By Chris Barsanti
As soon as upon a time, technology fiction was once in simple terms sooner or later. It was once the stuff of drive-ins and inexpensive double-bills. Then, with the ever-increasing rush of recent, society-altering applied sciences, technological know-how fiction driven its technique to the current, and it busted out of the style ghetto of technological know-how fiction and barged its means into the mainstream. What was once mere fable (trips to the moon? Wristwatch radios? Supercomputers in a position to learning?) at the moment are daily reality.
Whether nostalgic for the longer term or fast-forwarding to the current, The Sci-Fi motion picture advisor: The Universe of movie from Alien to Zardoz covers the vast and widening variety of science-fiction video clips. From the trashy to the epic, from the classics to today's blockbusters, this cinefile’s guidebook reports approximately 1,000 of the largest, baddest, and brightest from all ages and style of cinematic and television technological know-how fiction. You’ll locate greater than simply superstar Wars, superstar Trek, and Transformers, with experiences on many missed and under-appreciated gemstones and genres, such as
•Monsters! Pacific Rim, Godzilla, the item, Creature from the Black Lagoon
•Superheroes: Thor, Iron guy, X-Men, the fantastic Spider-man, Superman
•Avant-garde masterpieces: Solaris, 2001, Brazil and masses more!!
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Extra info for The Sci-Fi Movie Guide: The Universe of Film from Alien to Zardoz
The latter had run for two years in Madrid, had been aired on television and made into a movie in Spain. I naively thought that the agency might be interested in handling established playwrights like Manet and Alonso de Santos if not myself, as their American translator. In April 1991, I followed up the unanswered letter with a phone call. Esther Sherman emphasized the word ‘commercial’ in our conversation. She explained that the William Morris agency deals solely with playwrights, not translators, and that for theatre often there is ‘not enough financial reward in limited territory’.
Having a writer attached to the project helps with marketing. Translators too often just serve to provide a first draft which a writer then appropriates. , theatre companies insist on commissioning a new translation for a production and, sadly, these are all too often a playwright or director’s adaptation of a so-called ‘literal translation’. ’ One might also ask what was the probability that the native Russian speaker was qualified to do any translation into English, let alone a literary one. Playwright-adaptations are not by any means confined to contemporary or unknown works, and the practice clearly has international repercussions.
One translator believes that agents in his country play a marginal role, unlike those in England and the United States. That observation, too, may raise a chuckle. ’ Among my British respondents, only Maria Delgado has an agent, and hers negotiates publications, not productions. In the United States, only Holt has an agent. In fact, he has two: one who represents the Chilean playwright Antonio Ska´rmeta and thus has secured some 20 stagings of Holt’s translation Burning Patience, and one who handles his translations of Spanish playwrights.