1 10 4 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 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/c6fe021ad7039350f4ef050c08ac8ac9.JPG 42d69ef89b143a41c9772412d53c3ae7 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/c2a1a7f8cf17d510ad647e589618892d.JPG 37323aca0e6185fbcbff4ed56b08b2cc https://humanities-research.exeter.ac.uk/archivalencounters/files/original/0934bd143f86179c5b3fb9c370221b1f.JPG 39a9c191500ab19e5a59b250461160a7 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 240 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 Lost Worlds of 2001 Subject The topic of the resource A companion book to 2001: A Space Odyssey (1968). It outlines how Arthur C. Clarke's starkly different original drafts evolved into Kubrick's film, before documenting these drafts- the eponymous "Lost Worlds of 2001"- in multiple successive chapters. Description An account of the resource The Lost Worlds of 2001 (EXE BD 38364; 1972) is a companion book to Stanley Kubrick's 2001: A Space Odyssey (1968), although is also a tie-in to Clarke’s novel adaptation of 2001. Published merely four years after the film’s worldwide theatrical release, it is closely linked to the film’s production, having been written by Arthur C. Clarke, co-writer of the film’s screenplay and author of the film’s concurrently written novel version. It features Clarke’s 9-page short story The Sentinel (1948) in its entirety, itself the inspiration for the film’s central narrative. As such, the text effectively serves as not only a companion piece to Kubrick’s film, but a receptacle for the film, Clarke’s novel and the story which inspired them both. As it was published merely four years after 2001’s theatrical release and written by Clarke- the creator of the original story- the text is clearly aimed at pre-existing enthusiasts for the film as opposed to a wide audience. This is evident in both the film’s initially mixed critical reception - having been slated by Pauline Kael on release as “monumentally unimaginative” (Kael; 1969)- and the text’s layout and design. While the book contains Clarke’s personal accounts of the film’s development- comprising of diary entries and call sheets designed in Pinewood Studios within the Monoliths and Manuscripts chapter- it is never pictorial but instead prosaic. It is less preoccupied with providing an eye-popping account of the film’s technical achievements to a mainstream audience than it is with honestly conveying the “lost worlds” of its story: Initially by documenting the film’s historical context, later by outlining the often-diverging approaches of Kubrick and Clarke, and finally by offering alternative and since “lost” versions of Clarke’s narrative. When discussing how to prevent inertia within film archives, Christensen and Kuuti argue that “The intended artistic effect produced…by the moving images on a screen is augmented by the historical context and the knowledge of the carrier” (Christensen and Kuuti; 2; 2021). If we subscribe to this view, the book is elevated beyond disposable memorabilia and becomes integral to fully appreciating Kubrick’s film, as the context it outlines reveals a very different- albeit never filmed- alternative to his final cut, encapsulating the adaptability of Clarke’s narrative and accentuating the film’s unique narrative qualities within mainstream cinema. The book’s second chapter, Son of Dr Strangelove, instantly contextualises the text and film in relation to the contemporary American zeitgeist. It discusses the film’s coinciding with the insurgence of US space exploration, explicated by the lunar landing taking place a mere year after the film’s release. Clarke discusses the need for himself and Kubrick to not create “a story which would be made obsolete- or even worse, ridiculous- by the events of the next two years” (Clarke; 18; 1972). This need would result in Clarke’s original renditions of the story becoming “lost”, confined to this paperback’s “printed word” instead of widely publicised. The story’s evolution and alterations were catalysed by Kubrick and Clarke’s mutual partnership- primarily Kubrick’s preference for visual storytelling over dialogue-driven drama- and the film’s unique relationship with its tie-in novel. The Lost Worlds of 2001 explores both factors as it progresses. As the chapter Christmas, Shepperton highlights, Clarke’s novel and Kubrick’s film were created simultaneously and informed each other. Here, cinema and the printed word were reciprocal. Although Clarke is concerned with the novel as an “independent and self-contained work”, he admits that the novel was “created specifically as the basis for the movie” (ibid; 30). In discussing such a unique adaptive method, Clarke offers a brief history of novel to film adaptations, “This, of course, is the reverse of the usual state…Most movies are adapted from already existing novels” and, in turn, derides novelisations “Other movies are based on screenplays…and no novel version (or even- ugh!