John Brunner

2012 ◽  
Author(s):  
Jad Smith
Keyword(s):  
Science Fiction ◽  
Major Theme ◽  
New Wave ◽  
Fiction Writers ◽  
Late Twentieth ◽  
1960S And 1970S ◽  
The 1960S ◽  
Own Name ◽  
John Brunner

Under his own name and numerous pseudonyms, John Brunner (1934–1995) was one of the most prolific and influential science fiction authors of the late twentieth century. During his exemplary career, the British author wrote with a stamina matched by only a few other great science fiction writers and with a literary quality of even fewer, importing modernist techniques into his novels and stories and probing every major theme of his generation: robotics, racism, drugs, space exploration, technological warfare, and ecology. This book, an intensive review of Brunner's life and works, demonstrates how Brunner's much-neglected early fiction laid the foundation for his classic Stand on Zanzibar and other major works such as The Jagged Orbit, The Sheep Look Up, and The Shockwave Rider. Making extensive use of Brunner's letters, columns, speeches, and interviews published in fanzines, the book approaches Brunner in the context of markets and trends that affected many writers of the time, including his uneasy association with the “New Wave” of science fiction in the 1960s and 1970s. This book shows how Brunner's attempts to cross-fertilize the American pulp tradition with British scientific romance complicated the distinctions between genre and mainstream fiction, and between hard and soft science fiction, and helped carve out space for emerging modes such as cyberpunk, slipstream, and biopunk.

The Reception of American Science Fiction in Japan

2016 ◽  
Author(s):  
Tadashi Nagasawa
Keyword(s):  
Science Fiction ◽  
Golden Age ◽  
New Wave ◽  
Special Effects ◽  
Television Shows ◽  
American Science ◽  
Japanese Science ◽  
Fiction Writers ◽  
History Of ◽  
The 1960S

American science fiction has been a significant source of ideas and imagination for Japanese creators: they have been producing extensive works of not only written texts but also numerous films, television shows, Japanese comics and cartoons (Manga and Animé), music, and other forms of art and entertainment under its influence. Tracing the history of the import of American science fiction works shows how Japan accepted, consumed, and altered them to create their own mode of science fiction, which now constitutes the core of so-called “Cool-Japan” content. Popular American science fiction emerged from pulp magazines and paperbacks in the early 20th century. In the 1940s, John W. Campbell Jr. and his magazine Astounding Science Fiction had great impact on the genre, propelling its “Golden Age.” In the 1960s, however, American science fiction seemed dated, but the “New Wave” arose in the United Kingdom, which soon affected American writers. With the cyberpunk movement in the 1980s, science fiction became part of postmodernist culture. Japanese science fiction has developed under the influence of American science fiction, especially after WWII. Paperbacks and magazines discarded by American soldiers were handed down to Japanese readers. Many would later become science fiction writers, translators, or editors. Japanese science fiction has mainly followed the line of Golden Age science fiction, which speculates on how science and technology affect the social and human conditions, whereas the New Wave and cyberpunk movements contributed to Japanese postmodernism. Japanese Manga, Animé, and special effects (SFX) television shows and films (Tokusatsu) are also closely related to science fiction and have developed under its influence. Even as works of the Japanese popular culture owe much to American science fiction, they have become popular worldwide.

Joanna Russ and the New Wave

Joanna Russ ◽  
2019 ◽  
pp. 20-38
Author(s):  
Gwyneth Jones
Keyword(s):  
Science Fiction ◽  
Star Trek ◽  
New Wave ◽  
Protest Movements ◽  
Joanna Russ ◽  
Modernist Novel ◽  
The 1960S

“Experiment and Experience” covers Joanna’s first years as a reviewer for the Magazine of Fantasy and Science Fiction, under the editorship of Judith Merril, and her first post as a university teacher at Cornell, and discusses modernism in sf, Joanna’s role as interpreter of the British “New Worlds” writers and the American New Wave and her response to the protest movements and cultural revolutions of the 1960s (in the psychedelic “Modernist novel by a Star Trek fan”) And Chaos Died. Essays and stories (1968-1971) examined include the important “The Wearing Out of Genre Materials,” and autobiographical short fictions that foreshadow The Female Man and illuminate And Chaos Died.

