James Bond – Kill Command: In this month’s show, Electric Sheep Assistant editor Alex Fitch talks to the director, Steven Gomez, and cinematographer, Simon Dennis, of Kill Command, an excellent new British sci-fi thriller about robots and drones in an army training exercise going on a murderous rampage. Also in this show, University of Reading Professor of Television and Film Jonathan Bignall discusses the influences and connections that 1950s television had on the production of the early James Bond films and novels.
Kill Command will be available on demand on Sky Movies in summer 2016.
The Electric Sheep Film Show is broadcast every third Wednesday of the month, 8-9pm at Resonance FM 104.4. Next date: Wednesday 15 June 2016.
This show was first broadcast on Wednesday 18 May 2016.
Building on Jack Sargeant’s previously published research on J.G. Ballard, this talk explores Ballard in the realms beyond literature, looking at his graphics, use of performance and the infamous Crashed Cars exhibition as well as the short film Crash, in relation to the aesthetic ‘perversions’ that emerged around his ground-breaking 1970s novels. The talk offers an exploration of Ballard’s radical experimental work, and traces its influence into the subcultural mise en scène of the era and beyond.
The talk will include a screening of The Unlimited Dream Company (dir: Sam Scoggins, 1983, 24 mins).
This is the first lecture of the Spring 2016 semester. The semester runs from January to May. Season tickets will be available shortly.
About the instructor
As an author Jack Sargeant’s work has been described as ‘dangerously inspirational’. His numerous books include Against Control, Deathtripping: The Extreme Underground and Naked Lens: Beat Cinema (like Deathtripping now in its third English language edition). His forthcoming book Flesh and Excess on Underground Film is due for publication in late 2015. He has written on film and culture for numerous books, anthologies and journals, and introductions for books by Lydia Lunch, Romain Slocombe, Joe Coleman and for William Burroughs’s Unforgettable Characters. He writes a regular column for FilmInk, and has written for The Wire, Xochi 23, Fortean Times, World Art, Real Time and many other publications. Jack has frequently appeared as a documentary interviewee in films including Blank City, The Advocate for Fagdom and Llik Your Idols. He is regularly called upon to assist in research for television and film documentaries. In addition to writing, Sargeant has lectured on underground film and culture, beat culture, William Burroughs and many other topics across the world. He has curated numerous film and art events, including co-curating the critically acclaimed ‘Sex’ at Melbourne’s Strange Neighbour gallery. He is currently programme director for the Revelation Film Festival in Western Australia.
About the Miskatonic Institute:
Named for the fictional university in H.P. Lovecraft’s literary mythos, The Miskatonic Institute of Horror Studies is a non-profit, community-based organization that started in Canada, founded by Kier-La Janisse in March of 2010. The school currently has branches in Montreal and London, with Miskatonic London operating under the co-direction of Kier-La Janisse and Electric Sheep Founder/Editor Virginie Sélavy.
All classes take place at the historic Horse Hospital, the heart of the city’s underground culture. Individual class tickets are £10 advance / £11 on the door / £8 concessions and will be available 30 days in advance of each class. Season tickets are £40 and will be available shortly.
The course dates of the Spring semester are 7 January, 11 February, 10 March, 14 April, 12 May. For the full details of the course please check the Miskatonic website. For all enquiries, please email Miskatonic.london[at]gmail.com.
For the final lecture of the autumn semester The Mikskatonic Institute of Horror Studies – London is proud to present a very special event and a unique celebration of the work of pioneering British screenwriter Nigel Kneale. This event marks the launch of WE ARE THE MARTIANS, a new book of essays about Kneale published by Spectral Press.
A rehearsed reading of Kneale’s lost drama THE ROAD (featuring Jonathan Rigby and others), will be followed by an in-depth discussion of Kneale’s work and influence by some of the book’s authors, including screenwriter Stephen Volk (GHOST WATCH, AFTERLIFE, THE AWAKENING), author and critic Kim Newman (ANNO DRACULA, NIGHTMARE MOVIES), editor Neil Snowdon and others to be confirmed.
In 1950 Thomas Nigel Kneale won the Somerset Maugham Award for his prose collection TOMATO CAIN & OTHER STORIES. In 1953 he changed the face of British Television with THE QUATERMASS EXPERIMENT. Public houses across the country emptied as each installment of this thrilling new story went out live to the nation. Never before had a television drama become a national event, and few enough have had such an impact since.
His adaptation of NINETEEN EIGHTY FOUR would raise questions in Parliament, such was its power, while original dramas like THE YEAR OF THE SEX OLYMPICS accurately predicted, and indicted, the sensationalism of ‘Reality TV’ and the passivity of the society that produced it.