- “novelization”) ever exists”. Clarke clearly had reservations about the novel’s incongruous relationship with the film. This incongruity culminated in the altering of Clarke’s “lost worlds” explored later in this book, an alteration itself echoed by 2001’s similarly unique marketing history. Subsequent chapters, starting from First Encounter, feature alternative drafts of 2001’s story. A mobile robot named Socrates- completely unseen in the film- features in these edits, as do swathes of additional dialogue exchanges between characters barely present in Kubrick’s film. This alternative approach is echoed in Jack Kirby’s 1976 comic adaptation of the story, which also features in this collection (EXE BD 52396). Dante A. Ciampaglia observes that the comic inserts “scads of dense text” in substitution of the film’s “silent aesthetic”, just as The Lost Worlds of 2001 does (Ciampaglia; 2018). Traces of Clarke’s “lost worlds” can also be found in other marketing ephemera. Phil Wickham observes that “Ephemera can inform our understanding of changing histories” (Wickham; 315-330; 2010), citing Vivian Sobchack’s description of history as “unstable or shifting” (Sobchack; 300-315; 200) before remarking on an “’iconic poster calendar” designed to meld the consumer’s response to one agreed canon. We see a similar “shifting” relationship occurring in 2001’s marketing strategy, with two starkly contrasting film posters successively marketed, echoing the “lost” and finalised versions respectively. Mike Kaplan- responsible for conceiving the latter- acknowledges that the original poster presented the tagline “An epic drama of adventure and exploration”, only for the film to be “unanimously misunderstood” on these grounds (Kaplan; 2007). This tagline was later substituted by Kaplan for “The ultimate trip”, a play on words signifying the film’s hallucinogenic qualities, amplified by the poster’s newly inserted image of the transcendent star-child, itself absent from Clarke’s early drafts. The “epic drama” tagline might not be applicable to Kubrick’s film, but it is applicable to The Lost Worlds of 2001, suiting Clarke’s original dialogue-driven vision. In informing its audience’s understanding of “changing histories”, the artefact echoes the “shifting” nature of 2001’s marketing pitch even without referring to it, all whilst explicating an alternative canon largely unknown to a public to whom Kubrick’s film is well-recognised. However, the multifaceted history documented in this artefact, alongside its verbose and prosaic presentation, could explain its lack of attention within the archive. The Bill Douglas Cinema Museum’s (BDCM) online catalogue lists no description next to it, and the book has received little scholarly attention. This explicates specific difficulties within the relationship between cinema and the printed word. Firstly, as film and archiving are predominantly visual and photographic, a prose-heavy account is difficult to promote. Secondly, the text’s cover is misleadingly coupled with a caption referring to the “ultimate trip”, instead of the “epic drama” of Clarke’s “lost worlds” dominating the book. The film’s DNA effectively takes precedence where the printed word should. Although Clarke describes his early “lost” works as “self-contained” in the text, Kaplan’s revised marketing pitch looms over it. Finally, it is difficult to summarise the film’s complex evolution via photographs given that Clarke’s “lost worlds” were never filmed. These cumulative factors reveal the difficulties in conveying a film’s “shifting” history and perhaps highlight why the BDCM have yet to describe it. In the canon of film/novel tie-ins, 2001 is incongruous enough in its reciprocity between cinema and the printed word, and explaining this incongruous relationship in archival contexts is not a simple task. Yet- given the history it documents- this artefact ought not to be treated as disposable memorabilia, but instead as a revealing glimpse into a unique tie-in adaptation process. And, in turn, a glimpse into what could have resulted in a radically different film, otherwise only falsely hinted at in ephemera and marketing. Works Cited Clarke, Arthur C. 1972. “The Lost Worlds of 2001”. BDCM Entry 38364. Accessed 17/11/2023. https://www.bdcmuseum.org.uk/explore/item/38364/ Clarke, Arthur C. 1972. “The Lost Worlds of 2001”, Sidgwick and Jackson Ltd, First Edition, Published in Great Britain. Dante A. Ciampaglia, 2018. “The Crazy Legacy of Jack Kirby’s Forgotten 2001: A Space Odyssey”. https://www.wired.com/story/jack-kirby-2001-space-odyssey-history/ Kael, Pauline. 