Archive for publications, 2018

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[ecrea] New issue: Science Fiction Film & Television

Thu Jun 07 13:53:56 GMT 2018





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>

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/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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