As a long-standing fan of the ‘Otherworld’ series of urban fantasy books written by Kelley Armstrong, I was naturally interested when Netflix UK flagged up this Canadian series to me. There are three series in total, of thirteen, ten and ten episodes respectively, broadcast from 2014 to 2016. I’ve been watching them from start to finish over the past month.
Elena Michaels is the world’s only female werewolf. Only men naturally inherit the condition and for some reason, at least until now, women seem unable to survive the trauma of ‘the change’ after being bitten. The Pack lives among mankind in a covert, parallel society with rigid, merciless rules. Elena is trying to find her own way to live free of such claustrophobic restrictions without condemning herself. Unfortunately, there are those within that hidden world ready to use the secrets which she cannot betray as a weapon against her. The desire for power, advantage and control turns out to be common to humanity and to werewolves.
Inevitably as a writer myself, and a fan, I’ve been watching with half an eye on the adaptation, and that’s been done very well. The cast of characters and the number of locations has been intelligently pared down with an understanding of the different, more linear nature of TV story-telling, when compared to a book. And yes, doubtless with a view to budgetary considerations but that’s only commonsense. New characters have been added to facilitate the exploration of aspects of werewolf pack life that could be conveyed directly in a written first-person narrative. Aspects of real life that have changed since the first book came out in 2001 are also deftly incorporated, such as the Net and the ubiquity of mobile phones
Overall, the atmosphere of the books is well maintained, and the adaptation does not shy away from the sensuality and the violence that are both integral elements of the written series. Crucially these two things are not confused or conflated, and the sex is both tasteful and even-handed in terms of point of view. For the viewer, the female gaze is assuredly catered for, with the quality and the quantity of well-muscled male physiques on show.
When it comes to the violence, the body count is substantial and there’s a good deal of gore. These deaths matter. The writers clearly understand that if a loss doesn’t have an impact for a story’s characters, then that doesn’t count for the viewer. Consequently, overall, I found the tone darker than the books, and still more so in the second and third series, where the stories diverge significantly from the written series. That’s by no means a criticism. It’s a distinct plus that I was kept guessing as to where the narrative might go. As a fan of the books, I was more than content to see this as an alternate timeline for already familiar characters. For those who don’t know the books, this also means that the narrative is more than sufficiently coherent and self-contained for viewing without that background reading.
So I’ve certainly enjoyed watching this series. I also now find myself contemplating a start-to-finish reread of the original books over the Christmas and New Year break…
And so we come to War for the Planet of the Apes, the latest in what now seems to be an ongoing series of films rather than merely a trilogy. We see where events since the last movie have led us, as man’s arrogance encompasses his own downfall. Will the unexpected consequences of bio-technology offer other primates a chance at the top slot?
Technologically, the film is a tour de force. What motion capture and CGI can do is astonishing – you really cannot see where reality stops and special effects start. So far, so increasingly common these days. But great special effects are not enough, as rather too many movies fail to realise. A film like this must also have sufficiently strong central performances to make it a drama, not merely a spectacle. Andy Serkis and Woody Harrelson deliver absolutely what’s needed. The dynamic between Caesar, leader of the apes, and Colonel McCullough, commanding an embattled remnant of humanity, is tense and compelling from start to finish.
Mankind’s inhumanity to man is front and centre, compared and contrasting with the apes’ mutually supportive culture. All Caesar and his kind want is to be left alone. Colonel McCullough needs an enemy to fight though, and unable to attack the virus that’s been humanity’s downfall, finds the scapegoats he needs in the apes.
As a war film, the movie wears its influences unashamedly on its sleeve, most obviously, though not exclusively films exploring the Vietnam War. It can absolutely and legitimately be called Ape-ocalypse Now. This is not merely retreading those footsteps though. Such echoes, and other references such as the slang names for servile apes, serve to tie this dystopian future to our own reality. There’s also the inescapable fact that the Vietnam War proved the hollowness of the American doctrine of ‘peace through superior firepower’. That undercurrent continually runs beneath our viewing of events where armed men seem to have an inescapable whip hand over apes with severely limited abilities to fight back. Beware assumptions.
