1 10 2 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/ce1d92d62d52e5be1a7b80b607fdfb2a.jpg 1978edbc7e2000e32a46a44d536401ae https://humanities-research.exeter.ac.uk/archivalencounters/files/original/aa33f73100db6052337ec538bbdea1bc.jpg 5f0433c6914267c536fda772fa2d3d32 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/21b6cbbfc733f39d42193b71b1b166ad.jpg a0453952e61935892cb1854b7916bd0f https://humanities-research.exeter.ac.uk/archivalencounters/files/original/91c22aa5af8a2f89a03dc148398cab14.jpg 4a2ed13d701d3cf249f56bf3463daf64 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Doctor Who Special Anniversary jigsaw Subject The topic of the resource Doctor Who Description An account of the resource ‘Doctor Who Special Anniversary Jigsaw’ (BDCM 66958) is a 1000-piece jigsaw puzzle that was commissioned to be made in order to celebrate the shows 50th anniversary. The jigsaw celebrates the many different actors who have played the doctor throughout its long running show. Booth and others write that “The perennially popular BBC series holds a unique place in the history of television: as the longest-running science-fiction series, academic research and fan discussion about the show track social and cultural changes over the past sixty years.” (1). As we can see from this argument, Doctor Who is canonical show in the history of not only science fiction television, but also of general television history. Therefore, when the show reached its 50th anniversary, it was a moment to celebrate. They did this in many ways such as special episode that was titled “The Day of the Doctor” (2013). Another way they did this is through this artefact which draws upon the nostalgia of the series for fans. The Jigsaw itself is made up of 1000 pieces which when put together form a picture which depicts the different actors who have played Dr Who. This ranges from the very first doctor, played by William Hartnell from 1963-1966 all the way up to the most recent doctor (of the time) who was played by Matt Smith. The box contains the final image of the jigsaw puzzle. On the back of the puzzle, there are small pictures of each doctor containing information on what doctor they were (first, second etc..) and the time period which they portrayed that doctor. This artefact is a good source for gaining information about the who has played Doctor Who as well as representing the legacy of the franchise. Also on the back of the puzzle, there are pictures of some of the other puzzles that are available to buy. This includes one puzzle with many images of the Daleks and another which is a compilation of other iconic villains seen across the franchise such as the Cybermen. Therefore, this puzzle acts as a form of advertising for similar ancillary products related to the franchise that are also available. Freeman writes that “These Tarzan jigsaw puzzles, produced as extensions of the Tarzan brand as manifested across multiple media, all became just another match box to be collected.” (52). Although Freeman is writing about jigsaws in relation to the Tarzan radio serial that was released in the 1930’s, I believe we can still apply these ideas here. Freeman argues that the Jigsaw puzzle acts in two ways: an extension of the brand and another item to be collected. I believe that this is the case for this jigsaw. It acts as an extension of the brand of Doctor Who because it is another ancillary product to accompany the line of many other ancillary products available such as action figures, models and much more. As well as this, the jigsaw also acts as a collector’s item for a fan of the franchise. As this item was commissioned especially to celebrate the shows 50th anniversary, it becomes a piece of history which fans of the franchise want to engage with. One potential way to view this artefact is to view it as a piece of fan memorabilia which fans can use to interact with the franchise. Booth and Jones write that “As fans expound on their particular favourites or least-favourites, they bring a sense of propriety to the media texts of which they are part. We’re concentrating on Doctor Who fandom in particular in this book, not only because Doctor Who fans (nicknamed ‘Whovians’ by the Doctor Who Fan Club of America in the 1980s – a term that itself is devalued by many Classic Doctor Who fans) are notorious for rankings, best-of lists, worst-of lists, and polls about the most fill-in-the-blank-attribute of the series, but also because we ourselves are part of this fan culture, a positionality we interrogate in more detail in the conclusion.” (1-2). Their argument suggests that fandoms become groups which establish a hierarchy