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This article offers an analysis of the strategies behind the release of original Netflix fictional feature films. Even if there is an already extensive literature about the streaming giant, little academic attention has been devoted to the release strategies of feature film originals and its implications for film production and distribution. With this goal in mind, we have built a database of titles identifiable as original Netflix features between 2015 and 2018 (n=171), considering theatrical exhibition, festival presence, language, genre, release territories and involvement in production. We have contrasted this macro-level approach with a more micro-level analysis through specific case-examples, in order to consider the case-by-case particularities of the film industry. Per our results, (a) Netflix has combined consistent release methods with some contingent experiments based on trial and error; (b) the unfolding of these strategies is related to the company’s transnational identity and to the (c) goal of recognition according to established quality standards, like top film festivals or prestigious awards. Furthermore, the observed tendency towards capillary collaboration with local agents points to more potential diversity of catalogue titles and in some cases a greater international exposure of non-English speaking titles, even if circumscribed to popular genres like science-fiction, thriller or horror. Este artículo presenta un análisis de las estrategias que hay tras el estreno de las películas originales de ficción de Netflix. Aunque ya existe una extensa literatura sobre el gigante del streaming, se ha dedicado poca atención académica a las estrategias de estreno de los largometrajes originales y sus consecuencias en la producción y la distribución cinematográficas. Con este objetivo, hemos construido una base de datos de títulos identificables como películas originales de Netflix entre 2015 y 2018 (n = 171), teniendo en cuenta la exhibición en salas, la presencia en festivales, el idioma, el género, los territorios de estreno y la participación de la compañía en la producción. Hemos contrastado este enfoque de nivel macro con un análisis de nivel micro mediante ejemplos de casos concretos, a fin de considerar las particularidades específicas de la industria cinematográfica. Según nuestros resultados, (a) Netflix ha combinado métodos habituales de estreno con algunos experimentos contingentes basados en el método de ensayo y error; (b) el despliegue de estas estrategias está relacionado con la identidad transnacional de la empresa, y (c) con el objetivo de reconocimiento según los estándares de calidad establecidos, como pueden ser los principales festivales de cine o los premios de prestigio. Además, la tendencia observada hacia la colaboración capilar con agentes locales apunta a una mayor diversidad potencial de los títulos del catálogo y, en algunos casos, a una mayor exposición internacional de títulos de habla no inglesa, aunque habitualmente circunscritos a géneros populares como la ciencia ficción, el thriller o el terror.

The experience of seeing the action on the stage was completed for most spectators by the exercise of a degree of physical effort: to gain a glimpse of the most distant corners of the stage, you had to strain your neck, sometimes half-rise in your seat, and turn, your head in different directions. In this production Hamlet stood against a weak and cowardly Claudius, a licentious and aggressive Gertrude, and a Machiavellian Polonius, who seemed to be the true mastermind behind the murder of Hamlet’s father. [...]upon hearing Claudius’s plan to send him to England, the prince enacted a feigned mania, spilling out an entire set of foreign language clichés known to every Ukrainian student of English.

Many music festivals fail because the experiences offered do not ensure relevance and meaning to the attendee. Engagement with new and virtual landscapes and with the enhanced sensory feelings and imaginations that technologies can offer may alleviate this. Utilizing a futures frame, this conceptual article contributes to the pursuit of successful future event design by applying a normative visionary methodology-employing trend analysis, scenarios, and science fiction to create prototypes that may assist in the formation of appropriate experience options and opportunities for music festivals of the future. It is proposed that this technique may aid positive social outcomes.