1969. “Trash, Art and the Movies”; Retrieved from “Scraps from the Loft”, 2017. Accessed 7/12/2023. https://scrapsfromtheloft.com/movies/pauline-kael-on-2001-a-space-odyssey/ Kirby, Jack. 1976. “2001: A Space Odyssey”. BDCM entry 52396. Accessed 28/11/2023, https://www.bdcmuseum.org.uk/explore/item/52396/ Sobchack, Vivian. 2000. “What is film history?, or, the Riddle of the sphinxes”. In “Reinventing film studies”, edited by Gledhill, Christine and Williams, Linda, pp. 300-315. London: Arnold. Thomas C. Christensen and Mikko Kuuti. 2021. “Digital Agenda for Film Archives”- ACE- Association des Cinémathéques Européennes. Accessed 7/12/2023 https://ace-film.eu/wp-content/uploads/2012/03/A-Digital-Agenda-for-Film-Archives-2012.pdf Wickham, Phil. 2010. “Scrapbooks, soap dishes and screen dreams: ephemera, everyday life and cinema history”, New Review of Film and Television Studies, 8:3, pp. 315-330, DOI: 10.1080/17400309.2010.499775 Creator An entity primarily responsible for making the resource Arthur C. Clarke Source A related resource from which the described resource is derived The Sentinel (short story; Clarke; 1948). 2001: A Space Odyssey (film; Kubrick; 1968) 2001: A Space Odyssey (novel; Clarke; 1968) Publisher An entity responsible for making the resource available Sidgwick and Jackson Limited Date A point or period of time associated with an event in the lifecycle of the resource First Published in Great Britain in 1972 Contributor An entity responsible for making contributions to the resource Ruben Martin-Ward Rights Information about rights held in and over the resource Copyright © 1972 by Arthur C. Clarke The Sentinel copyright © by Arthur C. Clarke This book is sold subject to the conditions that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. Format The file format, physical medium, or dimensions of the resource Book 17.78 x 2.54 x 12.7 cm Language A language of the resource English Type The nature or genre of the resource A companion book Identifier An unambiguous reference to the resource within a given context ISBN 0283979038 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The production of 2001: A Space Odyssey: 1964-1968, Shepperton Studios (then Pinewood Studios). Artefact published in 1972, London. 1960s 1970s 2001: A Space Odyssey Arthur C. Clarke Companion Book Science fiction Stanley Kubrick https://humanities-research.exeter.ac.uk/archivalencounters/files/original/2d93347f94c90ebd164b78c26ad9cd63.jpg 62d70cb3fc9828ba5b8311357bf6cd04 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/8fb5fab1c5c5173eed1774b7c446b342.jpg 750442016de6686e26a6064c557345ea 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 production process, dialogue. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo 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 Future Noir:the making of Blade Runner Subject The topic of the resource Blade Runner Creator An entity primarily responsible for making the resource Paul M.Sammon Blade Runner production stills by Stephen Vaughn. Front cover photograph by Matthew Yuricich Publisher An entity responsible for making the resource available Orion Media Date A point or period of time associated with an event in the lifecycle of the resource Designs and Patents Act 1988 First published in1996 Contributor An entity responsible for making contributions to the resource Yuting Luo Rights Information about rights held in and over the resource The right of Paul M. Sammon to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Blade Runner screenplays by Hampton Fancher and David Peoples © 1982 Warner Brothers and The Blade Runner Partnership. All Blade Runner photographs and art ©1982 by Warner Brothers and The Blade Runner Partnership. Relation A related resource <a href="https://www.imdb.com/title/tt0083658/">film 'Blade Runner' directed by Ridley Scott</a> <a href="https://en.wikipedia.org/wiki/Do_Androids_Dream_of_Electric_Sheep%3F">Philip K. Dick's novel 'Do Androids Dream of Electric Sheep?</a> Format The file format, physical medium, or dimensions of the resource Book :height 242mm; width 160mm; thickness 39mm Language A language of the resource English Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context ISBN 0-75280-739-0 Description An account of the resource Contents 1.The Film 2.The book 3.Development 4.The director and the deal 5.Script wars 6.Designing BLADE RUNNER 7.The cast and crew 8.The shoot 9.