Issues of gender in this movie are more complex than they might first appear, certainly as far as I am concerned. I’m using words like ‘man’ and ‘him’ advisedly because this is very male-gaze apocalypse. Not however, one where masculinity-under-threat-in-this-modern-liberal-world can finally come good, with its guns and its manly men taking charge of helpless women and children to save the day.
This is a story about the dead-end destructiveness of arrogant white male masculinity so used to solving everything with aggression that it’s incapable of thinking outside that self-defeating box. That influences my response to the widespread online comment about the complete absence of female voices in the dialogue (apart from possibly one female soldier’s scream?) The one significant human female role is mute and childlike in the most literal sense, and while a couple of female apes have things to say, they do so through sign language. Could one view the lack of female voices as a feature rather than a bug, if one were prepared to squint a bit…? Then there’s the almost-gender-neutral appearance of the apes apart from the females’ apparent (and to my mind inexplicable) inclination to unflattering central partings and rustic ear decoration. I think there’s more to be discussed about the absence of female characters here than might be first apparent. Is that very absence what permits masculinity to turn so toxic?
Not that this excuses the use of perhaps the laziest motivate-your-male-protagonist cliche in the first act of the movie. There are other script-writing choices I can quibble with, most notably some utterly bone-headed human tactics as the film rushes to its conclusion.
A fourth movie is reportedly under discussion, or development, depending on what you read. I’ll be very interested to see it, provided that the writers can offer something more than man and ape in conflict. These films have done that, and done it well, but the story needs to move on. In my head at least, there must be other corners of this world where the post-apocalypse is working out differently, with male and female voices contributing equally to co-operation rather than conflict. I’d like to see how that’s working out, given so many challenges will still remain to drive a story.
Spiderman: Homecoming continues to build on, and expand the Marvel Cinematic Universe. While, and oh, thank heavens, it’s not another Spiderman origin story retread, it does an excellent job of refocusing the character on its original appeal at the same time as updating and integrating the High School Hero into the modern day. As a decades-long fan of the comic, I’m thrilled to see a young, nerdy Peter Parker, while also very much appreciating a younger, more modern, far more relatable Aunt May rather than a grey-haired granny stereotype.
With its smaller scale and 80s-teen-movie vibe, the film is in many ways lighter in tone than other recent and forthcoming MCU movies. A story feels much less oppressive when the oncoming disaster is humiliation at a teenage party rather than global annihilation by aliens or android armies. On the other hand, that tighter focus and scenario simultaneously makes this story far more personal. We can empathise far more readily with the reality of that situation whereas we could only ever be onlookers in need of rescue from Ultron or the Chitauri. When a shop which Peter regularly visits, where we know he chats with the owner, becomes collateral damage – that has an emotional impact which can sometimes be lacking in the CGI-spectacular destruction of faceless hordes.
I also like the way that Peter’s school and classmates are portrayed. He’s attending a specialist science and technology school, where being intelligent is the norm, not a reason for ridicule. Yes, he has a bullying nemesis, in keeping with the High School vibe, but that lad doesn’t mock Peter’s brains, rather he’s jealous of his place on the Academic Decathlon team. Yes, there’s a roly-poly, nerdy sidekick, but he’s extremely bright and capable when it comes to playing his own vital role in the plot. Success in the Academic Decathlon is presented as a worthwhile victory to strive for. All of which might be merely worthy if it wasn’t for the presence of Tony Stark. We all know Tony’s off-the-scale-brilliant but one thing his involvement in these events highlights is the difference between intelligence and wisdom. Tony doesn’t listen, he’s arrogant, and he shrugs off what doesn’t interest him. That sets the tone that his employees adopt. It’s Peter who learns the lessons that result from the consequences of Tony’s mistakes – as well as his own teenage missteps, of course.
