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æ¥ŠÂ·æ–¯å‡¡å…‹æ¢…è€¶ ç”µå½± ä¸²è¡Œ (å¤§å…¨) è²ªåƒ æ¨¹ https://zh.listvote.com/lists/film/movies/%E8%B2%AA%E5%90%83%E6%A8%B9-2631320/actors Darkness/Light/Darkness https://zh.listvote.com/lists/film/movies/darkness%2Flight%2Fdarkness-12059099/actors Johann Sebastian Bach: https://zh.listvote.com/lists/film/movies/johann-sebastian-bach%3A-fantasy-in-g-minor-20757862/actors Fantasy in G minor Castle of Otranto https://zh.listvote.com/lists/film/movies/castle-of-otranto-20814469/actors Leonardo's Diary https://zh.listvote.com/lists/film/movies/leonardo%27s-diary-23302076/actors Faust https://zh.listvote.com/lists/film/movies/faust-2593047/actors Lunacy https://zh.listvote.com/lists/film/movies/lunacy-2640291/actors Conspirators of Pleasure https://zh.listvote.com/lists/film/movies/conspirators-of-pleasure-2760571/actors Jabberwocky https://zh.listvote.com/lists/film/movies/jabberwocky-3157016/actors Virile Games https://zh.listvote.com/lists/film/movies/virile-games-3223615/actors Meat Love https://zh.listvote.com/lists/film/movies/meat-love-3497718/actors Surviving Life https://zh.listvote.com/lists/film/movies/surviving-life-3501418/actors The Flat https://zh.listvote.com/lists/film/movies/the-flat-36530326/actors Down to the Cellar https://zh.listvote.com/lists/film/movies/down-to-the-cellar-3712387/actors Et Cetera https://zh.listvote.com/lists/film/movies/et-cetera-3733629/actors Flora https://zh.listvote.com/lists/film/movies/flora-3746649/actors Historia Naturae (Suita) https://zh.listvote.com/lists/film/movies/historia-naturae-%28suita%29-3785886/actors A Game with Stones https://zh.listvote.com/lists/film/movies/a-game-with-stones-3787295/actors A Quiet Week in the https://zh.listvote.com/lists/film/movies/a-quiet-week-in-the-house-3991176/actors House The Garden https://zh.listvote.com/lists/film/movies/the-garden-4023727/actors Don Juan https://zh.listvote.com/lists/film/movies/don-juan-5292862/actors Food https://zh.listvote.com/lists/film/movies/food-626981/actors Picnic with Weissmann https://zh.listvote.com/lists/film/movies/picnic-with-weissmann-7190989/actors The Death of Stalinism in https://zh.listvote.com/lists/film/movies/the-death-of-stalinism-in-bohemia-7729455/actors Bohemia The Pendulum, the Pit https://zh.listvote.com/lists/film/movies/the-pendulum%2C-the-pit-and-hope-7756524/actors and Hope æ„›éº—çµ² https://zh.listvote.com/lists/film/movies/%E6%84%9B%E9%BA%97%E7%B5%B2-1283391/actors äººé–“è®ŠèŸ²è¨˜ https://zh.listvote.com/lists/film/movies/%E4%BA%BA%E9%96%93%E8%AE%8A%E8%9F%B2%E8%A8%98-24576335/actors æ–½ç“¦èŒ¨ç“¦å°”å¾·å… https://zh.listvote.com/lists/film/movies/%E6%96%BD%E7%93%A6%E8%8C%A8%E7%93%A6%E5%B0%94%E5%BE%B7%E5%85%88%E7%94%9F%E5%92%8C%E5%9F%83%E5%BE%B7%E5%8A%A0%E5%85%88%E7%94%9F%E7%9A%84%E6%9C%80%E5%BE%8C%E6%8A%8A%E6%88%B2- ˆç”Ÿå’ŒåŸƒå¾·åŠ å… 7746139/actors ˆç”Ÿçš„æœ€å¾ŒæŠŠæˆ² å°è ©±çš„ç¶å º¦ https://zh.listvote.com/lists/film/movies/%E5%B0%8D%E8%A9%B1%E7%9A%84%E7%B6%AD%E5%BA%A6-939929/actors.