based on how much knowledge you may possess about the franchise. As well as this, they argue that hierarchies are created through taste, for example what is your favourite episode or favourite Doctor. Therefore, I believe this artefact links in with the fan culture because it brings a sense of togetherness; everyone can engage with the puzzle because it depicts doctors from across the franchise, meaning there is something for everyone. The puzzle acts as a way of breaking down the hierarchies present within the fan community and unifying them under the umbrella that they are all Doctor Who fans despite what their personal taste’s may be. Another way that this puzzle fits into the fan community is through the element of nostalgia. Jacobsen writes that “Throughout history, humans have always attempted not only to anticipate and shape the future, but also to make sense of and relate to the/ their past. The past is often regarded as the already known territory, whereas the future is regarded as an alien and sometimes even scary terrain. Time, however, is a tricky thing. What we may think we already know well and have left behind us long ago sometimes returns to haunt and pester us – even many years after its actual occurrence. At other times, the re- acquaintance with or revisits to the past – voluntary and involuntary – are much more pleasurable and positive.” (1). Jacobsen writes that nostalgia is a common human emotion that can evoke a variation of feelings. In relation to Doctor Who, Phillips writes that “Recollections of childhood experience are, inevitably, caught in the filters of adulthood – knowledge added, subtracted, modified, warped – and so when I think about my earliest awareness of Doctor Who, the white and the brown curls of my ‘original’ Doctors becomes entangled with prior and subsequent Time Lord hairstyles, from the long silver wig of the First Doctor to the floppy ‘not ginger fringe of the Eleventh.” (17). Pairing these two arguments together, this can give us a whole new way to view the jigsaw puzzle: as a piece of nostalgia. This is obviously audience dependent however by bringing together all of the Doctors, this creates a sense of nostalgia for fans who can reminisce about memories they have of the early stages of the franchise whilst engaging with the puzzle. Therefore, this puzzle anchors and unlocks the fans memories. The Whoniverse was created, as stated by the BBC website, as a “official name, and dedicated home, for all shows within the orbit of Doctor Who.” (Welcome to the Whoniverse...and Tales of the Tardis). Hills writes that “…the ‘Whoniverse’ referred to then-televised episodes as well as Doctor Who’s producers and fan clubs. More recently, the 'Whoniverse' has meant the show’s overarching diegetic universe…” (344-345). I want to argue that this jigsaw is a key part of the ‘Whoniverse’. First of all, it ties together all of the different Doctors into one jigsaw, which is a physical engagement of the franchise being brought together. As well as this, the puzzle also acts as a route into the ‘Whoniverse’ for fans who may have joined the franchise at different moments in time. By being able to see all of the Doctors, it acts as a route into the different universes that form together the wider universe. This is futher reinforced by the fact that this was commissioned as part of the anniversary of the franchise, which encourages fans to go back, engage and celebrate the ‘Whoniverse’. Works Cited: BBC. "Welcome to the Whoniverse...and Tales of the Tardis." BBC Doctor Who. October 30th 2023, https://www.doctorwho.tv/news-and-features/welcome-to-the-whoniverse-and-tales-of-the-tardis. Booth, Paul, Matt Hills , Joy Piedmont , and Tansy Rayner Roberts. "Introduction." Adventures Across Space and Time: A Doctor Who Reader. Ed. Paul Booth , Matt Hills , Joy Piedmont and Tansy Rayner Roberts London,: Bloomsbury Academic, 2023. 1–8. Bloomsbury Collections. Web. 4 Dec. 2024. <http://dx.doi.org/10.5040/9781350288416.ch-I>. Booth, Paul , and Craig Owen Jones. "Introduction Going Forward in All Our Beliefs: Regenerating and Re-Valuation in Doctor Who Fandom." Watching Doctor Who: Fan Reception and Evaluation. London: Bloomsbury Academic, 2020. 