Among the many awards she has earned are the UK Sony Silver Award for the Most Creative Use of Radio in 1988; UK Radio Journalist of the Year in 1994; honourary doctorates from the University of the West Indies and the University of Westminster; Chile's Strait of Magellan Award for Innovation and Exploration with Global Impact; Trinidad's Silver Hummingbird Medal; Spain's Order of Civil Merit; and in 2020, she was inducted into the UK's Royal Society of Literature. In 2022, Bocas announced that Marina would be passing on the role of festival and programme director to her co-collaborator, Nicholas Laughlin, while she focused on her role as president and on expanding Bocas at the strategic level and strengthening its governance. The thread running throughout our conversation was the push not just for inclusion and more marginalized voices telling stories but also for excellence, for the highest, most polished versions of intellectual contributions possible, whether that be in the form of programming for radio, for film, for festivals, or for mentoring young people to take over work that she started. Since Marina was very intentional about launching the OCM Bocas Prize for Caribbean Literature at the same time as the Bocas Literary Festival and also founded two prizes for emerging writers and one for children's fiction, our conversation here covered her thinking about a literary prize as a way of gathering up a Caribbean community and growing a literary field. The interview was elucidating for the lines it revealed between Marina's earliest goals and achievements in entering and successfully navigating and challenging the constraints of hierarchical institutions and in applying the lessons she learned from such professional path-breaking to promoting Caribbean film and literature.

Connie Potter and Rob Appleby, editors of Collision: Stories from the Science of CERN — an anthology of short science fiction stories — share how they brought creative writers, scientists and engineers to work together on this book.

This qualitative study examined narrative within haunted houses in theme park-based, horror-oriented Halloween festivals. The sample included 20 festivals within different types of theme parks and attractions from the United States and a few entries from Europe, Asia, and the Middle East. Data was collected on haunt maze source material, prominent themes, presence of a narrative or episodic nature, and choice of narrative presentation style. Results show haunted houses to be an interesting narrative form with immersive environments that appeal to guests in their desire to be scared. The study fills a gap in discussions of narrative, theme parks, festivals, and Halloween experiences. It provides insight for scholars and operators into the form and highlights the importance of storytelling in theme park Halloween festivals.

Adult readers of YA, it was pointed out, are often reparenting themselves from trauma of when they were first learning to be human; even though the YA authors know this, they continue to write for their children readers, not for the adults. A lesbian fiction panel included Kristin Arnett, Kate Rounds, and Kayla Ubadyaya discussing lesbian imaginations at work; Sunday morning readings included zooms in from SF about a dog walking business, Murder at the Museum; and from Dayton, OH about a rooky detective. [...]anyone who attended the event, live or on zoom, found good role models, and excellent tips about craft and production.

The French noir tradition is supposed to dominate the French market of crime fiction, regardless of the growing success of French and non-French thrillers in France. Yet in the last two decades, the French literary crime fiction market has been marked by the arrival of non-French European authors. By combining a quantitative and qualitative approach to publishing series, translations, prizes and festivals, this article highlights the transnational dimension of the French market independently from a spontaneous methodological nationalism encouraged by the reception discourses.

In this article, I offer a reading of Wanuri Kahiu's short film Pumzi (2009), which depicts the aftermath of a devastating water crisis that forced human communities in East Africa underground in order to survive. Following scholars such as Ritch Calvin, Kirk Bryan Sides, or Mich Nyawalo, who have dissected the film in the context of its treatment of environmental issues and its Africanfuturist leanings, I aim to foreground the function of the body in the film, identifying the peculiar nature of Maitu community's displacement (vertical rather than lateral, confining them to a space which cuts them offfrom the environment) as the reason for the rise of new forms of bodily exploitation. In my reading of the film, I want to argue that the corporeal hierarchies established within the community facilitate the emergence of what I term \"fuelling bodies\", forcibly turned by the authoritarian governing body into sources of energy as the last existing natural resource to be exploited. Drawing on the theory of science fiction, Hagar Kotef's writing on movement, and postcolonial theory, I close-read the film to explore the relationship it establishes between displacement and the bodily hierarchies that exist in the community. In turn, I argue that the nature of the Maitu community's displacement gives rise to hindered freedom of movement, bodily oppression, and loss of communal ties and consequently prevents the community from addressing the legacy of the climate crisis, which has arrested them in stasis, leaving them unable to dream of better futures. As I demonstrate, it is only once Asha rejects and actively rebels against the imposed inhibitions of movement and leaves the spaces of containment that make up the Maitu community that she can realise the utopian post-apocalyptic process of renewal and rejuvenation, both for the natural environment and the human communities. Keywords: displacement, science fiction, body, movement, resource scarcity.