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The Silence of Lorna
Surviving Life (Přežit Svůj Život) a film by Jan Švankmajer Czech Republic / Slovakia 109 mins/ Certificate 15 DVD release date: June 11 2012 FOR ALL PRESS ENQUIRIES OR TO REQUEST IMAGES PLEASE CONTACT:- Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/ E-Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT:- Robert Beeson – New Wave Films 10 Margaret St London W1W 8RL Tel: 020 3178 7095/ E-Mail: [email protected] Further information on www.newwavefilms.co.uk new wave films Surviving Life Director Jan Švankmajer Script Jan Švankmajer Producer Jaromír Kallista Co‐Producers Juraj Galvánek, Petr Komrzý, Vít Komrzý, Jaroslav Kučera Associate Producers Keith Griffiths and Simon Field Music Alexandr Glazunov and Jan Kalinov Cinematography Jan Růžička and Juraj Galvánek Editor Marie Zemanová Sound Ivo Špalj Animation Martin Kublák, Eva Jakoubková, Jaroslav Mrázek Production Design Jan Švankmajer Costume Design Veronika Hrubá Production Athanor / C‐GA Film CZECH REPUBLIC/SLOVAKIA 2010 ‐ 109 MINUTES ‐ In Czech with English subtitles CAST Eugene , Milan Václav Helšus Eugenia Klára Issová Milada Zuzana Kronerová Super‐ego Emília Došeková Dr. Holubová Daniela Bakerová Colleague Marcel Němec Antiquarian Jan Počepický Prostitute Jana Oľhová Janitor Pavel Nový Boss Karel Brožek Fikejz Miroslav Vrba SYNOPSIS Eugene (Václav Helšus) leads a double life ‐ one real, the other in his dreams. In real life he has a wife called Milada (Zuzana Kronerová); in his dreams he has a young girlfriend called Eugenia (Klára Issová). Sensing that these dreams have some deeper meaning, he goes to see a psychoanalyst, Dr. Holubova, who interprets them for him, with the help of some argumentative psychoanalytical griping from the animated heads of Freud and Jung.
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Jan Švankmajer - Wikipedia, the Free Encyclopedia 2/18/08 6:16 PM
Jan Švankmajer - Wikipedia, the free encyclopedia 2/18/08 6:16 PM Jan Švankmajer From Wikipedia, the free encyclopedia Jan Švankmajer (born 4 September 1934 in Prague) is a Jan Švankmajer Czech surrealist artist. His work spans several media. He is known for his surreal animations and features, which have greatly influenced other artists such as Tim Burton, Terry Gilliam, The Brothers Quay and many others. Švankmajer has gained a reputation over several decades for his distinctive use of stop-motion technique, and his ability to make surreal, nightmarish and yet somehow funny pictures. He is still making films in Prague at the time of Still from Dimensions of Dialogue, 1982 writing. Born 4 September 1934 Prague, Czechoslovakia Švankmajer's trademarks include very exaggerated sounds, often creating a very strange effect in all eating scenes. He Occupation Animator often uses very sped-up sequences when people walk and Spouse(s) Eva Švankmajerová interact. His movies often involve inanimate objects coming alive and being brought to life through stop-motion. Food is a favourite subject and medium. Stop-motion features in most of his work, though his feature films also include live action to varying degrees. A lot of his movies, like the short film Down to the Cellar, are made from a child's perspective, while at the same time often having a truly disturbing and even aggressive nature. In 1972 the communist authorities banned him from making films, and many of his later films were banned. He was almost unknown in the West until the early 1980s. Today he is one of the most celebrated animators in the world.
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Jan Švankmajer: Bibliographie Und Filmographie 2011
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Jan Švankmajer: Bibliographie und Filmographie 2011 https://doi.org/10.25969/mediarep/12755 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Jan Švankmajer: Bibliographie und Filmographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 124). DOI: https://doi.org/10.25969/mediarep/12755. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0124_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 124, 2011: Jan Švankmajer. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0124_11.html Letzte Änderung: 26.2.2011. Jan Švankmajer: Bibliographie und Filmographie Zusammengest. v. Hans J. Wulff Biographie mehrt zusammen mit seiner Frau mit der bildenden Bibliographischer Teil Kunst und der Poesie. Seit 1992 lebt er im mittel- DVD-Ausgaben böhmischen Ort Knovíz im Bezirk Kladno. In sei- Filme über Svankmajer Bücher nem Wohnhaus befindet sich auch seine Filmpro- Kataloge duktionsgesellschaft Athanor. Texte von Svankmajer Švankmajer verdankt sein Ansehen der von ihm Interviews über Jahrzehnte hinweg entwickelten Stop-Motion- Analysen Technik sowie seinem Talent für surreale, albtraum- Artikel Die Filme in chronologischer Reihenfolge hafte, aber dennoch witzige Filme.