Michael Keaton is a stellar villain whose coherent motivation is so much more convincing and complex than mere motiveless malignity. Beneath the patent injustice and/or callousness that sparks his initial grievance, there are also a good few questions posed about the roles of big business and government and what happens to ordinary people when politicians and billionaires organise the world to suit themselves. With great power, comes great responsibility. Someone should remind them of that. Which is not to say Adrian Toombs is some misunderstood and wronged individual who warrants our sympathy. He has made his own choices, consciously and deliberately for years now, and as we see, is utterly ruthless in pursuit of his goals. We can believe that Peter is in very real danger, thanks to Michael Keaton’s performance and the personal nature of their conflict.
So far, so good, however … there’s still no getting away from the most abiding and persistent problem of superhero movies based on characters with a decades-long back story. Yes, I mean the roles for women, drawn from source material written when very different cultural archetypes went unquestioned. Once again, the girls are peripheral to the male-focused action, only present in the stereotypical roles of objects of desire, domestic helpmeets and damsels in distress. The writers and actors make heroic efforts to lift the female characters above such clichés but even with the appearance of Mary Beth Lacey, apparent now working for Homeland Security or some such, there’s only so much they can do here. I can only hope that the hints of more and better to come in the next movie are fulfilled, from Michelle in particular – as long as they can do that without mangling the essence of the friendly neighbourhood Spiderman whom we know and love. I’ve had quite enough of that sort of thing with DC turning Superman supposedly dark and edgy and in the process erasing so much of his core character.
Oh hey, how about some more female-led superhero movies? That would work to elevate women and to offer girls their own role models, without eradicating the men. How about we stop looking at this as a zero sum game?
It’s been an interesting last little while in the SFF genre, notably for those of us keeping a watching brief on gender issues alongside our uncomplicated enjoyment of superheroes and the fantastic. But rather than demand your time and attention for an extended read on them all at once, here’s the first in a series of related (and hopefully not too spoilery) posts.
Wonder Woman was good fun. I most definitely appreciated seeing strong, athletic women taking charge of their own destiny on Themiscyra, and wearing costumes that drew far more on classical Mediterranean leather armour than on lingerie. Putting Diana into Great War London and seeing the clash of cultures that followed worked well, both in terms of the film, and incidentally to highlight today’s obdurate misogyny. Lucy Davis as Etta Candy gives a performance that’s central to exploring those particular themes all the more effectively through humour. I thought Chris Pine gives a good account of himself, and personally I didn’t feel his presence turned the film into All About Steve. Mind you, there really should be a law against anyone called Steve flying off alone a plane in a superhero movie now. There’s no telling what will follow…
Is this an particularly feminist movie? Not to my mind. Let’s not forget, Diana’s plot ultimately revolves around a response to male aggression. So far, so predictably defining a woman’s role as reactive to a man’s. On the other hand, there are some thoughtful asides on the causes of war and no over-soft-pedalling the dire practical and psychological consequences for men and women alike. Having a female villain in Doctor Poison was a good choice, though let’s not forget she is subservient to a man. But then again, this is set in 1918 … so … would a female villain with more overt agency have been anachronistic? There are arguments on both sides. Not least because a more overtly feminist movie would have offered endless ammunition to those primed to attack it as ‘message fiction’ long before they’d seen the opening credits.
All told, I felt Sameer and Napi were badly underused which meant their contribution ended up as primarily ‘see how prejudice extends to race as well as gender?’ rather than having that assuredly valid point made incidentally to more rounded roles for those particular characters. That said, making such roles meatier would mean extending a film with a run time that’s already well over two hours. Oh, here’s a thought? Maybe dial back the extended CGI-spectacular scenes just a bit here and there? Use those saved minutes for more interesting character exploration?
The film did drive a galloping coach and horses through established Greek myth, as I observed as we left the cinema. ‘I thought Greek myths had all sorts of variations?’ remarked one son. ‘That’s your biggest problem with a story set in a universe where a man dresses up as a giant bat to fight crime?’ queried the other. Well, yes, fair comment, both. The unexpected appearance of Spud from Trainspotting did also distract me. Just like my flashback to Renton’s toilet-dive when I watched Obi Wan Kenobi et al visit the underwater city in The Phantom Menace. But that’s probably just me…
So overall I thought it was a good, fun film rather than a great, deeply-meaningful one. I mean, compared to … oh, wait, there are no other female-led superhero movies to compare it to, are there? So let’s not get hypercritical here. As a foundation to build on, and as a film that proves that a female superhero can light up the box office with a good, fun, adventure story that everyone can enjoy, it’s exactly what we need at the moment.
We watched this over the weekend, being fans of David Simon’s other work, notably The Wire and Tremé. It’s based on the book of the same name* by Lisa Belkin, focusing on events in the city of Yonkers, New York, between 1987 and 1993, following a Federal court ruling that public housing must be distributed throughout the city to end de-facto racial segregation. Local opposition was vociferous and ferocious, fearing that the spread of crime and disorder would see property values in ‘good’ neighbourhoods plummet.
Nick Wasicsko was the young politician who initially saw a route to power by supporting appeals against this ruling, though in fact he saw the new housing projects as both inevitable and desirable, according to this series at least, and let’s bear mind that his former wife was a consultant on the project. Anyway, he soon found himself dealing with the aforementioned local residents’ opposition, with other politicians out to serve their own interests by posturing over the issue, and with outside groups keen to use this conflict to advance their own agendas. Oscar Isaac, now perhaps better known as Poe Dameron, is outstanding in this central role, and the cast overall is a stellar one, with actors like Alfred Molina and Winona Ryder ensuring that supporting roles have a major impact on the story and on the screen. Oh, and it’s nice to see Jon Bernthal with hair for a change.
The miniseries is well worth watching as a drama, bearing in mind that the title comes from F Scott Fitzgerald’s dictum ‘Show me a hero and I’ll write you a tragedy’. It’s also a compelling exploration of the deeply rooted and multifaceted divisions and complications in American society and politics~. The drama shows valid concerns as well as unconsidered prejudices on both sides together with systemic problems both in public policy and political structures. This is all the more thought-provoking when you consider that the book was written in 1999 and the series first broadcast in 2015. It showed us how the attitudes which have put President Trump in the White House didn’t spring up out of nowhere in 2016.
However, and equally, if not even more importantly, the series shows that such apparently intractable situations can be resolved. We see that given chances and choices, those disadvantaged in life from the outset by poverty and poor education can still succeed. Some of them at least. Others will never see beyond their limited horizons. We see that integration and information enables those initially fearful of unfamiliar racial communities to understand that more unites humanity than divides us. Some of them at least. Others will never abandon inherited, unexamined bias. And on both sides, there will always be those ready and waiting to exploit such situations for personal gain.
We need stories like this more than ever at the moment, to counter the seductive, deceptive narrative of easy solutions and handy scapegoats being peddled by politicians all around the world.
* I have just bought the book and look forward to reading it.
~ We in the UK have no cause for complacency. The flaws in our own political systems may be different but they should be as great a cause for concern.
I was quite surprised when a pal pointed out it’s been a month since my last blogpost. Really? Surely it’s only been couple of weeks of doing all sorts of other things? Oh, yes…
I’m working on revising one book while continuing to send out another to agents. I’ve read Cory Doctorow’s “Walkaway” and written a review of that for Interzone. I’m writing a guest post for Marie Brennan and I spent a lovely hour and more chatting with the women of the “Breaking the Glass Slipper” podcast, and that will be available shortly. I checked over the edits for a paper I’ve written for Luna Press’s forthcoming book “Gender identity and sexuality in Current Fantasy and Science Fiction: do we have a problem?”
Plus there’s been a whole load of domestic and business administrative stuff hereabouts, none of which would make for remotely interesting blogpost material but which gets incredibly time consuming.
