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, )LooperLife on Mars UK Movies vs. Television

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

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

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

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

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

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

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

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

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

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

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

ENGL 6750/7750 Film Studies LooperLooper (Rian Johnson 2012) Movies vs. Television Joseph Gordon-Levitt and Rian Johnson

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

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

Julie Gardner, BBC Wales Film Studies Movies vs. Television

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

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

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

Film Studies Life on Mars Ancestor Text Movies vs. Television

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

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

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

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

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

Film Studies 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) Movies vs. Television

Film Studies Movies vs. Television

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

Film Studies Movies vs. Television

Film Studies Movies vs. Television

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

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

Film Studies Movies vs. Television

Film Studies Movies vs. Television

Film Studies Movies vs. Television

Film Studies The Test Card Girl Movies vs. Television

Film Studies Movies vs. Television

Film Studies Life on Mars Ancillary Texts Movies vs. Television

Film Studies Life on Mars Ancillary Texts Movies vs. Television

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

Film Studies 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. Movies vs. Television

Film Studies 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) Movies vs. Television

Film Studies Life on Mars USA Movies vs. Television

Film Studies Movies vs. Television

Film Studies Life on Mars (UK) Ep #Life on Mars (US) Season 1: Episode 11“Out Here in the Fields” Episode 22“The Real Adventures of the Unreal Sam Tyler” Episode 33“My Maharishi is Bigger Than Your Maharishi” Episode 44“Have You Seen Your Mother, Baby, Standing in the Shadow” Episode 55“Things to Do in New York When You’re Dead” Episode 66“Tuesday’s Dead” Episode 77“The Man Who Sold the World” Episode 88“Take a Look at the Lawmen” Season 2: Episode 99“The Darkside of the Mook” Episode 1010“Let All the Children Boogie” Episode 1111“Home is Where You Hang Your Holster” Episode 1212“The Simple Secret of The Note in Us All” Episode 1313“Revenge of Broken Jaw” Episode 1414“Coffee, Tea, or Annie” Episode 1515“All the Young Dudes” Episode 1616“Everyone Knows It’s Windy” 17“Life is a Rock” Movies vs. Television

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

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

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

Film Studies 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) Movies vs. Television

Film Studies 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. Movies vs. Television