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National Gallery of Art Spring 2012 Film Program
FILM SPRING 2012 National Gallery of Art 9 Art Films and Events 16 Japanese Divas 24 American Originals Now: Ernie Gehr 27 Michael Cacoyannis 31 The Tales of Jan Švankmajer 34 Bill Morrison: Recent Work The Miners’ Hymns p. 34 National Gallery of Art cover: Hanezu p. 9 Films are screened in the Gallery’s East Building Audito- The spring film season brings key restorations, new works, rium, Fourth Street and Pennsylvania Avenue NW. Works and special guests in a celebration of the art of the moving are presented in original formats and seating is on a image. Japanese Divas spotlights thirteen feature films, first-come, first-seated basis. Doors open thirty minutes primarily from the 1950s, by auteurs such as Yasujiro Ozu, before each show and programs are subject to change. Kenji Mizoguchi, and Akira Kurosawa, who collaborated For more information, visit www.nga.gov/programs/film, with major acting talents like Setsuko Hara, Machiko Kyo, e-mail [email protected], or call (202) 842-6799. Hideko Takamine, Kinuyo Tanaka, and Isuzu Yamada to develop some of the most revered films of the twentieth century. The spectacular world of Joan Miró is explored through a program of short nonfiction profiles of the artist by his friend, famed Catalan director Pere Portabella. The Gallery welcomes back renowned pianist Dennis James in a program of American silents, as well as conductor Gillian B. Anderson, who leads a performance of original scores developed for shorts by Segundo de Chomón. Other pro- grams present the work of legendary Czech animator Jan Švankmajer, two titles by the late Greek director Michael Cacoyannis, three programs of recent shorts by contem- porary American director Bill Morrison, and a weekend of films and videos by the deeply influential avant-garde filmmaker Ernie Gehr, who will appear in person.
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Jan Svankmajer
GUIA DE LECTURA BBIBLIOTECAIBLIOTECA GGuíasuías ddee llecturaectura SSeminarioeminario SSvankmajervankmajer Documento elaborado por el Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (CENDEAC) Mayo 2012 1 GUIA DE LECTURA Jan Svankmajer (Praga, 1934) es uno de los cineastas checos más relevantes de la actualidad y, sin ninguna duda, uno de los grandes referentes de la apuesta surrealista contemporánea. Desde sus inicios en el campo del cine durante los años sesenta, sus trabajos han buscado desestabilizar gran parte de los presupuestos que articulan nuestra aproximación al mundo. En ese sentido, él mismo ha destacado que su propuesta artística aspira, por encima de todo, a interferir en el modo en que la realidad, con su dimensión de poder naturalizado, se nos propone y se nos impone. RecurrieRecurriendondo a efectos de distorsión sonora o a juegos de animación heterogéneos, Svankmajer procura romper las coordenadas del mundo tal y como nos vienen dadas, esto es, anhela generar un cierto espacio de liberación subjetiva (ética y política). “Yo planteo -señala él mismo- nuevos interrogantes sobre cuestiones como la libertad o el erotismo, ofreciendo una alternativa a la ideología oficial de las sociedades modernas. Trato de devolver al arte, que se ha transformado en algo meramente figurativo, estético y comercial, a su status primigenio de ritual mágico. Por eso me considero surrealista. Si el arte tiene alguna finalidad, esa es la de liberar tanto al artista como al espectador. Y si no los libera, entonces se convierte en una mercancía o en un juego estético”. Organizado por Asociación Columbares, CENDEAC, Filmoteca Regional Francisco Rabal, Venagua XXI Arte y Conciencia, y Centro Checo Documento elaborado por el Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (CENDEAC) Mayo 2012 2 GUIA DE LECTURA Navega por el índice ÍNDICE 1.
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Jan Svankmajer : Dialogues Pour Débutants Christina Stojanova Et Jean-Philippe Gravel
Document généré le 28 sept. 2021 17:04 Ciné-Bulles Le cinéma d’auteur avant tout Jan Svankmajer : dialogues pour débutants Christina Stojanova et Jean-Philippe Gravel Animation Volume 20, numéro 1, hiver 2002 URI : https://id.erudit.org/iderudit/33270ac Aller au sommaire du numéro Éditeur(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (imprimé) 1923-3221 (numérique) Découvrir la revue Citer cet article Stojanova, C. & Gravel, J.-P. (2002). Jan Svankmajer : dialogues pour débutants. Ciné-Bulles, 20(1), 44–48. Tous droits réservés © Association des cinémas parallèles du Québec, 2002 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Jan Svankmajer: dialogues pour débutants Le monde des spectateurs PAR de cinéma est scindé en deux camps: ceux qui n'ont CHRISTINA STOJANOVA jamais entendu parler de jan Svankmajer, et ceux qui ont rencontré son travail, et savent qu'ils ont vu le génie Le cinéma de Jan Svankmajer a été décrit comme une «sombre alchimie», comme de l'animation en face. «venue du ciel et de l'enfer», comme du «surréalisme magique». Et il a influencé des cinéastes (The New Yorker) aussi marquants que Terry Gilliam, Tim Burton, ou Angela Carter, pour ne nommer qu'eux.
