British Science Fiction Cinema
Routledge, Jan 4, 2002 - Social Science - 240 pages
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.
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Alex alien invasion American Anthony Anthony Hinds audience Behemoth Blitz Brazil Britain British Cinema British Film Institute British science fiction British sf Christopher Lee Cinema and Television Clockwork Orange colossal creature Courtesy critical culture Daleks Daleks film Damned Day the Earth Doctor dystopian Earth Caught Fire fear female figure film version film’s gender genre Gorgo Hardware Horror Film human images Inseminoid invasion fantasies invasion films Jameson Jill John Wyndham Kneale Konga Kubrick Lifeforce London Louriť machine male Mark 13 Metropolis Midwich monster narrative Newman Nigel Kneale Nineteen Eighty-Four novel nuclear Orwell Orwell’s patriarchal pc Hammer Peter Cushing planet played postwar prod Michael production programme Quatermass Experiment Quatermass stories Research Group archive Sam’s Sandy’s scene science fiction films scientist Second World sexual sffilms social space Stanley Subotsky Television Research Group theme Things threat Triffids Tunnel Unearthly Stranger utopian Val Guest vision woman women writing Xtro