“There’s something very familiar about all this”: generic play and performance in the Back to the Future trilogy (Robert Zemeckis, 1985, 1989, 1990)

The Back to the Future Trilogy incorporates several different generic elements, including aspects of the fifties teen movie, science fiction, comedy and the western. These different modes playfully intertwine with each other creating a complex world of repetitions, echoes and modulations. This essay seeks to interrogate the construction of generic elements and the play between them through a close analysis of a repeated performance. Genre is signalled through various strategies employed within the construction of mise-en-scène, a significant portion of this, as I would like to argue, is transmitted through performance. The material detail of a performance – incorporating gesture, movement, voice, and even surrounding elements such as costume – as well as the way it its presented within a film is key to the establishment, invocation and coherence of genre. Furthermore, attention to the complexity of performance details, particularly in the manner in which they reverberate across texts, demonstrates the intricacy of genre and its inherent mutability. The Back to the Future trilogy represents a specific interest in the flexibility of genre. Within each film, and especially across all three, aspects of various genres are interlaced through both visual and narrative detail, thus constructing a dense layer of references both within and without the texts. To explore this patterning in more detail I will interrogate the contribution of performance to generic play through close analysis of Thomas F. Wilson’s performance of Biff/Griff/Burford Tannen and his central encounter with Marty McFly (Michael J. Fox) in each film. These moments take place in a fifties diner, a 1980s retro diner and a saloon respectively, each space contributing the similarities and differences in each repetition. Close attention to Wilson’s performance of each related character, which contains both modulations and repetitions used specifically to place each film’s central generic theme, demonstrates how embedded the play between genres and their flexibility is within the trilogy.

Film forming solutions based on gelatin and poly(vinyl alcohol) blends: Thermal and rheological characterizations

The objective of this work was to study the theological and thermal properties of film forming solutions (FFS) based on blends of gelatin and poly(vinyl alcohol) (PVA). The effect of the PVA concentration and plasticizer presence on the flow behavior, and viscoelastic and thermal properties of FFS was studied by steady-shear flow and oscillatory experiments, and also, by microcalorimetry. The FB presented Newtonian behavior at 30 degrees C, and the viscosity was not affected neither by the PVA concentration nor by the plasticizer. All FFS presented a phase transition during tests applying temperature scanning. It was verified that the PVA affected the viscoelastic properties of FFS by dilution of gelatin. This behavior was confirmed by microcalorimetric analysis. The behaviors of the storage (G`) and loss (G ``) moduli as a function of frequency of FFS obtained at 5 degrees C were typical of physical gels; with the G` higher than the G ``. The strength of the gels was affected by the PVA concentration. (C) 2009 Elsevier Ltd. All rights reserved.

Ljudets funktioner i filmen 9 : En audiovisuell analys

I denna uppsats har en audiovisuell analys gjorts på de inledande minuterna till filmen 9 med ett stort fokus på ljudet. Syftet med uppsatsen var att beskriva och skapa en ökad förståelse för ljudets funktioner i filmen samt se på hur ljudet påverkade filmupplevelsen. Förhoppningen med detta var också att bidra till en bättre förståelse av filmljud och ljuddesign i helhet och vad det bidrar till berättarfunktionen i film. I uppsatsen granskades först ljud och bild för sig och slogs sedan ihop till sin helhet och analyserades utifrån en teoribildning av franska författaren Michel Chion.Ljudets viktigaste funktioner i filmen 9 var att ge en trovärdighet och äkthet, att beskriva föremål och speciellt huvudkaraktärens fysiska attribut samt att ge en respons på det som sker i bild. Vidare fyller ljudet funktioner som att beskriva rum och miljö som ger åskådaren en tydlig känsla för omgivningen filmen. Filmljudet hjälper även till att leda åskådarens uppmärksamhet och beskriva föremål eller personers innebörd. Den kanske absolut viktigaste funktion som ljudet har är att ge åskådaren en djupare förståelse för handlingen.

Thermoplastic film from superfine wool powder

In this paper a research work is described in which superfine wool powder was plasticised by glycerol and hot-pressed into a kind of thermoplastic film. SEM photos show that the powder is moulded into a smooth surface and is conglutinated into a continuous phase in the cross-section of the film. The glycerol content, moulding pressure, temperature and moulding time were changed in the moulding process. The sizes and thickness aw well as tensile strength, modulus, breaking elongation and breaking energy of the films were also tested to investigate the thermoplasticity and mechanical properties of the films. The best moulding techniques included a glycerol content of 30%, a moulding pressure of 5 MPa, a temperature of 160 °C and a moulding time of 5 minutes.

Alien

Alien is an instrumental piece using warped synth sounds and evoking science fiction types of imagery. The idea behind this piece of audio was to create an unnerving presence with the use of spoken vocals passed through a filter to deepen and slow the voice.

We are in danger

Genre films are constructed out of narrative patterns and plot points that involve or are predicted on crisis, on danger. This is the logic of much if not all mainstream genre cinema: drama has to take place for there to be a story to be told, and for pleasure and identification to be arrested and enthused. Forms of threatening disequilibrium can be personal, domestic, familial, local, external, supernatural and murderous; a way of life can be threatened as well as life itself. There are ideological dimensions at play; the crisis threatens to destabilize patriarchy, heterosexuality, social norms and expectations. Feelings and modes of affect are set in dangerous motion as the crisis unfolds. Trouble may emerge from a wayward or transgressive family member, or it may arrive in town on horses, stagecoaches, trains, cars, spaceships, and on the wind and in the water. The main (and minor) characters in the film are at the center of this storm, and that places viewers at the epicenter of the danger, also. The genre film places us all in danger. The genre film, then, has phenomenal, phenomenological and bio-political potential as a site of cognitive, ideological and carnal endangerment.

Sounding loneliness in under the skin

How one affectively sounds loneliness on screen is dependent on what instruments, melodies, voices and sound effects are used to create a sonic membrane that manifests as melancholy and malcontent. It is in the syncretic and synesthetic entanglement that sounding loneliness takes root. It is in the added value inherent in the “sound-image” – to draw upon Chion1 – that loneliness fully emerges like a black dahlia. So many lonely people, where do they all come from? And yet, as I will suggest, this sounding loneliness is not only textually specific, simply or singularly driven by narrative and generic concerns, but is historically contingent and nationally and culturally locatable. For example, the sounds of urban isolation of the American 1940s film noir are different from the Chinese peasant laments of Chen Kaige’s Yellow Earth (1984), or what I will presently argue are the British austere strings of sounding loneliness today. When one employs a “diagnostic critique”2, one undertakes to find the history in the text and the text in the history. It is in the interplay between sound and image that historical and political truth emerges. These contextualised and historicised soundings change across and within national landscapes and their related imaginings. We don’t just see the crumbling walls of the imagined nation state, but get to hear its desolate tunes: The Specials wailing “Ghost Town” – the anthem of/to Margaret Thatcher’s first wave of 1980s neo-liberalism – is a striking case in point. But what specifically is this contemporary “sounding loneliness”, and where does it come from? I would like to suggest that this age of loneliness is composed in, through and within the sonic vibrations found in the wretched politics of austerity. My case study will be the anomic soundings of Jonathan Glazer’s Under the Skin (2013).

Frankenstein: uma releitura do mito de criação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Il sottotitolaggio per i film festival: due esperienze pratiche

This dissertation aims to examine the field of film festival subtitling by means of the analysis of two subtitling experiences. These experiences will be approached both on a methodological and on a practical level in order to analyse how subtitlers put theory into practice. This approach will also help underline the existing differences in work methodology as far as different work experiences are concerned. The subtitling experiences examined in this dissertation are part of my internships as a subtitler in two Italian film festivals, namely “Umbria Film Festival” and “900 Fest”. In this dissertation, I chose to focus on the subtitling of two of the audiovisual products I translated. These products are a German documentary titled Befreier und Befreite and a Danish fiction film titled Stille Hjerte. This dissertation is divided into five chapters. Chapter 1 describes audiovisual translation at its most theoretical level, focusing on subtitling criteria and strategies. Chapter 2 examines the concept of film translation, focusing on the distinctive features of documentary translation as a specific genre. This chapter also presents the concept of film festival and provides information concerning the translation policies of festivals. Chapter 3 presents the festivals I worked for and details my internship experiences. Chapter 4 focuses on the German documentary and proposes a number of solutions to its main translation problems. Chapter 5 focuses on the Danish film and offers solutions to its translation problems. At the end of the dissertation, I will provide some comments on my internship experiences as well as on the practice of film festival subtitling.