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BFI Annual Review 2007-2008 There’S More to Discover About Film and Television Through the BFI
BFI Annual Review 2007-2008 There’s more to discover about film and television through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning resources are here to inspire you. 2Front cover: BFIDracula Annual (1958) Review 2007-2008 Contents Chair’s Report 3 Director’s Report 7 About the BFI 11 Summary of the BFI’s achievements › National Archive 15 › International Focus for Exhibition 21 › Distribution to Digital 27 2007-2008 – How we did 33 Financial Review 35 Appendices 41 Front cover: Dracula (1958) BFI Annual Review 2007-2008 3 Chair’s Report From its origins in the nineteenth century, This is a significant achievement but it is not cinema became the most influential – and enough. The rapid development of digital pervasive – art-form of the twentieth century. technology means we now have the opportunity The subsequent near-universal adoption of to multiply our impact, and to provide every television in the second half of the last century British citizen, no matter where they live, with engrained the moving image in our daily lives. greater access to the national archive. This, in And today, with the spread of the internet and the turn, will enable a new generation not just to development of cheap recording equipment, the watch work from previous eras but to create new moving image is entering a new phase – one in work for themselves and the future. We have – which anyone can create moving images to record albeit in a largely opportunistic way – created a and share their understanding of the world. major digital presence through such things as the development of downloads, our Screenonline The BFI is at the centre of this world: resource, our filmographic database and our YouTube channel.
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A Film by Jan Svankmajer
1 Lunacy1 a film by Jan Svankmajer A Zeitgeist Films Release 1 Lunacy1 The latest provocation from surrealist master Jan Svankmajer (ALICE, CONSPIRATORS OF PLEASURE, LITTLE OTIK) is loosely based on two short stories by Edgar Allen Poe and inspired by the works of the Marquis de Sade. In nineteenth-century France (albeit one full of deliberate anachronisms) a young man, Jean Berlot, is plagued by nightmares in which he is dragged off to a madhouse. On the journey back from his mother’s funeral he is invited by a Marquis he meets at lunch to spend the night in his castle. There Berlot witnesses a blasphemous orgy and a ‘therapeutic’ funeral. Berlot tries to flee but the Marquis insists on helping him conquer his fears and takes his guest to a nearby lunatic asylum where the patients have complete freedom and the staff are locked up behind bars. Described by Svankmajer as a “philosophical horror film,” LUNACY combines live action and stop- motion, sex and violence, grand guignol terror and gallows humor, and a lot of animated meat. 6 Introduction 6 Ladies and Gentlemen, What you are about to see is a horror film—with all the degen- eracy peculiar to that genre. It is not a work of art. Today, art is all but dead anyway. In its place is a kind of trailer for the reflection of the face of Narcissus. Our film may be regarded as an infantile tribute to Edgar Allan Poe, from whom I’ve borrowed a number of motifs. And to the Marquis de Sade, to whom the film owes its blasphemy and subversiveness.
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Contemporary Stop Motion Animation and the Uncanny
ANGLIA RUSKIN UNIVERSITY FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DARKNESS VISIBLE: CONTEMPORARY STOP MOTION ANIMATION AND THE UNCANNY DERRIN CRAWTE A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of PhD English and Media Submitted: January 2017 Acknowledgements First and foremost, I would like to thank my supervisors Tina Kendall and Jeannette Baxter who have provided unceasing amounts of support, even during the darkest days of the writing up process. They provided intelligent, insightful comment, guidance towards helpful resources and references, and a huge amount of patience and understanding. Their help with shaping the final form of this thesis is hard to quantify in words. Special thanks also go to the members of staff and fellow students at ARU who have either answered difficult questions when I asked them, or read fragments of the research and supplied useful feedback. I should also mention Sarah Barrow, who started me on this road when she was a lecturer at Anglia Ruskin and I was thinking, possibly, of pursuing a PhD. I am fortunate enough to have a wide network of family and friends who deserve mention here. They include my parents, sister and nephew, without whose support and encouragement this research would not have been possible. Thank you to Emma, Owen, Jo S. and Johanna L., Frank, James, Claire, Paul, Helen, Charlotte, Mark and many others for their positive words. They were always appreciated. i ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DOCTOR OF PHILOSOPHY DARKNESS VISIBLE: CONTEMPORARY STOP MOTION ANIMATION AND THE UNCANNY DERRIN CRAWTE January 2017 This thesis seeks to demonstrate that the uncanny and stop motion animation enjoy a special relationship, one characterised by a sense of darkness becoming visible.