In the years that followed, QUATERMASS & THE PIT, THE STONE TAPE, MURRAIN, BEASTS, THE WOMAN IN BLACK and more would influence successive generations of authors, filmmakers and screenwriters, from Russell T. Davies to The League of Gentlemen, John Carpenter to Stephen King, Chris Carter, Peter Strickland, Ramsey Campbell, China Mieville and more…
Jacques Derrida may have coined the term, but it is Kneale – in his style, themes, and the unique tone of his work – who provides a touchstone for the Hauntological movement which has pervaded our culture in recent years.
About the Miskatonic Institute:
Named for the fictional university in H.P. Lovecraft’s literary mythos, The Miskatonic Institute of Horror Studies is a non-profit, community-based organization that started in Canada, founded by Kier-La Janisse in March of 2010. The school currently has branches in Montreal and London, with Miskatonic London operating under the co-direction of Kier-La Janisse and Electric Sheep Founder/Editor Virginie Sélavy.
All classes take place at the historic Horse Hospital, the heart of the city’s underground culture. Individual class tickets are £10 advance / £11 on the door / £8 concessions and will be available 30 days in advance of each class.
The next course dates of the autumn semester are 12 November and 10 December. For the full details of the course please check the Miskatonic website. For all enquiries, please email Miskatonic.london[at]gmail.com.
The outlandish Parisian genre and fantasy festival returns from September 3 to 13 with another line-up bulging with wild, unhinged and lost treasures. The festival opens with Simon Pummel’s schizophrenic sci-fi thriller Brand New-U and closes with Bollywood epic Baahubali: The Beginning, with a full range of sleazy subversiveness and avant-garde strangeness in between, from Marcel L’Herbier’s restored 1924 art deco femme fatale tale L’inhumaine to Rolph de Heer’s grotesque family tale Bad Boy Bubby, not to forget a zombie all-nighter.
Highlights include the latest from three Japanese heavyweights: Takashi Miike’s Yakuza Apocalypse, Hideo Nakata’s Ghost Theater and Sion Sono with two films, Tag and Love and Peace. Also screening are The Blaine Brothers’ original and moving Nina Forever, Steve Oram’s category-defying Aaaaaaaah! and Ulrich Seidl’s exploration of Austrian cellars In the Basement.
We’ll be checking out Alex Van Varmerdam’s absurdist thriller La peau de Bax, Raúl Garcia’s Edgar Allan Poe animation film Extraordinary Tales, Michael Madsen’s speculative alien invasion documentary The Visit, experimental Afghanistan-set sci-fi Ni le ciel ni la terre directed by artist Clément Cogitore, and Jason Bognacki’s slick giallo-influenced tale of possession Another.
This year, the guest curators are Guy Maddin (also included in the main programme with his own The Forbidden Room), whose selection includes Bring Me the Head of Alfredo Garcia, Teuvo Tulio’s Sensuela and George Kuchar’s The Devil’s Cleavage; Benoit Delepine, co-director of Aaltra and Mammuth, will present Tim Burton’s Pee-Wee’s Big Adventure and hopeless Russian road movie The Joy; and Ben Wheatley has chosen Frantisek Vlacil’s sumptuous medieval fable Marketa Lazarova and Michael Mann’s legendary murky Nazi nightmare The Keep.
Documentaries include Dark Star: H.R. Giger’s World, B-Movie: Lust and Sound in West Berlin (1979-1989), which features Blixa Bargeld and Nekromantik 2’s male lead Mark Reeder, as well as an exploration of the Turkish golden age of low-budget Hollywood remakes, Remake, Remix, Rip-Off, part of a focus on alternative Turkish cinema.
This year’s musical performance is truly exceptional: legendary masked industrial collective The Residents will play a new version of Shadowland as well as presenting a programme of films and documentary Theory of Obscurity: A Movie about The Residents.
As always, the line-up includes a vast and dynamic selection of shorts, ranging from Can Evrenol’s hard-hitting, gut-punching Baskin and Javier Chillon’s inventive, intelligent Die Schneider Krankheit to classics by Jaume Balaguero, Jonathan Caouette and Bill Morrison.
The unique and wonderful Etrange Festival celebrated its 20th anniversary this year with a spectacular line-up, which, as always, defied categories with the latest offerings from Takashi Miike and Marjane Satrapi, special programmes picked by Godfrey Reggio, Jacques Audiard and Sion Sono, musical events, emerging talent, short films and an exhibition on Fumetti.
