Smart Robots, Driverless Cars Work – but They Bring Ethical Issues Too
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Australian Found-Footage Horror Film
Finders Keepers AUSTRALIAN FOUND-FOOTAGE HORROR FILM Alexandra Heller-Nicholas looks at how two Australian films,The Tunnel and Lake Mungo, fit into the hugely popular found-footage horror trend, and what they can reveal about this often critically disregarded subgenre. 66 • Metro Magazine 176 | © ATOM FACING PAGE, FROM TOP: MATHEW (MARTIN SHARPE) USES TECHNOLOGY TO TRY TO CONTROL HIS DEAD SISTER IN LAKE MUNGO; STEVE (STEVE MILLER) EXPLORES WHAT LURKS BELOW IN THE TUNNEL THIS PAGE, TOP ROW: THE TUNNEL BOTTOM ROW AND INSET BELOW: LAKE MUNGO When horror academic Mark Jancovich Ghostwatch. Looking beyond film, television dismissed The Blair Witch Project (Daniel and radio, there are numerous significant Myrick & Eduardo Sánchez, 1999) as ‘a media hoaxes such as the New York Sun’s one-off gimmick rather than the start of a ‘Great Moon Hoax’ in 1835 that suggest a new cycle of horror production’ in 2002, few broader history behind the current found- suspected how premature this prediction footage horror phenomenon. would be.1 The extraordinarily successful Paranormal Activity franchise (2007–2012) While the diversity of this subgenre’s history left Blair Witch in its dust, and found footage has been simplified, the broader areas from – or faux found footage – has become the which found-footage horror has drawn its horror format du jour. Horror fans and critics inspiration have also been largely under- now discuss found footage as an overused stated. Documentary is the most obvious, cliché that is past its use-by date, and even but found-footage horror’s relationship to horror directors themselves go to consid- amateur filmmaking traditions is arguably erable lengths to clarify how their found- to a number of screen trends and events, just as important. -
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 -
Expanded Mockuworlds. Mockumentary As a Transmedial Narrative Style 2015
Repositorium für die Medienwissenschaft Cristina Formenti Expanded Mockuworlds. Mockumentary as a Transmedial Narrative Style 2015 https://doi.org/10.25969/mediarep/16508 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Formenti, Cristina: Expanded Mockuworlds. Mockumentary as a Transmedial Narrative Style. In: IMAGE. Zeitschrift für interdisziplinäre Bildwissenschaft. Themenheft zu Heft 21, Jg. 11 (2015), Nr. 1, S. 63– 80. DOI: https://doi.org/10.25969/mediarep/16508. Erstmalig hier erschienen / Initial publication here: http://www.gib.uni-tuebingen.de/image/ausgaben-3?function=fnArticle&showArticle=325 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. -
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. -
Ghosts in the Machine: Haunted Screens
Ghosts in the Machine: Haunted Screens RODGERS, Diane <http://orcid.org/0000-0002-3117-4308> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/27615/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version RODGERS, Diane (2020). Ghosts in the Machine: Haunted Screens. In: Haunts - haunted places and haunting practices, Sheffield Hallam University [online], 29 October 2020. Sheffield Hallam University Spaces and Places Grou. (Unpublished) Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Ghosts in the Machine: Haunted Screens Diane A. Rodgers – October 2020 SLIDE 1 Television programmes with supernatural themes have often spooked the nation and, on occasion, fooled viewers into thinking what they were watching was real. SLIDE 2 On Hallowe’en in 1992, the BBC broadcast Ghostwatch which, presented in the guise of live television, became infamous as one of the most complained-about television programmes of all time. It terrified audiences when a supposedly real live ghost investigation, (and the programme itself!) seemed to become possessed. It was an example of a writer - Stephen Volk - testing the credulity of TV audiences by featuring a number of techniques to blur the boundary between fact and fiction to spook viewers. SLIDE 3 A ninety- minute television play, Ghostwatch was presented on BBC One at Halloween as a piece of reality television investigating supernatural activities in the house of a single mother and her two young daughters. -
“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. -
The Supernatural Media Virus Virus Anxiety in Gothic Fiction Since 1990
From: Rahel Sixta Schmitz The Supernatural Media Virus Virus Anxiety in Gothic Fiction Since 1990 July 2021, 290 p., pb., 5 b&w ill., 54 col. ill. 44,00 € (DE), 978-3-8376-5559-9 E-Book: PDF: 43,99 € (DE), ISBN 978-3-8394-5559-3 Since the 1990s, the virus and the network metaphors have become increasingly pop- ular, finding application in a broad range of everyday discourses, academic disciplines, and fiction genres. In this book, Rahel Sixta Schmitz defines and discusses a trope recurring in Gothic fiction: the supernatural media virus. This trope comprises the confluence of the virus, the network, and a deep, underlying media anxiety. This study shows how Gothic narratives such as House of Leaves or The Ring feature the super- natural media virus to negotiate as well as actively shape imaginations of the network society and the dangers of a globalized, technologized world. Rahel Sixta Schmitz, born in 1991, earned her doctorate in cultural studies at the Justus Liebig University in Giessen, Germany in 2020. Her research focuses on Gothic fic- tion across all narrative media, especially Gothic in the late twentieth and twenty-first century. For further information: www.transcript-verlag.de/en/978-3-8376-5559-9 © 2021 transcript Verlag, Bielefeld Contents Acknowledgments............................................................9 Introduction: The Age of Virus Anxiety ...................................... 11 1. The Virus, the Network, and the Supernatural Media Virus ............ 39 1.1 Theories of Metaphor .................................................. 39 1.2 The Viral Metaphor: The Spread of the Virus Across Disciplines ......... 44 1.3 The Ubiquity of the Network Metaphor and the Emergence of the Network Society .................................................. -