1–16. Who Watching. Bloomsbury Collections. Web. 5 Dec. 2024. <http://dx.doi.org/10.5040/9781350116757.ch-001>. Freeman, Matthew. "The Wonderful Game of Oz and Tarzan Jigsaws: Commodifying Transmedia in Early Twentieth-Century Consumer Culture ." Intensities: The Journal of Cult Media, issue 7, August 2014 , pp. 44-54. Hills, Matt. “Traversing the ‘Whoniverse’: Doctor Who’s Hyperdiegesis and Transmedia Discontinuity/Diachrony.” World Building, edited by Marta Boni, Amsterdam University Press, 2017, pp. 343–61. JSTOR, https://doi.org/10.2307/j.ctt1zkjz0m.22. Accessed 6 Dec. 2024. Jacobsen, Michael Hviid. “Introduction: The Many Different Faces of Nostalgia – Exploring a Multifaceted and Multidisciplinary Emotion.” Intimations of Nostalgia: Multidisciplinary Explorations of an Enduring Emotion, edited by Michael Hviid Jacobsen, 1st ed., Bristol University Press, 2022, pp. 1–30. JSTOR, https://doi.org/10.2307/j.ctv21zp21b.5. Accessed 5 Dec. 2024. Phillips, Ivan. "Frock Coats, Yo-Yos and a Chair with a Panda on it: Nostalgia for the Future in the Life of a Doctor Who Fan." Fan Phenomena: Doctor Who, edited by Paul Booth, Intellect Books, 2013, pp. 17-27. The Bill Douglas Cinema Museum. "Doctor Who Special Anniversary jigsaw." The Bill Douglas Cinema Museum. https://www.bdcmuseum.org.uk/explore/item/66958/. Date Accessed 13th December 2024 "The Day of the Doctor." Doctor Who, created by Steven Moffat, series 7, episode 16, BBC One Television, 23rd November 2013. Tarzan, WOR, 1932-1936. Creator An entity primarily responsible for making the resource RMS UK Ltd and BBC Source A related resource from which the described resource is derived Doctor Who: 'The Day of the Doctor' - series 7 episode 16 (2013) Publisher An entity responsible for making the resource available RMS UK Ltd Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource BBC Format The file format, physical medium, or dimensions of the resource Jigsaw Puzzle in a Cardboard Box - Box dimensions - ‎30 x 30 x 5.4 cm Puzzle Size - 73 x 38.5 cm Language A language of the resource English Type The nature or genre of the resource Jigsaw puzzle, Toy Identifier An unambiguous reference to the resource within a given context BDCM 66958 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Doctor Who, British Television, Science Fiction Rights Information about rights held in and over the resource BBC, DOCTOR WHO (word marks, logos and devices). TARDIS, DALEKS, CYBERMEN and K-9 (work marks and devices) are trade marks of the British Broadcasting Corporation and are used under licence. BBC LOGO copyright BBC 1996. Doctor Who logo copyright BBC 2012. Dalek image copyright BBC/Terry Nation 1963. Cybermen image copyright BBC/Kit Pedler/Gerry Davis 1966. K-9 image copyright BBC/Bob Baker/Dave Martin 1977. Licensed for RMS UK Ltd 2010s Doctor Who Jigsaw Science fiction Toy https://humanities-research.exeter.ac.uk/archivalencounters/files/original/e87831a1a47a4469000eb2315376a7dc.JPG 8e75de1b434265d37d8f85f4ba9669dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Martian FRONT COVER Subject The topic of the resource Actor Matt Damon (Mark Watney), as depicted in the 2015 feature film. Description An account of the resource Reminiscent of a similar Headdesign cover on a 2014 edition - <a href="https://www.isfdb.org/cgi-bin/pl.cgi?743740">https://www.isfdb.org/cgi-bin/pl.cgi?743740</a> Creator An entity primarily responsible for making the resource www.headdesign.co.uk Source A related resource from which the described resource is derived "THE MARTIAN" film artwork © 2015 Twentieth Century Fox Film Corporation. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Paper https://humanities-research.exeter.ac.uk/archivalencounters/files/original/28cfb09ac5ae1fb114908f09574910c8.JPG 533d5724c9e82fdba201985eae35de79 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Martian BACK COVER Subject The topic of the resource Blurb superimposed over actor Matt Damon (Mark Watney), as seen in the 2015 Ridley Scott film of the same name. Description An account of the resource Quotations from The Guardian and Hugh Howey, "bestselling author of Wool" Creator An entity primarily responsible for making the resource www.headdesign.co.uk "THE MARTIAN" film artwork © 2015 Twentieth Century Fox Film Corporation. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Paper https://humanities-research.exeter.ac.uk/archivalencounters/files/original/bfcab89e7ddf3b57ffc04b0477aad715.JPG 01e7fb3969aa33ba9d98367a8b69613b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Map detailing a large section of the planet Mars, particularly the "Western Schiaparelli" crater which plays an important role in the text itself (Weir, 2015, pp. 8-9). Subject The topic of the resource "[...]uncredited map of parts of Mars on unnumbered pages [8] and [9]." "Greater Arabia Terra Area (map) • (2014) • interior artwork by Fred Haynes [as by uncredited]". "The Fred Haynes credit comes from the Broadway Books editions which have the same map." <a href="https://www.isfdb.org/cgi-bin/pl.cgi?754641">https://www.isfdb.org/cgi-bin/pl.cgi?754641</a> Creator