ΠΠ± ΡΠ»Π΅ΠΊΡΡΠΎΠ½Π½ΠΎΠΉ ΠΊΠ½ΠΈΠ³Π΅
British Science Fiction Cinema is the first substantial study of a genre which, despite a sometimes troubled history, has produced some of the best British films, from the prewar classic Things to Come to Alien made in Britain by a British director. The contributors to this rich and provocative collection explore the diverse strangeness of British science fiction, from literary adaptions like Nineteen Eighty-Four and A Clockwork Orange to pulp fantasies and 'creature features' far removed from the acceptable face of British cinema.
Through case studies of key films like The Day the Earth Caught Fire, contributors explore the unique themes and concerns of British science fiction, from the postwar boom years to more recent productions like Hardware, and examine how science fiction cinema drew on a variety of sources, from TV adaptions like Doctor Who and the Daleks, to the horror/sf crossovers produced from John Wyndham's cult novels The Day of the Triffids and The Midwich Cuckoos (filmed as Village of the Damned). How did budget restrictions encourage the use of the 'invasion narrative' in the 1950s films? And how did films such as Unearthly Stranger and Invasion reflect fears about the decline of Britain's economic and colonial power and the 'threat' of female sexuality?
British Science Fiction Cinema celebrates the breadth and continuing vitality of British sf film-making, in both big-budget productions such as Brazil and Event Horizon and cult exploitation movies like Inseminoid and Lifeforce.
Through case studies of key films like The Day the Earth Caught Fire, contributors explore the unique themes and concerns of British science fiction, from the postwar boom years to more recent productions like Hardware, and examine how science fiction cinema drew on a variety of sources, from TV adaptions like Doctor Who and the Daleks, to the horror/sf crossovers produced from John Wyndham's cult novels The Day of the Triffids and The Midwich Cuckoos (filmed as Village of the Damned). How did budget restrictions encourage the use of the 'invasion narrative' in the 1950s films? And how did films such as Unearthly Stranger and Invasion reflect fears about the decline of Britain's economic and colonial power and the 'threat' of female sexuality?
British Science Fiction Cinema celebrates the breadth and continuing vitality of British sf film-making, in both big-budget productions such as Brazil and Event Horizon and cult exploitation movies like Inseminoid and Lifeforce.
British Science Fiction Cinema is the first substantial study of a genre which, despite a sometimes troubled history, has produced some of the best British films, from the prewar classic Things to Come to Alien made in Britain by a British director. The contributors to this rich and provocative c...
ΠΡΡΠ³ΠΈΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΡ
ΠΠ± Π°Π²ΡΠΎΡΠ΅
I.Q. Hunter is Senior Lecturer in Media Studies at De Montfort University, Leicester.
I.Q. Hunter is Senior Lecturer in Media Studies at De Montfort University, Leicester.
ΠΡΠ΅Π½ΠΈΡΠ΅ ΡΠ»Π΅ΠΊΡΡΠΎΠ½Π½ΡΡ ΠΊΠ½ΠΈΠ³Ρ
ΠΠΎΠ΄Π΅Π»ΠΈΡΠ΅ΡΡ Ρ Π½Π°ΠΌΠΈ ΡΠ²ΠΎΠΈΠΌ ΠΌΠ½Π΅Π½ΠΈΠ΅ΠΌ.
ΠΠ΄Π΅ ΡΠΈΡΠ°ΡΡ ΠΊΠ½ΠΈΠ³ΠΈ
Π‘ΠΌΠ°ΡΡΡΠΎΠ½Ρ ΠΈ ΠΏΠ»Π°Π½ΡΠ΅ΡΡ
Π£ΡΡΠ°Π½ΠΎΠ²ΠΈΡΠ΅ ΠΏΡΠΈΠ»ΠΎΠΆΠ΅Π½ΠΈΠ΅ Google Play ΠΠ½ΠΈΠ³ΠΈ Π΄Π»Ρ Android ΠΈΠ»ΠΈ iPad/iPhone. ΠΠ½ΠΎ ΡΠΈΠ½Ρ
ΡΠΎΠ½ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ Ρ Π²Π°ΡΠΈΠΌ Π°ΠΊΠΊΠ°ΡΠ½ΡΠΎΠΌ Π°Π²ΡΠΎΠΌΠ°ΡΠΈΡΠ΅ΡΠΊΠΈ, ΠΈ Π²Ρ ΡΠΌΠΎΠΆΠ΅ΡΠ΅ ΡΠΈΡΠ°ΡΡ Π»ΡΠ±ΠΈΠΌΡΠ΅ ΠΊΠ½ΠΈΠ³ΠΈ ΠΎΠ½Π»Π°ΠΉΠ½ ΠΈ ΠΎΡΠ»Π°ΠΉΠ½ Π³Π΄Π΅ ΡΠ³ΠΎΠ΄Π½ΠΎ.
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Π‘Π»ΡΡΠ°ΠΉΡΠ΅ Π°ΡΠ΄ΠΈΠΎΠΊΠ½ΠΈΠ³ΠΈ ΠΈΠ· Google Play Π² Π²Π΅Π±-Π±ΡΠ°ΡΠ·Π΅ΡΠ΅ Π½Π° ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΠ΅.
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Π§ΡΠΎΠ±Ρ ΠΎΡΠΊΡΡΡΡ ΠΊΠ½ΠΈΠ³Ρ Π½Π° ΡΠ°ΠΊΠΎΠΌ ΡΡΡΡΠΎΠΉΡΡΠ²Π΅ Π΄Π»Ρ ΡΡΠ΅Π½ΠΈΡ, ΠΊΠ°ΠΊ Kobo, ΡΠΊΠ°ΡΠ°ΠΉΡΠ΅ ΡΠ°ΠΉΠ» ΠΈ Π΄ΠΎΠ±Π°Π²ΡΡΠ΅ Π΅Π³ΠΎ Π½Π° ΡΡΡΡΠΎΠΉΡΡΠ²ΠΎ. ΠΠΎΠ΄ΡΠΎΠ±Π½ΡΠ΅ ΠΈΠ½ΡΡΡΡΠΊΡΠΈΠΈ ΠΌΠΎΠΆΠ½ΠΎ Π½Π°ΠΉΡΠΈ Π² Π‘ΠΏΡΠ°Π²ΠΎΡΠ½ΠΎΠΌ ΡΠ΅Π½ΡΡΠ΅.