Among the freaky treats on offer, we loved Kim Ki-Duk’s extreme castration drama Moebius, Bill Morrison’s elegiac The Miners’ Hymns, the Mo Brothers’ action thriller Killers, Fabrice du Welz’s staggeringly intense take on the Honeymoon Killers story Alleluia, atmospheric Irish ghost story The Canal and offbeat Iranian vampire tale A Girl Walks Home Alone at Night.
Older treasures included Sergei Paradjanov’s sumptuously poetic Sayat Nova, Jerry Schatzberg’s seminal 70s road movie Scarecrow, Jörg Buttgereit’s ingeniously disturbing The Death King and Blaxploitation rarity Dolemite while the Pere Ubu Film Group’s did a live score to Carnival of Souls.
Marjane Satrapi’s dark animated killer tale The Voices won the audience award and we were particularly excited to discover David Robert Mitchell’s fantastical take on American sexual puritanism It Follows, David Wnendt’s uninhibited erotic comedy Wetlands, Nacho Vigalondo’s found footage thriller Open Windows, Austrian Western The Dark Valley, Aleksei German’s last film Hard to Be a God, hallucinatory French nightmare Horsehead and Austrian experimental dance film Perfect Garden.
To mark its anniversary, the programme also included a selection of the best of 20 years of the festival, including Nikos Nikolaidis’s demented noir homage Singapore Sling, Ian Kerkhof’s avant-garde documentary Beyond Ultra Violence: Uneasy Listening by Merzbow, Harmony Korine’s Gummo, Clive Barker’s Lord of Illusions, the short films of the Quay Brothers, Duncan Jones’s Moon, Hungarian oddity Hukkle, Shinya Tsukamoto’s Tetsuo and Ben Wheatley’s Down Terrace.
Starting on Sunday 29 June, the brilliant Duke Mitchell Film Club prsent their first DukeFest Zero festival, four nights of fun, intriguing and odd cinematic gems, including special guests, an anniversary screening, a music night, a mystery trailer reel and a live translation by someone who doesn’t speak the film’s language.
The festival kicks off with the European premiere of My Name is Jonah, a documentary on self-described ‘real-life warrior, adventurer and musician’ and cult internet icon Jonah. Monday 1 July is ‘Mix-It-Up Night’, including a screening of Stockholm Nights with live audio translation by Duke host and Electric Sheep contributor Evrim Ersoy (who doesn’t speak Swedish), the Japanese edition of The Great VHS Experiment, and Night of the Trailers. The following night is a music night including Death Waltz’s Musical Horror Trip and Music Video Found Footage. The festival closes on Wednesday 3 July with a 30th anniversary screening of Ulli Lommel’s SF musical comedy Strangers in Paradise, about a hypnotist who cryogenically escapes from the Nazis only to be defrost by fascist Americans in the 80s.
The London International Festival of Science-Fiction and Fantastical Film returns for the 14th time with a programme packed with discoveries from Hungary to the Dominican Republic, programmes of shorts and special events including the 25th anniversary of Mystery Science Theatre 3000 and animé and aliens all-nighters.
Taking place at Stratford Picturehouse and BFI Southbank, it opens on 24 April with the premiere of American psychological thriller Lost Time and closes on 4 May with spectacular French-Canadian sci-fi romance Upside Down.
We’re particularly looking forward to Suicide or Lulu and Me in a World Made for Two, inspired by Adolfo Bioy Casares’s brilliant novella The Invention of Morel, The Phoenix Project, described as ‘Primer meets Frankenstein’ and noir action thriller The Scribbler. We’re also intrigued by supernatural love story Soulmate, speculative exploration of genomics The Perfect 46, Dominican Republic thriller Wake and offbeat Belgian oddity When I Will Be Dictator.
Birmingham’s brilliant Flatpack Film Festival returns for an eighth year for 11 days of inventive film delights, from 20 to 30 March. As always, expect a mind-stretching mix of new features, shorts and special guests, as well as avant-garde Austrian animation, a solipsistic installation, a Victorian magic lantern show, a psychedelic music night, walking tours and pop-up screenings in unexpected venues across the city.
Among the highlights:
• PHONO-CINEMA-THEATRE, the first UK screening of short films, many of them in hand-tinted colour, which were made for the 1900 Paris Exposition and featured theatre and variety stars of the day. The films include Sarah Bernhardt’s Hamlet and a can-can by Gabrielle Réjane; many of them have original sound thanks to an ingenious gramophone system.