Rocha, Glauber (1939–1981)

2018 ◽  
Author(s):  
Peter Baker
Keyword(s):  
New Wave ◽  
Brazilian Cinema ◽  
French New Wave ◽  
Revolutionary Violence ◽  
New Type ◽  
1960S And 1970S ◽  
Brazilian Film ◽  
The 1960S ◽  
New Generation ◽  
Film Critic

Glauber Rocha de Andrade (Vitória da Conquista, 1939–1981) was a Brazilian film critic, screenwriter, producer, and director. Arguably the most important director of the cinema nôvo (New Cinema) movement of the 1960s and 1970s, he began his career as a film critic, writing for well-known Brazilian journals about Italian neorealism and the French New Wave – two crucial influences on his own work. His writings criticized Brazil's commercial cinema and called for a new type of film that would represent the reality of Brazilian life. His most famous essay in this regard is "Estética da Fome" ("An Esthetic of Hunger," 1965). The essay reflects on the neo-colonial condition of Brazilian cinema through the analogy of the starvation of the Brazilian people and the intellectual starvation of its cinematic tradition; anti-colonial revolutionary violence is the only possible solution to these plights. This theoretical viewpoint is reflected in his Deu e o Diabo na Terra do Sol (Black God, White Devil, 1964), a film which earned him recognition on the international scene and in Brazil as the unchallenged leader of a new generation.

The folk’ish heritage in Nordic democracy: Examples from Denmark and Norway

2019 ◽  
Vol 17 (4) ◽  
pp. 432-447 ◽  
Author(s):  
Jeppe Nevers ◽  
Jesper Lundsby Skov
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
European Integration ◽  
Reference Point ◽  
The People ◽  
Starting Point ◽  
Late Twentieth ◽  
1960S And 1970S ◽  
The 1960S ◽  
Late Twentieth Century

Drawing on examples from Danish and Norwegian history, this article traces the ideological origins of Nordic democracy. It takes as its starting point the observation that constitutional theories of democracy were rather weak in the Nordic countries until the mid-twentieth century; instead, a certain Nordic tradition of popular constitutionalism rooted in a romantic and organic idea of the people was central to the ideological foundations of Nordic democracy. This tradition developed alongside agrarian mobilization in the nineteenth century, and it remained a powerful ideological reference-point through most of the twentieth century, exercising, for instance, an influence on debates about European integration in the 1960s and 1970s. However, this tradition was gradually overlaid by more institutional understandings of democracy from the mid-twentieth century onwards, with the consequence that the direct importance of this folk’ish heritage declined towards the late twentieth century. Nevertheless, clear echoes of this heritage remain evident in some contemporary Nordic varieties of populism, as well as in references to the concept of folkestyre as the pan-Scandinavian synonym for democracy.

scholarly journals Deindustrialization, the Linwood Car Plant and Scotland’s Political Divergence from England in the 1960s and 1970s

2019 ◽  
Vol 30 (3) ◽  
pp. 399-423 ◽  
Author(s):  
Jim Phillips ◽  
Valerie Wright ◽  
Jim Tomlinson
Keyword(s):  
Moral Economy ◽  
Industrial Restructuring ◽  
British History ◽  
Constitutional Change ◽  
Empirical Ground ◽  
General Elections ◽  
Late Twentieth ◽  
1960S And 1970S ◽  
The 1960S ◽  
Late Twentieth Century

Abstract Scotland’s political divergence from England is a key theme in late twentieth century British history. Typically seen in terms of the post-1979 Thatcher effect, this in fact developed over a longer timeframe, rooted in industrial changes revealed by analysis of the Linwood car plant in Renfrewshire. Conservatism and Unionism was an eminent political force in Scotland in the 1940s and 1950s. But in all general elections from 1959 onwards the vote share of Conservative and Unionist candidates was lower in Scotland than in England. From the late 1960s onwards there were also ambitions for constitutional change. This article breaks new conceptual and empirical ground by relating these important markers of political divergence to popular understanding among Scottish workers of deindustrialization. A Thompsonian moral economy framework is deployed. Expectations were elevated by industrial restructuring from the 1950s, with workers exchanging jobs in the staples for a better future in assembly goods. Labour governments earned a reputation in Scotland as better managers of this process than Conservative governments. The 1979 general election showed that Labourism was growing in popularity in Scotland just as its appeal faded in England. At Linwood moral economy expectations were compromised, chiefly by intermittent redundancy and recurrent threat of closure, which was averted in 1975 by Labour government intervention. When the plant was shut in 1981 criticisms of UK political-constitutional structures and Conservativism were intensified.

The case for reinvigorating quality of working life research

2016 ◽  
Vol 70 (2) ◽  
pp. 149-167 ◽  
Author(s):  
Gudela Grote ◽  
David Guest
Keyword(s):  
Working Life ◽  
Well Being ◽  
Policy Advocacy ◽  
Social Scientists ◽  
Quality Of Working Life ◽  
Normative Approach ◽  
1960S And 1970S ◽  
The 1960S

The quality of working life became an important topic in the 1960s and 1970s, helping to stimulate an early approach to evidence-based policy advocacy drawing on interdisciplinary research by social scientists. Over the years it fell out of the limelight but much relevant, albeit fragmented, research has continued. We present a case for rekindling an integrated and normative approach to quality of working life research as one means of promoting workers’ well-being and emancipation. We outline an updated classification of the characteristics of quality of working life and a related analytic framework. We illustrate how research and practice will benefit from following this renewed quality of working life framework, using work design as an example. Concluding, we aim to stimulate debate on the necessity and benefits of rebuilding a quality of working life agenda for marrying academic rigour and practical relevance in order to support interventions aimed at fostering worker emancipation and well-being.