An entity primarily responsible for making the resource Fred Haynes [uncredited] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cinema and the Printed Word Description An account of the resource A collection of books produced to tie-in with, promote or capitalise on popular films Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document 384 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Martian Subject The topic of the resource Andy Weir's The Martian, 2015 Description An account of the resource This catalogue archives a “13th printing of the 2015 edition” of Andy Weir’s science-fiction novel, The Martian (“Anonymous”, n.d., Publication: The Martian, <a href="https://www.isfdb.org/cgi-bin/pl.cgi?754641">https://www.isfdb.org/cgi-bin/pl.cgi?754641</a>). The book follows Mark Watney, a botanist and astronaut who is marooned on Mars after his colleagues are forced to evacuate the planet; in the process believing they have left him for dead. Watney, primed with botanical expertise, an unerring will to live and his Rabelaisian humour strives to extend his lifespan on the inhospitable planet until some form of rescue arrives, if any. This edition is a tie-in with the 2015 Ridley Scott film adaptation of the same name. Unlike other science-fiction texts housed within this collection — see <a href="https://humanities-research.exeter.ac.uk/archivalencounters/admin/items/show/27">The Lost Worlds of 2001</a> or <a href="https://humanities-research.exeter.ac.uk/archivalencounters/admin/items/show/5">Future Noir: the making of Blade Runner</a> — this edition does not purport to elucidate the making of the film itself, rather was released to symbiotically advertise for Scott’s production and garner a larger reading for the original text off of the assumed box office success of the film. Hence, this edition’s cover utilises the disquieted countenance of Matt Damon who depicts Watney in Scott’s own blockbuster re-telling; said cover is accredited to “film artwork © 2015 Twentieth Century Fox Film Corporation” and Damon’s face is framed by the captions “NOW A MAJOR MOTION PICTURE FROM TWENTIETH CENTURY FOX” and “The Sunday Times Bestseller” (courtesy of <a href="www.headdesign.co.uk">www.headdesign.co.uk</a>). “In 2013 20th Century Fox optioned The Martian” in the hopes of adapting it to film; subsequently, tie-in editions of the book were released from 2014 onwards bearing Damon’s visage, reminiscient of a similar cover depicting an anonymous male figure (also produced by one ‘headdesign’) (LoBrutto, 2019, p.194). The article “Andy Weir’s Best Seller ‘The Martian’ Gets a Classroom-Friendly Makeover” sequences the responses to this edition that emanated chiefly from the educational sector. Teachers, primarily within STEM fields, saw the pedagogic qualities of The Martian’s protagonist's heuristic approach to scientific problem-solving and how, in turn, their students could therefore benefit from engaging with the text if a “cleaned-up edition of the book”, that being the 2014 and 2015 editions respectively, existed (Alter, 2017, p.1). One was promptly released in 2016 by Crown Publishers with the insistence of Weir himself. Hence, the Bill Douglas Museum's variant is a somewhat (but not wholly) uncensored version of the text. However, this is not the only historical change that this artefact 'officially' underwent. In a paper written to inaugurate their new software ‘Coleto’ — “an automatic collation tool for the comparison of variant texts in English, German, or French” — Erik Ketzan and Christof Schöch used “three versions (or variants) of Andy Weir’s science fiction novel[…](2011, 2014, 2016)” as demo subjects for the software; we must note that the 2014 variant listed is textually identical to the 2015 edition in the Bill Douglas archive but was part of the first batch of releases of that specific edition, whereas the 2011 version was Weir’s self-published edition and the 2016 version is the aforementioned bowdlerized classroom variant (2021, p.1). This bowdlerization was not limited to the classroom edition however, indeed the Bill Douglas’ variant of the text saw distinctive editing of this type, specifically regarding two primary examples of profane locution which had been “substantially reduced, by about 33% and 15%, respectively” (2019, p.15). This reduction in profanity is of extreme, narrative significance and makes the Bill Douglas’ edition of the text distinctly isolable in its characterisation of Watney as the traditionally-heroic protagonist. Such an observation is informed by the findings of Coleto’s collation, which discovered profanity to be statistically