Archive for the ‘Look at what I found on the Internet’ Category
CALL FOR PAPERS: Stephen King’s Science Fiction
A Special Issue of the journal Science Fiction Film and Television, edited by Simon Brown and Regina Hansen.
From the publication of his first novel, Carrie (1974), Stephen King has been inextricably linked to the horror genre. The same is true for the film and television projects that have been adapted from his work, beginning with Carrie (1976), and the mini-series of Salem’s Lot (1979). Yet King is not, and never has been, purely a horror writer. One genre to which he has returned throughout his career is that of science fiction (SF). Alien invasion narratives such as The Tommyknockers (1987), Dreamcatcher (2001) and Under the Dome (2009) stand alongside time-bending stories like 11.22.63 (2011) and The Langoliers (1990), the dystopian future of Richard Bachman’s The Running Man (1981), and tales of science and technology run amok, for example Trucks (1977), The Mangler (1977), Firestarter (1980) and the horror/SF hybrid novel Cell (2006).
Each of these has been adapted for the big or small screen, meaning despite his reputation for being solely a ‘master of the macabre’, King’s work has, over the past twenty years, made an undeniable contribution to the SF genre on film and television. With the success of the SF television series Haven (2010-) and Under the Dome (2013-) prompting a revival of interest in adapting King’s work for the screen, the time is right to explore the relationship between adaptations of Stephen King and the SF genre. To this end the journal Science Fiction Film and Television will be publishing a special issue devoted to the SF adaptations of King’s work, guest edited by Simon Brown and Regina Hansen. The aim of this issue is to examine King’s relation to SF, to consider the adaptations within the context of the film and/or TV SF genres, and to examine the relationship between the two. What kind of SF does King write, how is it adapted, and how do those adaptations relate to, draw on, or differ from, ongoing themes and representations in SF on Film and TV?
The guest editors are seeking proposals for articles of up to 6000 words. The deadline for submission of articles is 31 May 2016. The issue will be published mid-2017. We welcome proposals on any area to do with Stephen King and the film and TV adaptations of his SF work (or indeed non-SF works that have been adapted into SF, such as The Lawnmower Man and Haven), but particularly around the following:
• individual adaptations or series, or groups of adaptations, or original series. These include but are not limited to The Tommyknockers, Dreamcatcher, The Langoliers, Stephen King’s Golden Years, Firestarter, The Running Man, The Mist, Hearts in Atlantis, Maximum Overdrive/Trucks, Haven, Under the Dome, The Dead Zone (Film or series), The Lawnmower Man, 11.22.63
• The way in which King adopts or adapts the tropes of the SF genre
• King, SF and genre hybridity
• The relationship between King’s stories as literary SF and the adaptations as cinematic or television SF
• Adapting King as SF for the big and small screens
• The format of King adaptations (film, TV movie, mini-series, series)
• The impact of these adaptations on the SF genre in film and/or TV
• The significance (or otherwise) of the King “brand’ to film and/or TV SF
• King as source for/contributor to other SF shows such as The X-Files, The Outer Limits and The Twilight Zone.
Proposals of 300-500 words, and a short biography of 50-100 words should be submitted via email no later than 30 September 2015 to the guest editors Simon Brown (email@example.com) and Regina Hansen (firstname.lastname@example.org).
Simon Brown is Associate Professor of Film and TV at Kingston University. He has published numerous pieces on early British cinema, colour cinematography and contemporary American television. He was co-editor with Stacey Abbott of the special issue of the Journal of Science Fiction Film and TV on The X-Files (6:1, 2013), for which he also contributed the article Memento Mori: The Slow Death of The X-Files. He is currently working on a book on adaptations of Stephen King’s work on Film and TV.
Regina Hansen is Master Lecturer of Rhetoric at Boston University’s College of General Studies. She is the co-editor with Susan George of Supernatural, Humanity and the Soul: The Highway to Hell and Back (Palgrave-MacMillan 2014) and editor of Roman Catholicism in Fantastic Film (McFarland 2011). She has written and presented on science fiction and horror film and television, religion and the fantastic, and Neo Victorianism in TV and film.
* I have a review out today of Aurora and Seveneves (both great!) in The Los Angeles Review of Books. My review actually has a lot in common with two other reviews they’ve run recently, one from Tom Streithorst on Mad Max: Fury Road and the other from Sherryl Vint on Paolo Bacigalupi’s The Water Knife.
* Sweet Briar lives. Joy Over Sweet Briar’s Reopening Is Tempered by Questions About the Road Ahead. Lessons from Sweet Briar. Sweet Briar Savors the Promise of Revival, but Fund-Raising Challenge Is Vast. Sweet Briar’s ‘No Nonsense’ New President Faces a Tall Task. Reinventing Sweet Briar. I just want someone to look into all their weird investment losses and figure out what was happening there.
According to the RealClearPolitics average of polls, she leads Sanders by 47 percentage points.
* But set Obama’s impressive electoral victories aside and the Democrats look less like an emerging majority and more like a party in free fall: Since Obama was sworn in six years ago, Democrats have suffered net losses of 11 governorships, 30 statehouse chambers, more than 900 statehouse seats, and have lost control of both houses of the U.S. Congress. They’re certainly finding every possible way to blow it.
* Scenes from the charter school scam: Milwaukee Public Schools edition.
* It’s just impossible to elect anyone who is actually on the left. Look what happens.
