK (TURN) FOR: NATURAL RESOURCES DEFENSE COUNCIL (NRDC) PETER T.
  • Why No Wonder Woman?

    Why No Wonder Woman?

    Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends.
  • Science Fiction on American Television

    Science Fiction on American Television

    TV Sci-Fi 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ TV Sci-Fi CONTENTS Page IMPORTANT NOTE................................................................................................................. 1 ACCESSING RESEARCH MATERIALS.................................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst ....................................................... 4 INTRODUCTION by Sean Delaney ......................................................................................... 6 AMERICAN TELEVISION........................................................................................................ 8 SCIENCE FICTION ON AMERICAN TELEVISION ................................................................. 9 AUDIENCES AND FANS......................................................................................................... 11 ANDROMEDA ......................................................................................................................... 12 BABYLON 5 ............................................................................................................................ 14 BATTLESTAR GALACTICA................................................................................................... 17 FARSCAPE ............................................................................................................................. 19 THE IRWIN ALLEN QUARTET • VOYAGE TO THE BOTTOM OF THE SEA.....................................................................
  • An O'bannon First Burst Onto the Fan- Tasy Cinema Scene with Dark Star

    An O'bannon First Burst Onto the Fan- Tasy Cinema Scene with Dark Star

    an O'Bannon first "I got married, had a kid and just lost burst onto the fan­ interest for a while in chasing that con­ tasy cinema scene stant Hollywood grind," O'Bannon says. "I with Dark Star­ was interested in my family, taking it easy which he co-wrote with and stuff. I tried to completely write down director John Carpenter and starred in­ movies in my own heart, because they've and subsequently with his darker version changed so much.n (co-scripted by Ronald Shusett) of the Luckily, he thought about it again and same story, Alien. The film was an imme­ one simple element changed his mind. "I diate hit, made stars of Sigourney Weaver haven't completely ruled Hollywood out and director Ridley Scott and is regarded because I can't think of a better way of as one of the best horror films ever. making money, n he laughs. "Two years ago O'Bannon has since had a strange I had decided to forego Hollywood, but career as a filmmaker, with Return of the lately I thought about that decision and Living Dead-which spawned numerous said, 'Wait a minute, that's stupid. There's imitations and (now four) sequels-and a lot of money there!' There's still a pro­ The Resu"ected his only directorial efforts ject or two of mine that I would very much to date. He has been busier as a screen­ like to put on the big screen. If I get lucky writer, and his work has been helmed by and sell an occasional script, I can get a many of the genre's best-known filmmak­ lot of cash.
  • KING KONG IS BACK! E D I T E D B Y David Brin with Leah Wilson

    KING KONG IS BACK! E D I T E D B Y David Brin with Leah Wilson

    Other Titles in the Smart Pop Series Taking the Red Pill Science, Philosophy and Religion in The Matrix Seven Seasons of Buffy Science Fiction and Fantasy Writers Discuss Their Favorite Television Show Five Seasons of Angel Science Fiction and Fantasy Writers Discuss Their Favorite Vampire What Would Sipowicz Do? Race, Rights and Redemption in NYPD Blue Stepping through the Stargate Science, Archaeology and the Military in Stargate SG-1 The Anthology at the End of the Universe Leading Science Fiction Authors on Douglas Adams’ Hitchhiker’s Guide to the Galaxy Finding Serenity Anti-heroes, Lost Shepherds and Space Hookers in Joss Whedon’s Firefly The War of the Worlds Fresh Perspectives on the H. G. Wells Classic Alias Assumed Sex, Lies and SD-6 Navigating the Golden Compass Religion, Science and Dæmonology in Philip Pullman’s His Dark Materials Farscape Forever! Sex, Drugs and Killer Muppets Flirting with Pride and Prejudice Fresh Perspectives on the Original Chick-Lit Masterpiece Revisiting Narnia Fantasy, Myth and Religion in C. S. Lewis’ Chronicles Totally Charmed Demons, Whitelighters and the Power of Three An Unauthorized Look at One Humongous Ape KING KONG IS BACK! E D I T E D B Y David Brin WITH Leah Wilson BENBELLA BOOKS • Dallas, Texas This publication has not been prepared, approved or licensed by any entity that created or produced the well-known movie King Kong. “Over the River and a World Away” © 2005 “King Kong Behind the Scenes” © 2005 by Nick Mamatas by David Gerrold “The Big Ape on the Small Screen” © 2005 “Of Gorillas and Gods” © 2005 by Paul Levinson by Charlie W.
  • Cyborg Cinema and Contemporary Subjectivity

    Cyborg Cinema and Contemporary Subjectivity

    Cyborg Cinema and Contemporary Subjectivity Sue Short Cyborg Cinema and Contemporary Subjectivity This page intentionally left blank Cyborg Cinema and Contemporary Subjectivity Sue Short Faculty of Continuing Education Birkbeck College, University of London, UK © Sue Short 2005 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2005 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 1–4039–2178–4 hardback This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library.
  • Starlog Magazine Issue

    Starlog Magazine Issue

    'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws: