[ecrea] New issue: Science Fiction Film & Television

Science Fiction Film & Television Volume: 11, Issue: 2 (June 2018) 
<https://online.liverpooluniversitypress.co.uk/toc/sfftv/11/2?ai=sd&ui=273v&af=T> 


//

/Science Fiction Film and Television/ is a peer-reviewed journal 
published three times a year by Liverpool University Press. /SFFTV/ 
encourages dialogue among the scholarly and intellectual communities of 
science fiction studies, film studies and television studies.

The above issue is now available online at: 
https://online.liverpooluniversitypress.co.uk/toc/sfftv/11/2?ai=sd&ui=273v&af=T 


You can keep up to date with the journal by clicking here 
<https://online.liverpooluniversitypress.co.uk/action/showAlertSettings?journalCode=sfftv&action=addJournal> 
to sign up to new issue alerts, and can learn more about the title at 
its website page here 
<https://online.liverpooluniversitypress.co.uk/loi/sfftv>.

    
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Introduction: Mary Shelley, Frankenstein and women in sf 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.13?ai=sd&ui=273v&af=T> 


    
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A symposium on Mary Shelley, Frankenstein and women in sf: Clone club – 
Frankenstein’s daughters 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.14?ai=sd&ui=273v&af=T> 


    Stacey Abbott, Sarah Artt, Miranda Butler, Megen de Bruin-Molé, 
Jane Donawerth, Susan A. George, Veronica Hollinger, Gwyneth Jones, 
Antonija Primorac, Sharon Sharp, Rebekah Sheldon, Sara Wasson, and

    Lisa Yaszek

    
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Precarity, parenthood and play in Jennifer Phang’s Advantageous 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.15?ai=sd&ui=273v&af=T> 


    T.S. Miller


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The art of interpretation: Women, directing and sf television 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.16?ai=sd&ui=273v&af=T> 


    Stacey Abbott

    
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‘Hail, Mary, the Mother of Science Fiction’: Popular fictionalisations 
of Mary Wollstonecraft Shelley in film and television, 1935–2018 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.17?ai=sd&ui=273v&af=T> 


    Megen de Bruin-Molé

    
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‘An otherness that cannot be sublimated’: Shades of Frankenstein in 
Penny Dreadful and Black Mirror 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.18?ai=sd&ui=273v&af=T> 


    Sarah Artt


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Binary, coded: On the ‘absence’ of the digital in Strange Days 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.19?ai=sd&ui=273v&af=T> 


    Emma J. Withers


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Archive: Women scientists in Frankenstein films, 1945–2015 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.20?ai=sd&ui=273v&af=T> 


    Lissette Lopez Szwydky and Michelle L. Pribbernow

    
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Book review 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.21?ai=sd&ui=273v&af=T> 


    Robin Anne Reid


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The Handmaid’s Tale. Hulu 2017 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.22?ai=sd&ui=273v&af=T> 


    Aino-Kaisa Koistinen and Hanna Samola

    
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Passengers (Morten Tyldum US 2016) 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/sfftv.2018.22a?ai=sd&ui=273v&af=T> 


    Skye Cervone


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