Best of all, we’ve been on holiday, and that was great. We headed for the Lake District, and got a very different view of the landscapes, compared to our previous visits, with the trees not yet in leaf and the undergrowth yet to start burgeoning. We also saw lots of sheep and the early lambs and the Husband became fascinated by just how different the shapes of sheep’s heads can be, when you start comparing breed with breed. We visited Penrith, and Acorn Bank, and Holker Hall, and the Lakeland Motor Museum which is highly recommended for those with even a passing interest in cars, motorbikes and cycles. The collection is very well displayed and has some real rarities and oddities. And yes, there are an awful lot of daffodils in the Lake District if you’re there at the right season.
By way of light relief, I’ve watched Marvel’s “Iron Fist” on Netflix… well, let’s just say that I am left with one question above all others… Who was that seeker of ancient truth and wisdom, who travelled all the way to the high Himalayas, and taught the monks of K’un Lun to speak English with a broad Stockport accent? That’s a story I’d really like to see told…
While we were on holiday we watched the first season of “The Expanse” in the evenings, and that was very good indeed. As are the books, though now I have to decide if I want to read on after the first three that I’ve already enjoyed, or wait, so I’m not spoiled for the TV adaptation plot..
Meantime, the Internet has been offering a whole lot of interesting things, so here are some links to pieces that have particularly caught my eye.
Six Things I Learned in My First Month of Using Patreon – Tobias Buckell. Thought-provoking reading for those who think crowd-funding can support the arts.
Mary Beard has a few things to say about the shared metaphors used to describe female access to power. And there’s a transcript if you prefer reading to watching the video.
“Buffy the Vampire Slayer was a feminist parable for everyone – including me” by Anthony Stewart Head (Twenty years ago?! I feel old…)
Incidentally, you’ll notice that I’m linking to Martha’s blog on Dreamwidth rather than Live Journal. In common with almost everyone else I know, I’m not about to sign up to LJ’s new Terms of Service. There are some big red flags and one thing I know about contracts is never sign anything with clauses for concern in the hope that ‘but it’ll never happen, right?’ In any case, this website and blog there have been my primary web presence for a good few years now. So I will be dusting off the Dreamwidth account I set up the last time it looked as though LJ was going down the drain, and looking to rebuild as much of my former LJ circle of friends over there, to continue keeping in touch. I am (unsurprisingly) JeMcK if you want to find me. I’ll be shutting down my LJ account some time later this month when I have the spare time to do the admin etc.
And lastly, to be going on with, some daffodils!
I’ve yet to see the X-Men Apocalypse movie, so I can’t comment on Sophie Turner’s performance. Her work on Game of Thrones – especially at the moment (NO spoilers in comments please!) – gives me every reason to expect she’ll do a thoroughly good job.
The thing is, though, this is becoming A Thing for me. An amusement at the moment, rather than a distraction, but definitely A Thing.
I caught a trailer for A Knight’s Tale on the TV last week, which is one of my favourite movies. Now though? That’s the one where Robert Baratheon makes The Joker’s armour while The Vision bigs him up to the crowd…
Ripper Street? Did you see the one where Blackfish Tully dragged Bronn out of bed, possibly to chase after Jorah Mormont, or maybe Barristan Selmy, because both of them have turned up, and been up to no good.
Now, this is nothing new – Ronny Cox is merely the first actor who comes to mind for me, thinking about recurrent faces in fan-favourite movies and TV, going back to the 80s. Always doing sterling work. The same goes for Brian Cox. And other actors whose surname isn’t Cox, like James Cosmo.
And I’ve no wish to deny actors work. Their employment and earnings statistics make being a writer look like steady, well-paid work!
But I am curious. Why has this become A Thing for me? The cumulative effect of the sheer volume of stuff that I’ve watched in 50 years? Or because of the particular things I chose to watch?
But as far as my sons are concerned, Sean Connery is and will always be ‘Indiana Jones’s Dad’ because that’s the role they first saw him in. On the basis of one viewing, it seems that Vanessa Redgrave is permanently tagged as ‘Coriolanus‘s Mum’ for them. So maybe not so much.