• The UK premiere of THE GREAT FLOOD, a portrait of the devastation caused by the Mississippi floods of 1927 presented by experimental filmmaker Bill Morrison. Also screening are Morrison’s poetic take on archive footage of Durham miners’ lives from the 1900s to the 1970s THE MINERS’ HYMNS and his ode to cinematic decay DECASIA (we have an article on Decasia in our book, The End: An Electric Sheep Anthology, available from Strange Attractor Press).
• CAFÉ NEURO: a weekend of talks, screenings and activities that will exploit recent developments in brain-imaging and eye-tracking technology to explore what cinema does to our brains.
• JAPANIMATION: a retrospective of Japan’s offbeat DVD label Calf including work by Mirai Mizue, Tochka Collective and Atsushi Wada.
• DVD BANG, a Korean-inspired viewing lounge, where you can book in to watch a movie day or night.
Feature films include an immersive, semi-horizontal screening of Douglas Trumbull’s 70s eco-sci-fi movie SILENT RUNNING, electrifying Kathleen Hanna documentary that will make you happy to be alive THE PUNK SINGER, Haskell Wexler’s counter-culture classic MEDIUM COOL, fascinating, thoughtful UFO doc about disinformation and the creation of truth MIRAGE MEN, Ken Russell’s mind-bending ALTERED STATES, sensuous neo-gialloTHE STRANGE COLOUR OF YOUR BODY’S TEARS, Krzysztof Zanussi’s 1970s exploration of the mind ILLUMINATION, F.W. Murnau’s classic silent horror NOSFERATU, part faux doc on East German 80s skate subculture THIS AIN’T CALIFORNIA and Eiichi Yamamoto’s amazing-sounding psychedelic animé BELLADONNA OF SADNESS, based on a French novel about medieval witchcraft.
As part of Scalarama, Electric Sheep and Strange Attractor are excited to present the brilliant dystopian science fiction tale Phase IV, the only feature film directed by genius designer Saul Bass + special guest speakers art historian Petra Lange-Berndt and director of SCI-FI-LONDON Louis Savy.
Famed as a graphic designer of posters and title sequences, Saul Bass only got one shot at directing a feature, and the resulting film is a period masterpiece that is both a microcosm of contemporary environmental issues and a beautiful, intelligent science fiction film.
After an unusual planetary alignment in our solar system exposes planet Earth to anomalous electromagnetic fields, ants start preying on larger animals, including humans, marching across America and destroying whole towns. In an attempt to try to stop them, English entomologist Dr Ernest Hubbs (a frothingly good Nigel Davenport) and American mathematician James Lesko (Michael Murphy) set out to observe a colony of the super-intelligent ants from the apparent safety of a geodesic biosphere in the Arizona desert. What follows is a long, tense stand-off between ants and humans.
Although its interiors were shot at Pinewood, Phase IV‘s arid, ant-ravaged locations convey a convincing sense of a dying America and, as you’d expect from a first-class designer, the film looks exquisite. A brooding score, featuring eerie synthesiser sounds from White Noise’s David Vorhaus, further accentuates the mood of alienation and impending ant-nihilation.
Nobody can have expected this enigmatic, philosophical and ultimately rather downbeat film to be a commercial success, but Paramount still tried to exert control over the final cut, leading to a quarrel over its ending. We are very excited to present Bass’s intended ending after the film.
We’re also thrilled to have art historian Petra Lange-Berndt, author of Animal Art, and Louis Savy, director of SCI-FI-LONDON, in attendance, who will be talking to Mark Pilkington and Virginie Sélavy after the screening.
Scalarama is a UK-wide film season dedicated to all forms of cinema exhibition that will run from 31 August to 29 September 2013. Check the Scalarama website for the full programme and follow them on Twitter for updates.
In an interview recorded at Sci-Fi-London earlier this month, Lithuanian director Kristina Buozyte talks to Virginie Sélavy about her film Vanishing Waves, a hypnotic, sensual sci-fi experience in which a scientist connects with the brain of a comatose patient with whom he has increasingly intense neural encounters, which gradually reveal what happened to her.
For more information on Vanishing Waves, please visit the Facebook page.
First broadcast on Resonance 104.4 FM on Friday 17 May 2013.
James Bond – Kill Command: In this month’s show, Electric Sheep Assistant editor Alex Fitch talks to the director, Steven Gomez, and cinematographer, Simon Dennis, of Kill Command, an excellent new British sci-fi thriller about robots and drones in an army training exercise going on a murderous rampage. Also in this show, University of Reading Professor of Television and Film Jonathan Bignall discusses the influences and connections that 1950s television had on the production of the early James Bond films and novels. 
