ENGL 6750/7750 Film Studies

Movies vs. Television July 18, 2013 ENGL 6750/7750 Film Studies

Movies vs. TV:Looper(Rian Johnson 2012) versus Life on Mars UK(BBC, 1996-1997) Movies vs. Television ENGL 6750/7750 Film Studies

Time Travel Movies and Television Go here. Movies vs. Television ENGL 6750/7750 Film Studies

Time Travel Movies and Television Go here. ENGL 6750/7750 Film Studies Movies vs. Television

Looper(Rian Johnson 2012) ENGL 6750/7750 Film Studies Movies vs. Television

Looper(Rian Johnson 2012) Movies vs. Television ENGL 6750/7750 Film Studies

Looper(Rian Johnson 2012) Film Studies Movies vs. Television

Looper(Rian Johnson 2012) Joseph Gordon-Levittand RianJohnson Movies vs. Television ENGL 6750/7750 Film Studies

Life on Mars UK(BBC, 2006-2007) Movies vs. Television ENGL 6750/7750 Film Studies

Movies vs. Television Julie Gardner, BBC Wales Film Studies

Movies vs. Television Matthew Graham (middle), Tony Jordan, Ashley Pharoah (left to right)—the co-creators of Life on Mars. Graham (L), Pharoah (R) Film Studies

Movies vs. Television Blackpool, UK Blackpool, UK Film Studies

Movies vs. Television New York, 1960s Manchester, England, 1970s Worlds where sexism, racism, smoking, and drinking are now permissable. Television Time-Machines Film Studies

Movies vs. Television Life on Mars Ancestor Text Film Studies

Movies vs. Television Get Carter (Mike Hodges, 1971) Film Studies

Movies vs. Television Ray Carling, Chris Skelton, Annie Cartwright, Gene Hunt, Sam Tyler Film Studies

Movies vs. Television Ray Carling, Unknown Copper, Chris Shelton, Gene Hunt Film Studies

Movies vs. Television Sam Tyler, Gene Hunt, Annie Cartwright Film Studies

Movies vs. Television Chris Skelton, Gene Hunt, Sam Tyler, Ray Shelton, Annie Cartwright Film Studies

Movies vs. Television We were part of what felt like a very special show, a different show, kinda mad, a bit ground-breaking, a bit different, a bit science fiction, a gritty drama, you know, something different. —Philip Glenister, “The Return of Life on Mars,” Disc 1, Season Two DVDs (Life on Mars UK) Film Studies

Movies vs. Television Film Studies

Movies vs. Television Sam Tyler (John Simm) Film Studies

Movies vs. Television Gene Hunt (Philip Glenister) Film Studies

Movies vs. Television Sam and Gene--and the Buddy Film Film Studies

Movies vs. Television The Test Card Girl Film Studies

Movies vs. Television Life on Mars Ancillary Texts Film Studies

Movies vs. Television The Life on Mars Finale Trailer for Season 2 10 April 2007 Only the 16th Episode Not falling prey to Lostness (show clip from “The End of Life on Mars”) The controversy Ashes to Ashes S. J. Clarkson, Life on Mars’ go-to director and director of the finale Film Studies

Movies vs. Television From a Review on IMDB "The past is another country," as I think L P Hartley put it, "they do things differently there." And in the end the past turns off the television, which is us. Of course it is unrealistic, it always was.I don't know what the writers' intention was, but "Life on Mars" emerges as a mirror on our world, letting us see the present from the past, and the past from the present, comparing the moralities of then and now without judgement.But that is far from all, so many aspects have emerged that it would take a thesis to do them justice. "Salvation" perhaps is one. Is Sam to be saved? What does he have to do, make what sacrifice, perform what ritual? And in the end is it salvation or damnation he is being offered? Up until well into the last episode I was seeing Frank Morgan as the saviour-surgeon, but the mask began to slip. Then comes the bright light. Is this the light of day, or is it that light often reported by people who have had near death experiences? Sam emerges into a joyless future, only Frank Morgan seems happy, smug even. Sam's mum is strangely subdued, "You always keep your promises," she says. Film Studies

Movies vs. Television The wrongness of it all weighs on Sam, and when, in a dreary and pointless meeting, he cuts his finger and feels nothing, the words of Nelson the barman come back to him - if you feel, then you are alive. Sam now recognises that the "home" he has been taken to is the "home" of the grave, the prior visit to the graveyard is no coincidence. Sam chooses life, by dying in the land of the dead. There are many hidden gems in this series, many threads to the tapestry. It is in the end a fantasy, in which not much makes sense. But unlike so many tightly logical police procedurals, it provides food for the soul. I loved it.--Andrew Goss (Australia) Film Studies

Movies vs. Television Life on Mars USA Film Studies

Film Studies Movies vs. Television

Gene Hunt & Sam Tyler (US) | Sam Tyler and Gene Hunt (UK) Film Studies Movies vs. Television

Annie Cartwright and Ray Carling (UK on left; US on right) Film Studies Movies vs. Television

Movies vs. Television Detective Chris Skelton (UK [L] and US [R]) Film Studies

Movies vs. Television In the BBC version he was always in a coma and you pretty much knew that from [the beginning] and that was sort of, the audience could be playing around with different theories, [but] it was relatively clear that that's what it was. They were doing 16 episodes, that's what it was. Our mythology is completely different with the kind blessing of the BBC people. They encouraged us to change the mythology. It's great for episodes, it's not so great for 116 episodes—that the whole thing is a dream sequence. —Josh Applebaum (Sullivan, 2008, Part 2) Film Studies

Movies vs. Television When ABC cancelled Life on Mars, . . . the only suspense left was the question of how Appelbaum and company would resolve the mystery of Sam Tyler. Alas, “Life is a Rock” (1.17) may well go down as one of the worst series finales of all time. In its last five minutes we learn that Sam has in fact been an astronaut in suspended animation on a mission to Mars in 2035 (the "creative team" having taken the title a bit too literally) during which he has been fed a Philip K. Dickian neural stimulation program that had him dreaming he was a 1970s cop (after something has gone haywire with the 2008 cop program). His crewmates are, of course, Ray, Chris, and Annie. Windy—his hippie neighbor in the series—was, in reality, the spaceship’s computer. ("And you were there, and you, and you!") The mission they are on is research into DNA—a "gene hunt" so to speak—and the Keitel Gene Hunt turns out to be . . . Sam’s father, aka "Major Tom!" Now awake as they approach Mars, “Tom” and Sam, father and son, decide they don't want to fight any more. Lavery, David. “The Emigration of Life on Mars: Sam and Gene Do America” (in Life on Mars to Ashes to Ashes, ed. Steve Lacey and Ruth McElroy (University of Chicago Press). Watch the final minutes of LoMUSA. Film Studies

ENGL 6750/7750 Film Studies