Influencia de la Ciencia Ficción en las TIC y las Telecomunicaciones

Desde el comienzo de la Historia, el ser humano ha pensado en su futuro, ya fuera por el hecho de preocuparse por su supervivencia o por razones más filosóficas, como el porvenir como especie. Pensar en el futuro es anticipación. El género de la ciencia ficción es el que más se basa en la anticipación. En muchos subgéneros de la ciencia ficción se tratan temas futuristas, viajes espaciales a otros planetas, inteligencia artificial, etc. Por otra parte, en la actualidad vivimos un período donde los cambios en las TIC (Tecnologías de la Información y Comunicación) son prácticamente diarios, aunque podría llegar a decirse que los cambios se producen hora a hora. A veces, muchos de estos avances nos parecen producto de la fantasía o la ciencia ficción, o salidos de alguna película futurista. Sin embargo, dichos avances son perfectamente posibles y explicables a través de la ciencia actual. A través de este proyecto se pretenden analizar estos avances, relacionándolos con distintas obras de ciencia ficción. Una gran cantidad de los avances tecnológicos tienen su origen en alguna obra de la ciencia ficción, ya sea literatura o cine. Otro objetivo es realizar un estudio de diferentes propuestas tecnológicas de diferentes obras de esta rama que no se hayan realizado todavía, y analizar su viabilidad, su utilidad y los posibles cambios sociológicos que produciría en el mundo en el que vivimos. El tercer objetivo es evaluar la aptitud y actitud de los ingenieros de telecomunicación en cuanto a la innovación y la proyección hacia el futuro de los estos posibles cambios tecnológicos. Abstract Since the beginning of History, humans have thought about their future, either concerned about survival or by philosophical reasons like the future as species. Thinking about the future is speculation. The science fiction genre is the one that is based on speculation. Sub-genres of science fiction covers futuristic themes like space travel to other planets, artificial intelligence, etc. Today we live in a period where changes in ICT (Information and Communication Technologies) are almost daily, although we should say that changes occur in a matter of hours. Sometimes, many of these advances seem a product of fantasy or science fiction, or coming out of a futuristic movie. However, these advances are perfectly possible and explainable by current science. Through this project the intention is to analyze these developments, relating them to various works of science fiction. A great number of this technological advancements have their origin in a work of science fiction, either literature or film. Another objective is to study different technological proposals of this genre that have not been done yet, and analyze their feasibility, usefulness and potential sociological changes that occur in the world we live in. The third objective is to evaluate the ability and attitude of telecommunication engineers in terms of innovation and future projection of these potential technological changes.

Apuntes sobre la percepción subconsciente en el cine: el ejemplo de Alien, el octavo pasajero (1979) y su propuesta orgánica de atracción/repulsión

En una revisión profunda en la que se aportan datos hasta ahora inéditos, el presente artículo analiza nuevas claves de por qué la película Alien, el octavo pasajero (Ridley Scott, 1979), ha causado una atracción sobredimensionada del espectador en su estreno y reposición a lo largo de más de tres décadas. Se propone la tesis de que el film emplea un conjunto de símbolos audiovisuales ocultos o semi-ocultos que provocan sensaciones de placer/displacer (eros y tanatos) y son las causantes directas de sus nutridas afinidades. Se explicita además cómo en el diseño/ presentación de un universo alienígena aparentemente nuevo (respecto al cine de ciencia ficción precedente) el espectador asume una mímesis identificativa y orgánica que se introduce en las profundidades del inconsciente, despertando un interés sorprendente entre audiencias de diferentes generaciones y edades. Se analiza el fenómeno subliminal o subconsciente en el cine, desde el punto de vista de la percepción, a partir de los experimentos publicitarios de los años 50 en una sala de exhibición de los Estados Unidos. También se estudia por primera vez el curioso paralelismo del argumento de la película con el impacto mediático previo y simultáneo del primer bebé probeta nacido el 25 de julio de 1978, en pleno inicio del rodaje de este film en los estudios londinenses Shepperton.