Strategic Sisterhood

2018 ◽  
Author(s):  
Rebecca Tuuri
Keyword(s):  
Civil Rights ◽  
The United States ◽  
National Council ◽  
History Of ◽  
Late Twentieth ◽  
1960S And 1970S ◽  
The 1960S ◽  
Feminist Movements ◽  
Radical Activism ◽  
Late Twentieth Century

When women were denied a major speaking role at the 1963 March on Washington, Dorothy Height, head of the National Council of Negro Women (NCNW), organized her own women's conference for the very next day. Defying the march's male organizers, Height helped harness the womanpower waiting in the wings. Height’s careful tactics and quiet determination come to the fore in this first history of the NCNW, the largest black women's organization in the United States at the height of the civil rights, Black Power, and feminist movements of the 1960s and 1970s. Offering a sweeping view of the NCNW's behind-the-scenes efforts to fight racism, poverty, and sexism in the late twentieth century, Rebecca Tuuri examines how the group teamed with U.S. presidents, foundations, and grassroots activists alike to implement a number of important domestic development and international aid projects. Drawing on original interviews, extensive organizational records, and other rich sources, Tuuri’s work narrates the achievements of a set of seemingly moderate, elite activists who were able to use their personal, financial, and social connections to push for change as they facilitated grassroots, cooperative, and radical activism.

scholarly journals Missionaries, the Monarchy, and the Emergence of Anglican Pluralism in the 1960s and 1970s

2018 ◽  
Vol 57 (3) ◽  
pp. 543-563 ◽  
Author(s):  
Daniel S. Loss
Keyword(s):  
Religious Communities ◽  
British Society ◽  
Religious Groups ◽  
Political Role ◽  
Late Twentieth ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S ◽  
Late Twentieth Century ◽  
The Church

AbstractIn the late twentieth century, a new justification for the Church of England's establishment emerged: the church played an important social and political role in safeguarding the interests of other religious communities, including non-Christian ones. The development of this new vision of communal pluralism was shaped by two groups often seen as marginal in postwar British society: the royal family and missionaries. Elizabeth II and liberal evangelicals associated with the Church Missionary Society contributed to a new conception of religious pluralism centered on the integrity of the major world religions as responses to the divine. There were, therefore, impulses towards inclusion as well as exclusion in post-imperial British society. In its focus on religious communities, however, this communal pluralism risked overstating the homogeneity of religious groups and failing to protect individuals whose religious beliefs and practices differed from those of the mainstream of their religious communities.

scholarly journals A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry

2021 ◽  
Vol 18 (1) ◽  
pp. 34-49
Author(s):  
Laura Mayne
Keyword(s):  
Film Industry ◽  
New Wave ◽  
Scholarly Work ◽  
Box Office ◽  
The Press ◽  
British Cinema ◽  
1960S And 1970S ◽  
Business Acumen ◽  
The 1960S

Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.

Makavejev, Dušan (1932–)

2018 ◽  
Author(s):  
Richard J. Leskosky
Keyword(s):  
First Generation ◽  
New Wave ◽  
Avant Garde ◽  
Found Footage ◽  
Short Films ◽  
Artistic Freedom ◽  
1960S And 1970S ◽  
The 1960S ◽  
Stage Play ◽  
Sexual Repression

Dušan Makavejev is an avant-garde Marxist Serbian filmmaker whose film techniques, exuberant black humour, and sexual and political transgressive themes made him one of the most radical directors of the European New Wave during the 1960s and 1970s. Born in Belgrade, Yugoslavia (now Belgrade, Serbia), he was a member of the first generation of anti-Stalinist communists, and he studied psychology at Belgrade University (where he began making short films). While some of Makavejev’s documentary shorts and a 1962 stage-play were politically suppressed, he was nonetheless permitted to advance into feature production. Along with his earlier writings and shorts, his first feature, Čovek nije tica [Man Is Not a Bird] (1965), established him as a leader in the novi film [new film] movement, which championed artistic freedom and experimentation within a Marxist context. Makavejev’s films were characterised by violent outcomes of sexual repression, outrageous humour, variety/carnival acts, satires of both western capitalism and Soviet authoritarianism, surreal images, a philosophy linking sexuality with politics, and a multi-layered mixture of styles and forms which included documentary, found footage, and clips from older features.

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