deducible as “the most foregrounded stylistic feature in the novel” and therefore of Watney’s internal monologuing (Ketzan, Schöch, 2019, p.17) (Dh-Trier, n.d., <a href="https://github.com/dh-trier/coleto">https://github.com/dh-trier/coleto</a>). We must also note that this tie-in edition incorrectly chronologizes the various releases up until its release date, as behind the title page it reads “Originally self-published by Andy Weir in 2013”, which rather reductively negates the 2011 self-published, serialized version of the text alongside the 2012 audiobook (“one of the biggest audiobook hits of all time”) published via Newmarket’s Podium Publishing which all contributed to this edition’s editing and design (“Canadian Publishing 2018: How They Listen Up North”, p.1, 2018). This elucidates, in part, the importance of archiving and exhibiting this specific literary artefact in a digitized format, as the increased digitalization of book depositories at the turn of the century coalesced with Weir’s authorial pursuits and the text’s original publishing which contributed to the confused chronology of The Martian’s literary history. Hence, such convolution necessitates the exhibition of this text to further clarify Weir’s and the narrative’s writing history. This is hindered by the fact that the novel was originally released for free, in a serialized format, via the author’s blog ‘<a href="https://galactanet.com/writing.html">Galactanet</a>’ but can now only be officially purchased since being published by Random House. The blog itself, which appears extremely dated and rudimentary, does link to the “Hardcover” “Kindle” and “Audiobook” versions of the text (this artefact only being a paperback), but does not specify how to access either the classroom edition or the other variants (“Creative Writings of Andy Weir”. Galactanet.com, 26/3/2016). When considered through the “theoretical lens of historical institutionalism”, the above exampled difficulties further explicate the demonstrable challenges of modern, digital archivism in its moving away from the physicalised spaces of “libraries, museums, and archives” (Blomgren, 2020, p.75). Therefore, in archiving this 2015 artefact via a cinema museum such as the Bill Douglas or within an Omeka catalogue, one can begin to not only assert the history of the text’s recent production, re-production and context but also commence critiquing the ways in which said history has become disordered; subsequently, one can assume that this is due to a number of factors, but specifically relates to the publisher’s desire to streamline their sales of the text via specific, verifiable channels which, in turn, would necessitate a level of consistency in the text’s writing across the different mediums that ultimately exhibit it for purchase. This ‘streamlining’ has also led to salient inconsistencies in this artefact’s attribution of work to notable contributors, hence this catalogue has striven to rectify such oversights whilst demonstrating how even texts that see worldwide release and aim to promote a major motion picture are still susceptible (if not more so) to disregarding the contributions of editors or artists alike. An example of this is the uncredited mapped section of Mars which appears “on unnumbered pages [8] and [9]”; according to the ‘Internet: Speculative Fiction Database’, one “Fred Haynes” is credited with the map’s production in the “Broadway Books editions which have the same map” (“Anonymous”, n.d., Publication: The Martian). According to a Washington Post article titled ‘Andy Weir's 'the Martian' Continues Strong at no. 1’, as titularly alluded to, the book not only saw worldwide release and acclaim but fast sales that rocketed it to a bestseller (“Anonymous”, 2015). Therefore, accurate citation and attribution is of even greater significance between all editions; in this particular case it mystifies as to why the text’s chronology and the map’s creator are given such little consideration. Therefore one could conclude that the motive of this archive, in its collation and cataloguing of all of these tie-in and companion texts, is to further clarify each artefact’s history, accredit each contributor and highlight the difficulties that such digital archivism proposes within mediums like Omeka; “through interfaces and visualizations that reanimate a previously inert collection” but in the same sense, distance their desired audience from an artefact’s inherent tactility (Berry, 2016, p.102). References Alter, A. (2017). Andy Weir’s Best Seller ‘The Martian’ Gets a Classroom-Friendly Makeover. New York Times Company. Anonymous. (2015) Andy Weir's 