333, a bibliography of the science-fantasy novel,

This is one of 500 copies published.

May the contact lens force be with you

FULL TEXT: Like many people one of my favourite pastimes over the holiday season is to watch the great movies that are offered on the television channels and new releases in the movie theatres or catching up on those DVDs that you have been wanting to watch all year. Recently we had the new ‘Star Wars’ movie, ‘The Force Awakens’, which is reckoned to become the highest grossing movie of all time, and the latest offering from James Bond, ‘Spectre’ (which included, for the car aficionados amongst you, the gorgeous new Aston Martin DB10). It is always amusing to see how vision correction or eye injury is dealt with by movie makers. Spy movies and science fiction movies have a freehand to design aliens with multiples eyes on stalks or retina scanning door locks or goggles that can see through walls. Eye surgery is usually shown in some kind of day case simplified laser treatment that gives instant results, apart from the great scene in the original ‘Terminator’ movie where Arnold Schwarzenegger's android character encounters an injury to one eye and then proceeds to remove the humanoid covering to this mechanical eye over a bathroom sink. I suppose it is much more difficult to try and include contact lenses in such movies. Although you may recall the film ‘Charlie's Angels’, which did have a scene where one of the Angels wore a contact lens that had a retinal image imprinted on it so she could by-pass a retinal scan door lock and an Eddy Murphy spy movie ‘I-Spy’, where he wore contact lenses that had electronic gadgetry that allowed whatever he was looking at to be beamed back to someone else, a kind of remote video camera device. Maybe we aren’t quite there in terms of devices available but these things are probably not the behest of science fiction anymore as the technology does exist to put these things together. The technology to incorporate electronics into contact lenses is being developed and I am sure we will be reporting on it in the near future. In the meantime we can continue to enjoy the unrealistic scenes of eye swapping as in the film ‘Minority Report’ (with Tom Cruise). Much more closely to home, than in a galaxy far far away, in this issue you can find articles on topics much nearer to the closer future. More and more optometrists in the UK are becoming registered for therapeutic work as independent prescribers and the number is likely to rise in the near future. These practitioners will be interested in the review paper by Michael Doughty, who is a member of the CLAE editorial panel (soon to be renamed the Jedi Council!), on prescribing drugs as part of the management of chronic meibomian gland dysfunction. Contact lenses play an active role in myopia control and orthokeratology has been used not only to help provide refractive correction but also in the retardation of myopia. In this issue there are three articles related to this topic. Firstly, an excellent paper looking at the link between higher spherical equivalent refractive errors and the association with slower axial elongation. Secondly, a paper that discusses the effectiveness and safety of overnight orthokeratology with high-permeability lens material. Finally, a paper that looks at the stabilisation of early adult-onset myopia. Whilst we are always eager for new and exciting developments in contact lenses and related instrumentation in this issue of CLAE there is a demonstration of a novel and practical use of a smartphone to assisted anterior segment imaging and suggestions of this may be used in telemedicine. It is not hard to imagine someone taking an image remotely and transmitting that back to a central diagnostic centre with the relevant expertise housed in one place where the information can be interpreted and instruction given back to the remote site. Back to ‘Star Wars’ and you will recall in the film ‘The Phantom Menace’ when Qui-Gon Jinn first meets Anakin Skywalker on Tatooine he takes a sample of his blood and sends a scan of it back to Obi-Wan Kenobi to send for analysis and they find that the boy has the highest midichlorian count ever seen. On behalf of the CLAE Editorial board (or Jedi Council) and the BCLA Council (the Senate of the Republic) we wish for you a great 2016 and ‘may the contact lens force be with you’. Or let me put that another way ‘the CLAE Editorial Board and BCLA Council, on behalf of, a great 2016, we wish for you!’