He later added a third, "Professor Peabody's Last Lecture".
Lovecraft himself did not think that story was very good, in that it appealed to the lowest common denominator of reader, and Beideman said the film worked at the same artistic level, so was in that sense as well faithful. He said from a legal standpoint, it is difficult to overcome past mistakes made in signing away film rights, and so the rights to a lot of Lovecraft's works and even more importantly, characters and mythos have been signed away pretty much in perpetuity. So no one is willing to make a big-budget picture they will be sued over, although cheap independent films tend to operate below the radar of the lawyers.
Ridenour said that ironically it is easier to do remakes than to revive unmade scripts. Bilmes described all this as "so many barnacles attached to the material" as to make it impossible to deal with. I found myself wondering if Jeffrey's E. However, Bilmes said, "If you want to have a successful career as a horror writer starting in , directly channeling Lovecraft is probably not your best plan. Ridenour thought that books such as the anthology "Shadows over Baker Street" were the way to go, combining Lovecraft with other genres in this case, Sherlock Holmes.
Another problem is that the directors who could do a good job on Lovecraft have difficulty getting work. Beideman said that Ken Russell cannot get a contract because he is deemed too old by the completion guarantors; the same is true for Jesus Franco.
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Russell is 76, Franco is But both have done several films in the last few years, so Beideman's comments may apply only to big-budget films. In response to all the reasons about why new Lovecraft films were not being made, someone noted that the Sci-Fi Channel did recently make "Dagon", and someone else suggested that big money can overcome problems.
Though as noted before, big enough money can re-introduce them as people get greedier. Ridenour also said, "Some movies use the concepts but aren't his. Lovecraft has "a very rich verbal style" which is difficult to translate to film. An audience member, referring to the "rich verbal style", said that part of the appeal of Lovecraft was the sound of his words, much as with Tolkien. Beideman said that in addition, many of his words and ideas have shown up elsewhere: the Necronomicon, the Old Ones, and so on.
Asked to name some bad Lovecraft adaptations to support the panel's title, Beideman came up with "The Curse" with Claude Akins. Ridenour said that Clive Barker is Lovecraftian, but that "Hellraiser" is just mean-spirited.
Beideman said that people call "Alien" Lovecraftian, and that H. Giger is the best person to illustrate Lovecraft. And of course Giger's most famous art book is titled "Necronomicon"! Bilmes claimed that one could almost trace all modern horror back to Lovecraft, either because writers claim him as an influence, or claim other writers as influences who in turn claim Lovecraft.
An audience member said that another science fiction work that was Lovecraftian was "Babylon 5: Thirdspace" and someone else suggested the entire "Spiders" arc in "Babylon 5" should be included as well. Someone said he thought two stories that could be successfully adapted were "The Statement of Randolph Carter" and "The Silver Key", but that Peter Jackson should do them.
Of course, none of this covered radio or audio productions, perhaps a much better medium for Lovecraft. One can perhaps over-extend this. I chose the previous panel over "Photons, Be Free! Does that mean they are entitled to the same rights as biological or robotic forms? Description: "The Really eccentric books don't come out of mass-market anymore. What would a latter-day R. Lafferty do in today's Market? Two other panelists were originally scheduled, but for some reason they did not show up.
The problem was that Burke writes paranormal fiction, Morgan writes erotic fiction, and they are both published by the same small publisher. So the discussion was very slanted toward that publisher, and dealt more with specialized sub-genres, rather than the eccentric books that fit no sub-genre at all. It's true that the response Burke and Morgan got from conventional publishers "You don't fit our market" would apply to R.
Burke said she kept getting asked, "When are you going to write a real book? On-line book-selling means that it is easier to find small press, so the sales figures can be comparable. Since this was not in actuality the panel I had hoped for, I left this early.
I chose the above over "The Weirdness Horizon" "The incomprehensible future. At what point does the future become impossible to imagine? In retrospect, this was probably a mistake. Description: "What works of Science Fiction and Fantasy did not find the audience they deserve? Wheeler began with the question, "Neglected by whom? Wheeler named several off the top of his head: Avram Davidson, E. Eddison, R.
Lafferty, Mervyn Peake, and Olaf Stapledon.
Katz said he had just come from "Essential Masterworks of SF" actually "You Don't Know Science Fiction [until you have read these classics]" , where the fact that most people tend not to read anything older than ten or fifteen years. I know that people on Usenet refer to movies from the early s as "There was this old movie I would probably dispute Meluch's books as "masterworks".
Simak's "Way Station", and a lot of short stories: Gordon R. Wheeler asked whether Doc Smith was neglected, or for that matter, whether his "Galactic Patrol" could be considered a masterwork. Though it has been reprinted recently, its availability is in question. Katz noted that there used to be seventy-five "outlets" bookstores selling new books?
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And while there are not very many reprint anthologies or collections that go back more than the previous year, NESFA and other publishers are working to bring a lot of this material back into print. Wheeler suggested Alexei Panshin's "Rite of Passage". Carrington thought Thomas M. Disch's "Camp Concentration" was a neglected masterwork. One author not neglected seems to be Robert A.
Wheeler said that Heinlein sells well in the Science Fiction Book Club, and that people there tend to buy the same sort of thing in classic books that they like in current books. From here on people were listing mostly one book at a time, but I'm going to make a single list for each panelists.
http://hinsandbut.pro/15-plaquenil-e-clorochina.php Carrington listed Barry N. Malzberg's "Herovit's World". I think that most of Malzberg's work is unfairly neglected. He also listed Philip K. Dick, but can Dick really be said to be neglected these days? Kornbluth, Henry Kuttner and C. Moore's works, David J.
Katz added "VOR" to the Blish list. I should have mentioned John Wyndham, but did not. Towards the end, I think it is clear that while many of the authors and works named are fine, they are not what could be called "masterworks" in any meaningful sense. I specify this because they also publish books by Boskone Guests of Honor and such, and while they are fine books, they are not the neglected masterworks we are talking about here. Description: "What do the awards actually mean? Ranieri began by saying that most awards are meaningless or worthless because there is so much politicking involved.
Asher said that while there is some politics, there is also some merit. And the World Fantasy Awards are juried, which cuts down somewhat on the standard sort of politicking. Ranieri agreed, saying he prefers juried awards, and tends to respect them more.
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Asher said that in popular awards as opposed to juried awards , people nominate friends, but vote on merit. However, the "merit" may well be for some previous work that "should have won" before. Consider some of the Academy Awards given out to older actors. Van Gelder disputed the "nominating friends" claim a bit, saying that if one looks at the final ballot, that is usually a better indication of quality than the actual award. It may also help a lesser-known author.
Description: "A look at some of the great and noteworthy films and video being released around the world. As noted in the description, most of the films are from outside the United States. There was a brief explanation of region coding on DVDs. Basically, there are eight regions: U. Technically there is no such thing as a region 0 disc or a region 0 player. There is such a thing as an all-region disc. There are also all-region players. You can change the region on some players or PC software--on the software there is often a limit to the number of times you can do this.
And why is there all this stuff to worry about? Well, according to Braviak and just about everyone else , Hollywood wants to keep its movies from showing up in overseas markets before it decides to market them there. Crawford added that Miramax also wants to block the importation of Hong Kong films for which they own the rights. Crawford claimed, "People have the right to see these films," but that seems like an odd "right" to claim.
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Almost all DVD players can play these, and they have no regional coding. However, the picture quality is on a par with VHS rather than DVD, they don't have the extras DVDs often have, and you can fit only an hour or so on each disc, meaning they are always split across discs. They also may have other peculiarities.