Because we can watch what we want, when we want, so very much more easily these days? Instead of seeing things on release at the cinema or when they were broadcast – or not at all? So performances weren’t so apt to all come along in a rush?
But then, you could hardly escape James Norton on UK television earlier this year, what with War and Peace, Happy Valley and Grantchester, and that was all down to scheduling.
As I say, I’m curious. I don’t have any particular conclusions, beyond hoping it remains an amusement rather than becoming a distraction.
Anyone else finding this is A Thing?
I’ve been experiencing a weird sort of déjà vu lately. A lot. Most recently, watching news footage of thousands of desperate refugees walking along a Hungarian motorway hard shoulder. I keep recalling a BBC drama film ‘The March’ from (as a little research shows me) 1990, in which thousands of Africans fleeing climate change walk to Europe. Their challenge to richer nations is help us or watch us die. Those richer nations don’t know how to cope…
I also recall at the time that film was dismissed as unnecessarily alarmist and melodramatic. Oh, no, they said, that could never really happen. How’s that opinion looking now?
Then there’s the US elections. I keep thinking back to John Brunner’s ‘The Sheep Look Up’ (first published 1972). I must have read that when I was a student, or certainly some time in the 80’s, because I remember considering the buffoonish, soundbite president ‘Prexy’ and thinking well, at least Ronald Reagan isn’t quite that bad. But now? Donald Trump? Yes, I can easily see him talking such gibberish while the world goes to hell in a handcart.
Not that we in the UK have any room for complacency. Who else is watching the media attacks and distortions surrounding Jeremy Corbyn and recalling A Very British Coup? Both the 1982 novel by Chris Mullin and the first TV adaptation for Channel 4 by Alan Plater, with Ray McAnally playing the lead; Harry Perkins is the unabashed socialist elected to lead the Labour Party, committed to challenging media bias, American hegemony and pro nuclear disarmament. Goodness, the Establishment cannot possibly have that…
I suppose I should just be grateful that (so far) we’ve escaped the dire fate predicted for us all in Threads; another BBC film from 1984 dealing with the aftermath of nuclear war.
Anyone else experiencing anything similar? Anyone got other titles to add, from books, films or TV?
And how the hell do we get the politicians and decisions makers to start reading or watching this stuff and thinking about more than their own short-term careerist interests?
Well, we can at least make a start by using our votes and making the effort to write to our elected representatives. If there’s one thing that losing most of this past year to campaigning on EU digital VAT has shown me, it’s that enough single voices really can make a difference.
Let’s do it.
If you’re interested in documentary film making – or know anyone who is – and within striking distance of Oxford, the St Hilda’s Media Network is presenting a day conference with a stellar programme.
It’ll be an in-depth look at the world of documentaries led by expert film-makers and radio producers. It is aimed at a broad audience, including students who are interested in a career in documentary-making, people who have just started out in the industry, and media professionals who are passionate about this fascinating creative sphere.
There will be five sessions that will explore different documentary genres:
HOW TO MAKE A DOCUMENTARY: FROM COMMISSION TO TRANSMISSION
Nicolas Kent, Creative Director Oxford Film and Television
Anna Hall, Freelance Series Producer/Director
Ian Michael Jones, Freelance Arts Documentary Producer
David Leach, Producer/Director and Development Writer
How do film-makers get a documentary on to television? This session will provide an overview of the processes involved, from the original concept of an idea, to delivery to the broadcaster. There will also be a focus on the particular challenge of producing arts documentaries in ways that are new and different.
FEATURE-LENGTH DOCUMENTARY: CREATING FACTUAL MOVIES
Clio Barnard, Director The Arbor, The Selfish Giant
Nicolas Kent, Creative Director Oxford Film and Television
Mike Brett, Director Next Goal Wins
How does making a feature-length documentary differ from creating documentary for television? Some issues are unique to the feature-length documentary, such as development of ideas without commission, funding, distribution, and submission to festivals. Speakers will also consider its role as an art form which does not have the constraints of working to a channel brief.