The Stone Roses Music Current Affairs Culture 1980
Chronology: Pre-Stone Roses THE STONE ROSES MUSIC CURRENT AFFAIRS CULTURE 1980 Art created by John 45s: David Bowie, Ashes Cinema: Squire in this year: to Ashes; Joy Division, The Empire Strikes Back; N/K Love Will Tear Us Apart; Raging Bull; Superman II; Michael Jackson, She's Fame; Airplane!; The Out of My Life; Visage, Elephant Man; The Fade to Grey; Bruce Shining; The Blues Springsteen, Hungry Brothers; Dressed to Kill; Heart; AC/DC, You Shook Nine to Five; Flash Me All Night Long; The Gordon; Heaven's Gate; Clash, Bankrobber; The Caddyshack; Friday the Jam, Going Underground; 13th; The Long Good Pink Floyd, Another Brick Friday; Ordinary People. in the Wall (Part II); The d. Alfred Hitchcock (Apr Police, Don't Stand So 29), Peter Sellers (Jul 24), Close To Me; Blondie, Steve McQueen (Nov 7), Atomic & The Tide Is High; Mae West (Nov 22), Madness, Baggy Trousers; George Raft (Nov 24), Kelly Marie, Feels Like I'm Raoul Walsh (Dec 31). In Love; The Specials, Too Much Too Young; Dexy's Fiction: Midnight Runners, Geno; Frederick Forsyth, The The Pretenders, Talk of Devil's Alternative; L. Ron the Town; Bob Marley and Hubbard, Battlefield Earth; the Wailers, Could You Be Umberto Eco, The Name Loved; Tom Petty and the of the Rose; Robert Heartbreakers, Here Ludlum, The Bourne Comes My Girl; Diana Identity. Ross, Upside Down; Pop Musik, M; Roxy Music, Non-fiction: Over You; Paul Carl Sagan, Cosmos. McCartney, Coming Up. d. Jean-Paul Sartre (Apr LPs: Adam and the Ants, 15). Kings of the Wild Frontier; Talking Heads, Remain in TV / Media: Light; Queen, The Game; Millions of viewers tune Genesis, Duke; The into the U.S. -
Fantastika Journal
FANTASTIKA JOURNAL Volume 4 • Issue 1 • July 2020 ISSN: 2514-8915 Fantastika Journal • Volume 4 • Issue 1 • July 2020 EDITOR’S NOTE “Fantastika” A term appropriated from a range of Slavonic languages by John Clute. It embraces the genres of Fantasy, Science Fiction, and Horror, but can also include Alternate History, Gothic, Steampunk, Young Adult Dystopic Fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal and its annual conference is to bring together academics and independent researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies and collaborations. We invite articles examining all mediums and disciplines which concern the Fantastika genres. “Most people think time is like a river that flows swift and sure in one direction. But I have seen the face of time, and I can tell you: they are wrong. Time is an ocean in a storm. You may wonder who I am or why I say this. Sit down and I will tell you a tale like none you have ever heard.” (Prince of Persia: The Sands of Time, 2003) Time is traditionally seen as being linear; the progression of one moment to the next, a strict separation of past, present, and future based on sequential and causational relationships. Yet memory, imagination, day-dreaming, nostalgia, planning and many other routine processes blur the boundaries between them as temporal linearity appears to fold back upon itself. Certainly, we cannot avoid the reality that time conceptually propels us along in one direction, but it is simultaneously multidirectional and chaotic. -
Haunted Media, Globalization and Televisual Horror
Theory and Practice in English Studies Volume 9, No. 1–2, 2020 E-ISSN: 1805-0859 “THERE'S A DEMON IN THE INTERNET”: HAUNTED MEDIA, GLOBALIZATION AND TELEVISUAL HORROR Klára Feikusová Abstract This paper is focused on the portrayal of media, more precisely television and new media, in television horror shows in the context of globalization and the implica- tions of this portrayal. The media and their technologies have always been de- monized in one way or another. Every new invention, every new means of com- munication is viewed with a mix of awe and suspicion. New technology and new media become objects of phobia. Once a new medium is introduced, it usually takes the position of a phobic object, relieving the old one from this burden. How- ever, a certain level of anxiety remains with the old medium. No genre shows this quite as well as horror. In the horror genre, the media and their physical forms are often shown either as a threat itself or bringer of thereof. The internet and social media are just as monstrous. But how are these monsters, material or not, por- trayed in the media itself? In this paper I will analyze how television horror shows mediate the anxiety about threats linked to new media, social media, and television itself. In the first half of the paper, I focus on haunted media as a travelling concept in the television landscape. In the second half, I use the TV show Evil (2019-) as a case study, ana- lyzing how it portrays new media as an ultimate threat in the era of globalization. -
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.