British Science Fiction Film And Television Critical Essays

British Science Fiction Film And Television Critical Essays-1
A promotional brochure for playing JOE 90” [emphasis in the original].Contemporary Cold War threats were present in the series, since it was basically a spy adventure, but in each episode problems were given reassuring and spectacular resolutions.Resisting the urge to offer a taxonomy of cult remakes, this paper focuses on Hollywood remakes of three canonical British cult films of the 1960s and 70s, Get Carter, The Wicker Man and The Italian Job, and considers how effectively their ‘cult’ qualities were transferred from the ‘original’ to the ‘copy’ and what the films’ negative reception tells us about the usefulness of cult today as a brand name and marketing device.

I., Minority Report), and comic books (Tintin: The Secret of the Unicorn).

His other films embraced adaptation in the extended sense of being sequels (the Indian Jones series, The Lost World), remakes (Always, War of the Worlds), or massively allusive, intertextual riffs on genres and clichés (Raiders of the Lost Ark, 1941).

Television links domestic space to the world beyond, but the home and the demands of growing up were a consistent theme in was a product of the moment of 1968 in exploring the potential of childhood in a techno-utopian future.

References Barr, F., ‘The Modtastic world of Gerry Anderson’, at https:// Bignell, J., ‘”Anything can happen in the next half-hour”: Gerry Anderson’s transnational science fiction’, in T.

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

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

Joe and his father worked for WIN (the World Intelligence Network) and his father could transfer the brain patterns of selected individuals into Joe’s special eyeglasses from a high-tech machine, the BIG RAT (Brain Impulse Galvanoscope Record And Transfer).

Thus Joe was able to undertake secret missions by posing a child, then using the specialist knowledge that he had assimilated from an adult in order to accomplish dangerous and exciting tasks.

These might include piloting a supersonic aeroplane, or becoming an astronaut to rescue a space station’s crew. Cooke (2006: 110), for example, places among a group of television series that “mediated in their different ways the utopian hopes and dreams of a new Aquarian order of enlightenment and rationality led by the young.” The science fictional world of the series was conceived by its creator Gerry Anderson as an opportunity for the visual revelation of technologies and physical action.

This emphasis is clear from the opening credit sequence: each episode began with a lengthy two-minute sequence showed the operation of the spinning spherical BIG RAT computer, with Joe inside it.

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