Invaders, Launchpads and Hybrids: The Importance of Transmediality in British Science Fiction Film in the 1950s

With its origins in the trick films of the 1890s and early 1900s, British science fiction film has a long history. While Things to Come (1936) is often identified as significant for being written by H.G.Wells, one of the fathers of science fiction as a genre, the importance of the interactions between media in the development of British science fiction film are often set aside. This chapter examines the importance of broadcast media to film-making in Britain, focusing on the 1950s as a period often valourised in writings about American science fiction, to the detriment of other national expressions of the genre. This period is key to the development of the genre in Britain, however, with the establishment of television as a popular medium incorporating the development of domestic science fiction television alongside the import of American products, together with the spread of the very term ‘science fiction’ through books, pulps and comics as well as radio, television and cinema. It was also the time of a backlash against the perceived threat of American soft cultural power embodied in the attractive shine of science fiction with its promise of a bright technological future. In particular, this chapter examines the significance of the relationship between the BBC television and radio services and the film production company Hammer, which was responsible for multiple adaptations of BBC properties, including a number of science fiction texts. The Hammer adaptation of the television serial The Quatermass Experiment proved to be the first major success for the company, moving it towards its most famous identity as producer of horror texts, though often horror with an underlying scientific element, as with their successful series of Frankenstein films. This chapter thus argues that the interaction between film and broadcast media in relation to science fiction was crucial at this historical juncture, not only in helping promote the identities of filmmakers like Hammer, but also in supporting the identity of the BBC and its properties, and in acting as a nexus for the then current debates on taste and national identity.

Reconstructing apology: David Cameron's Bloody Sunday apology in the press

While there is an acknowledgement in apology research that political apologies are highly mediated, the process of mediation itself has lacked scrutiny. This article suggests that the idea of reconstruction helps to understand how apologies are mediated and evaluated. David Cameron's apology for Bloody Sunday is examined to see how he constructs four aspects of apology: social actors, consequences, categorization, and reasons. The reconstruction of those aspects by British, Unionist, and Nationalist press along with reconstructions made by soldiers in an online forum are considered. Data analysis was informed by thematic analysis and discourse analysis which helped to explore key aspects of reconstruction and how elements of Cameron's apology are altered in subsequent mediated forms of the apology. These mediated reconstructions of the apology allowed their authors to evaluate the apology in different ways. Thus, in this article, it is suggested that the evaluation of the apology by different groups is preceded by a reconstruction of it in accordance with rhetorical goals. This illuminates the process of mediation and helps to understand divergent responses to political apologies.

Estimating policy positions from political texts

The analysis of policy-based party;;competition will not make serious progress beyond the constraints of (a) the unitary actor assumption and (b) a static approach to analyzing party competition between elections until a method is available for deriving; reliable and valid time-series estimates of the policy positions of large numbers of political actors. Retrospective estimation of these positions;In past party systems will require a method for estimating policy positions from political texts.

Previous hand-coding content analysis schemes deal with policy emphasis rather than policy positions. We propose a new hand-coding scheme for policy positions, together with a new English language computer,coding scheme that is compatible with this. We apply both schemes; to party manifestos from Britain and Ireland in 1992 and 1997 and cross validate the resulting estimates with :those derived from quite independent expert surveys and with previous,manifesto analyses.

There is a high degree of cross validation between coding methods. including computer coding. This implies that it is indeed possible to use computer-coded content analysis to derive reliable and valid estimates of policy positions from political texts. This will allow vast Volumes of text to be coded, including texts generated by individuals and other internal party actors, allowing the empirical elaboration of dynamic rather than static models of party competition that move beyond the unitary actor assumption.