ST HILDA’S LIVING HISTORY PRESENTATION
Alumna Elizabeth Dorsett presents a sneak preview of the incredible audiovisual project currently in progress which documents the social history of St Hilda’s, the last women’s college in the University of Oxford to go co-ed, through filmed interviews with former students from the 1930s to present day.
WILDLIFE DOCUMENTARY: ALWAYS WORK WITH ANIMALS!
Bill Oddie, Presenter and Writer
Nigel Pope, Head of Keo North, Director Mara Media
Alexandra Griffiths, Series Producer BBC Natural History Unit
Ruth Sessions, Head of Operations Atlantic Productions
Why have British film-makers won worldwide recognition for this genre? This session will examine the filming techniques and aims of wildlife producers from the BBC and independent production companies. Bill Oddie will talk about his experiences of wildlife film-making over the last twenty years.
RADIO DOCUMENTARY: MAKING PICTURES IN SOUND
Simon Elmes, Former Creative Director BBC Radio Documentaries Unit
Neil Trevithick, Senior Radio Documentary Producer
Sara Jane Hall, Documentary Feature Maker
Christine Finn, Writer and Radio Producer/Presenter
What makes a subject appropriate for radio rather than for television or film? Our panel will look at the challenges of bringing very visual ideas to life in a purely aural medium, and at the tricky and often fraught process of achieving commissions for radio documentary ideas.
After this session on radio Simon Elmes has kindly offered to host a workshop for a limited number of interested attendees on the presentation of ideas for radio documentaries. This will take place in the Old JCR in South Building during the Observational Documentary session, and attendees who wish to take part should sign up in advance on Eventbrite by selecting the ‘additional workshop’ when filling in registration details. Seats will be allocated on a first come first served basis.
OBSERVATIONAL DOCUMENTARY: THE BARE NAKED TRUTH
Anna Hall, Freelance Series Producer/Director
Nigel Pope, Head of Keo North, Director Mara Media
Ruth Sessions, Head of Operations Atlantic Productions
Why is observational documentary so popular and so controversial, and which subjects are most successful in this genre? We will look at the importance of in-depth research and good access to compelling contributors, as well as the issues and ethics of gaining trust. Our speakers will examine the special filming and editing techniques involved.
Ticket price includes mid-morning and afternoon refreshments, a light lunch and a post-event drink.
Ah, Game of Thrones! We’re planning on heading round to some friends who have subscription TV on Monday evening, to catch the opening of Season Four. Meantime I’ve now read the books as far as they correspond (mostly) to the end of Season Three. One of the things I enjoy most about watching the series is I don’t know what’s going to happen! So I read a chunk of the books after each season, to fill in the omissions and alternations necessary when adapting from text to screen. So yes, I am a fan.
However… I see yet again that bookstore fantasy fiction promotions remain focused on Westeros and a narrow selection of fantasy books by pretty much the same few authors as last year and the year before that and the year before that. Don’t get me wrong – these chaps work hard, I’ve met a good number of them in person and they’re excellent company, interesting writers and absolutely deserve their success.
However… there are so many other fine fantasy worlds out there that deserve their share of attention. I’ve just written my Spring review column for Albedo One magazine, and I really was spoiled for choice. The books I picked to review were Queen of the Tearling by Erika Johansen, Drakenfeld by Mark Charan Newton, Irenicon by Aiden Harte and Songs of the Earth by Elspeth Cooper. All well worth seeking out.
I could just have easily reviewed the latest books by Freya Robertson, Helen Lowe, Stephen Deas, Gail Z Martin, Evie Manieri, Tom Lloyd, M.D.Lachlan… and many more besides.
So what are your favourite fantasy worlds you’d like introduce new folk to?
Old or new. For instance I’m delighted to see Barbara Hambly’s back list is now available in ebook. If you’ve never read The Darwath Trilogy do check it out. any other classics of the genre you’d care to recommend?