* Clash of Clans is made by the Finnish game studio Supercell. It launched in August 2012 and rapidly became one of the top five highest-grossing titles in Apple’s App Store. In 2013, when Yao and his invitation-only clan, North44, were at their peak, Clash of Clans helped create $555 million of revenue for the company. The next year, Supercell’s revenue tripled to $1.7 billion — a seemingly inexplicable sum produced by a roster of games that, like Clash, are free to download and can be played without spending a dime. So how is Supercell generating all that money? By relying on players who don’t simply want to enjoy the game but who want to win. Players who, like Yao, are willing to spend a great deal of cash.
* ‘Star Trek’ Fan Invited to Pitch ‘Star Trek Uncharted’ TV Series to Paramount. The best part: it actually sounds like a good idea.
* And the arc of history is long, but Walter White From ‘Breaking Bad’ Will Appear in a Future Episode of ‘Better Call Saul.’
* What that means is that in South Carolina, the Confederate flag abides by its own rules. While governors—as well as the president—can usually order that all state and national flags within their jurisdiction be flown at half-staff, this one is exempt. Instead, the Confederate flag’s location can be changed only by a two-thirds vote by both branches of the General Assembly. “In South Carolina, the governor does not have legal authority to alter the flag,” said a press secretary for Haley. “Only the General Assembly can do that.” Take down the flag.
* Tech isn’t really making a “sharing” economy. So what is it making? The Servitude Bubble.
* Performance-Based Funding Can Be Fickle, One University’s Close Call Shows. Florida State would have lost $16.7 million if its median graduate had earned just $400 less.
* The sheep look up: don’t drink the water edition.
* Did abortion cause the drought? I say teach the controversy.
* It’s a weird, weird world: Obama is going to be on WTF. I’ll never accept this is real.
11. Enthusiasts have hitherto only loved the world in various ways; the point is to hate it (too).
* Another pedagogy gimmick, but at least it’s cheap: roleplaying games.
* SethBling wrote a program made of neural networks and genetic algorithms called MarI/O that taught itself how to play Super Mario World. This six-minute video is a pretty easy-to-understand explanation of the concepts involved.
* Everything you want, in the worst possible way: please god don’t ever let Captain Worf happen.
* No pricey pension plans, some argued. No promotions based solely on seniority. No set hours for a given workweek. No prohibitions against layoffs. Unions! Catch the fever!
* The arc of history is long, but Mitch Horwitz is doing a Netflix comedy series with Maria Bamford.
* Didn’t we do this one already? All six Star Wars films at once.
* And if you want to know why there’s no future for our civilization, just read this.
Science Fiction Film and Television seeks submissions for a special issue on the Mad Max franchise.
Guest Editor: Dan Hassler-Forest
The original Mad Max (1979) was a hard-edged low-budget exploitation film with sf elements, frantically put together in twelve weeks by a small crew working in and around Melbourne on a $325,000 budget. Its worldwide success led to two incrementally more ambitious sequels that expanded the first film’s dystopian vision significantly: Mad Max 2 (aka The Road Warrior) in 1982, and Hollywood behemoth Mad Max Beyond Thunderdome in 1985.
The film trilogy became hugely influential in its depiction of a post-apocalyptic wasteland, the sequels in particular establishing a visual style that soon became a default for visual representations of punk dystopias in film, television, comic books, video games, and music videos. At the same time, a wide range of comics, novels and novelizations, and video games expanded the films’ storyworld significantly.
When the fourth film in the franchise was released to much acclaim three decades after the original trilogy ended, it proved to be neither prequel, sequel, nor reboot. Mad Max: Fury Road instead revived the franchise as a variation on established themes, full of references to earlier films, but without a clear chronological relationship to its precursors. The film’s gender politics, ideology, and aesthetics have been widely debated, and new films and transmedia expansions are once again being prepared.
SFFTV invites fresh approaches to Mad Max as a sf entertainment franchise and transnational cultural phenomenon, with possible emphases on:
* politics and ideology
* fossil fuel and peak oil in sf
* post-apocalyptic narratives
* franchising and transmedia world-building
* sequels, spin-offs, and novelizations
* ecological disaster sf
* transnational cinema
* exploitation cinema and cult film
* materiality and sf: film vs. digital cinema
* transnational celebrity: Mel Gibson, Tina Turner, Tom Hardy, Charlize Theron
* representations of race and ethnicity
* gender politics and queer theory
* sf literature influences
* music video aesthetics
* “the indie blockbuster”: independent cinema in post-classical Hollywood
* representations of children and childhood
* George Miller and auteur theory
* Mad Max and transnational exploitation cinema
* Mad Max 2 and queer theory
* Mad Max Beyond Thunderdome and 1980s corporate synergy
* Mad Max: Fury Road and digital cinema
Articles of 6,000-9,000 words should be formatted using MLA style and according to the submission guidelines available on our website. Submissions should be made via our online system at http://mc.manuscriptcentral.com:80/lup-sfftv. Articles not selected for the special issue will be considered for future issues of the journal.
Any questions should be directed to the editors, Dan Hassler-Forest (email@example.com), Mark Bould (firstname.lastname@example.org), Sherryl Vint (email@example.com), and Gerry Canavan (firstname.lastname@example.org).
The deadline for submissions is February 1, 2016, with anticipated publication in spring 2017.