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'Surreal' About Surrealism?
What is ‘Surreal’ about Surrealism? An Investigation of Surrealism as Seen Through the ‘Looking-Glass’ of Jan Švankmajer. by Rachel Mary Winefride Cohen CHNRAC003 A dissertation presented for the degree of Research Master’s of Arts in Film Studies UniversityCentre for Film of and Cape Media Studies Town Faculty of the Humanities University of Cape Town 2015 Supervisor: Associate Professor of Film Studies Dr Martin Botha The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. I have used the Harvard author-date convention, in accordance with the 2014 University of Cape Town’s reference guide. Signature: Date: ACKNOWLEDGEMENTS I would like to thank Dr Martin Botha who first introduced me to the world of Jan Švankmajer. Thank you for your confidence in my abilities to decipher Švankmajer’s intricate films and the endless complexities of surrealism. I would also like to thank the staff at the Centre for Film and Media Studies, especially my previous lecturers who first tempted me to the ‘dark side’ of film and whose love for film inspired my academic endeavours.
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Beyond Materiality in Animation: Sensuous Perception and Touch in the Tactile Existence of "Would a Heart Die?" Ellen C
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 8-2012 Beyond Materiality in Animation: Sensuous Perception and Touch in the Tactile Existence of "Would a Heart Die?" Ellen C. Rocha Souza [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Rocha Souza, Ellen C., "Beyond Materiality in Animation: Sensuous Perception and Touch in the Tactile Existence of "Would a Heart Die?"" (2012). Research Papers. Paper 285. http://opensiuc.lib.siu.edu/gs_rp/285 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. BEYOND MATERIALITY IN ANIMATION: SENSUOUS PERCEPTION AND TOUCH IN THE TACTILE EXISTENCE OF WOULD A HEART DIE? by Ellen Charlise Rocha Souza B.A., Federal University of Sergipe, 2009 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Department of Mass Communication and Media Arts in the Graduate School Southern Illinois University Carbondale August 2012 Copyright by ELLEN CHARLISE ROCHA SOUZA, 2012 All Rights Reserved RESEARCH PAPER APPROVAL BEYOND MATERIALITY IN ANIMATION: SENSUOUS PERCEPTION AND TOUCH IN THE TACTILE EXISTENCE OF WOULD A HEART DIE? by Ellen Charlise Rocha Souza A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Professional Media and Media Management Approved by: Professor Cade Bursell, Chair Graduate School Southern Illinois University Carbondale June 27, 2012 AN ABSTRACT OF THE RESEARCH PAPER OF ELLEN CHARLISE ROCHA SOUZA, for the Master of Science degree in PROFESSIONAL MEDIA AND MEDIA MANAGEMENT, presented on JUNE 27, 2012, at Southern Illinois University Carbondale.
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Marguerite Duras
hamish hamilton presents Five Dials number 33 Five Dials x @readwomen2014 Part 11 olivia laing et al On Marguerite Duras, the master of desire zoe pilger The hearts are ripe and obscene deborah levy My theatre of rib and shadows molly mccloskey New Fiction eliza granville We need new fairy tales Plus: Susan Sontag’s lists, Juliet Jacques, a short story from Anjum Hasan, female anarchy in socialism, female anarchy in socialism, and a few of Masha Tupitsyn's Reel Men. Plus: artwork from The Drone Age CONTRIBUTORS melanie amaral is an illustrator based in Seattle. Her work deborah levy writes ﬁction, plays and poetry. Her novel can be found at be found at melanieamaral.com Swimming Home was shortlisted for the 2012 Man Booker Prize. She is currently writting a new novel, Hot Milk, to be eliza granville lives in the West Country. Her novel, published by Hamish Hamilton in early 2016. Gretel and the Dark, was published by Hamish Hamilton and Riverhead in 2014. She is currently working on another novel. cari luna is the author of The Revolution of Every Day. anjum hasan’s ﬁrst novel, Lunatic in My Head, was short- molly mccloskey is the author of short stories, a novella, a listed for the Crossword Fiction Award, and her second, Neti, novel, and a memoir, Circles Around the Sun. She was born in Neti (Not This, Not This, and published in Australia as Big Girl the US, though has lived in Ireland since 1989. She worked in Now), was longlisted for the Man Asian Literary Prize.
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