'The Martian' continues strong at No. 1. WP Company LLC, The Washington Post. <a href="https://www.proquest.com/docview/1713719674?parentSessionId=f9lpydECIxuEyfiX1KIf4k2%2FUq4cmHK%2Fr%2B3hgflhPKE%3D&accountid=10792&sourcetype=Blogs,%20Podcasts,%20&%20Websites">https://www.proquest.com/docview/1713719674?parentSessionId=f9lpydECIxuEyfiX1KIf4k2%2FUq4cmHK%2Fr%2B3hgflhPKE%3D&accountid=10792&sourcetype=Blogs,%20Podcasts,%20&%20Websites</a> Anonymous. (2018) Canadian Publishing 2018: How They Listen Up North. Publishers Weekly, 265(38), 80. <a href="https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/trade-journals/canadian-publishing-2018-how-they-listen-up-north/docview/2104452372/se-2">https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/trade-journals/canadian-publishing-2018-how-they-listen-up-north/docview/2104452372/se-2</a> Anonymous. (n.d.). Publication: The Martian. <a href="https://www.isfdb.org/cgi-bin/pl.cgi?532295">https://www.isfdb.org/cgi-bin/pl.cgi?532295</a> Clarke, A. C. (1972). <a href="https://humanities-research.exeter.ac.uk/archivalencounters/admin/items/show/27">The Lost Worlds of 2001</a>. BDCM Entry # 38364 Dh-Trier. (n.d.). GitHub - dh-trier/coleto: Text comparison or collation tool based on Python. GitHub. <a href="https://github.com/dh-trier/coleto">https://github.com/dh-trier/coleto</a> Berry, D. M. (2016) The Post-Archival Constellation: The Archive under the Technical Conditions of Computational Media. In Blom, I., Lundemo, T., & Røssaak, E. (Eds.). (2017). Memory in Motion: Archives, Technology and the Social. Amsterdam University Press. <a href="https://doi.org/10.2307/j.ctt1jd94f0">https://doi.org/10.2307/j.ctt1jd94f0</a> Blomgren, R. (2020) The Institutions Go Digital. In Audunson, R., Andresen, H., Fagerlid, C., Henningsen, E., Hobohm, H., Jochumsen, H., Larsen, H. & Vold, T. (2020). Libraries, Archives and Museums as Democratic Spaces in a Digital Age. Berlin, Boston: De Gruyter Saur. <a href="https://doi.org/10.1515/9783110636628">https://doi.org/10.1515/9783110636628</a> Head Design. (n.d.). Head design. <a href="https://www.headdesign.co.uk/">https://www.headdesign.co.uk/</a> Ketzan, E., & Schöch, C. (2021). Classifying and Contextualizing Edits in Variants with Coleto: Three Versions of Andy Weir’s The Martian. Digital Humanities Quarterly, 15(4) <a href="https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/classifying-contextualizing-edits-variants-with/docview/2633784993/se-2">https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/classifying-contextualizing-edits-variants-with/docview/2633784993/se-2</a> LoBrutto, V. (2019). RED: The Martian. In Ridley Scott: A Biography (pp. 194–199). University Press of Kentucky. <a href="https://doi.org/10.2307/j.ctvd7w7s1.28">https://doi.org/10.2307/j.ctvd7w7s1.28</a> Sammon, P. M. (1996). <a href="https://humanities-research.exeter.ac.uk/archivalencounters/admin/items/show/5">Future Noir: The making of Blade Runner</a>. BDCM Entry #92770 Scott, R. (2015). The Martian [Film]. 20th Century Fox. Weir, A. (n.d.). Galactanet. <a href="https://galactanet.com/writing.html">https://galactanet.com/writing.html</a> Weir, A. (2015). The Martian [Paperback book]. Del Rey (UK). BDCM Entry #92770 Creator An entity primarily responsible for making the resource Andy Weir Source A related resource from which the described resource is derived Ridley Scott's "The Martian" 2015, motion picture, Twentieth Century Fox. Andy Weir's The Martian 2011, serialized text, Galactanet.com Publisher An entity responsible for making the resource available Del Rey (UK) of Penguin Random House Date A point or period of time associated with an event in the lifecycle of the resource 2014 - 2015 edition Contributor An entity responsible for making contributions to the resource Mark D'Arcy Rights Information about rights held in and over the resource Copyright © Andy Weir, 2014 "The Martian" film artwork © 2015 Twentieth Century Fox Film Corporation. All Rights Reserved. Relation A related resource Ridley Scott's "The Martian" 2015, motion picture, Twentieth Century Fox. Format The file format, physical medium, or dimensions of the resource Paperback Book 12.6 x 2.3 x 19.8 cm Language A language of the resource American English Type The nature or genre of the resource Text, Science-Fiction Tie-in Identifier An unambiguous reference to the resource within a given context ISBN: 978-1-78503-382-7 BDCM ENTRY #92770 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Published by Del Rey (UK); Media tie-in edition (27 Aug. 2015) 2010s Andy Weir Book film Matt Damon Ridley Scott Science fiction science fiction film Space The Martian