“BLOOD RUNNER”friction on the set 10.The special effects 11.Postproduction and the music 12.Sneaks and panic 13.Voice-overs,san diego,and a new happy ending 14.The theatrical release 15.The cult 16.The workprint 17.The director’s cut 18.Final shots Future Noir: The Making of Blade Runner is a detailed and in-depth film companion book by Paul M. Sammon that comprehensively chronicles the making of the classic 1982 sci-fi film Blade Runner. Published in 1996, author Paul M. Sammon conducted more than seventy interviews with the director and the film's production crew and included more than two hundred hours of transcribed speeches, which have been meticulously compiled to show the film's most interesting production context. The film, directed by Ridley Scott, is based on Philip K. Dick's novel, "Do Androids Dream of Electric Sheep?”. As a companion book, this book is arguably a very detailed account of the film Blade Runner, from the beginning of the writing of the novel to the director's cut. The book has 437 pages and is 39mm thick. In June 1980, the author was assigned to write a special 'double issue' of Cine Fantasy magazine on the making of Blade Runner. Already on the way to making the film (1980–1982), the author had gathered much material and data and was acutely aware that Blade Runner not only revealed adult narratives and complex characters but also proved that the complexity of the subject matter was as complex as the much-discussed visual complexity. This book has enough background and brickbats for filmmakers and enthusiasts alike to understand the great journey of Blade Runner as a film. The book Blade Runner, published in 2012, also uses author Paul M. Sammon's understanding of cinematography (Bukatman, 2012). The novel "Do Androids Dream of Electric Sheep?" written by Philip K. Dick. went through rounds of screenplay adaptations after its publication in 1968. After producer Michael Deeley raised the budget for Filmways Pictures from $13 million to $15 million, Scott took over directing duties and titled it Blade Runner. Scott said in an interview, 'There are moments in a film where the setting can be as important as the actors, and the design of the film is the script' Scott then began rewriting the initial script with Hampton Fancher. The writer mentions that because production design has always been one of Scott's strongest professional strengths, Blade Runner also provided Scott with a larger canvas, thus allowing Scott to create his unique style of film during the screenwriting sessions. During filming, Scott envisioned Blade Runner's futuristic-driven metropolis as a huge urban center made up of two large cities growing together, one of which is New York. Blade Runner shares many similarities with Fritz Lang's Metropolis, including a densely built-up urban environment in which the rich actually live above the workers, dominated by one massive building—the Stadtkrone Tower in Metropolis and the Tyrell Building in Blade Runner (Bukatman 2012). The author admits that Blade Runner is a highly controversial piece of work. Director Scott showed an obsession with detail in Alien, yet in Blade Runner, Scott's fascination with 'layering' is very apparent. And the brilliance of Blade Runner is its visual density. Scott's 'layering' effect produces endless complexity and infinite surfaces to encounter and explore (Bukatman 2012). The relationship between the director and the actors was uneasy during filming, and even weeks before principal photography began, there were rumors that the expected quota was insufficient. However, the crew was able to resolve the issues and complete the shoot. In the post-effects chapter, the author describes in great detail how the director directed the effects work, including sound effects and musical content. But the part that came up as controversial during the production of BR was about Harrison's off-screen voice. The authors polled about 200 friends and strangers about BR and found that about 30% preferred the off-screen voice. So ultimately, whether or not to use Harrison's version required further thought. And after the release of the film, which provoked reflections on anti-utopia and true humanity, several literary texts in the film can be collaged to establish connections between biblical, classical, and modern traditions and postmodern aspects, thus examining the cyberpunk and anti-utopian elements of the film (Torres Cruz, 2014). 'The main characteristic of Scott's films is an obvious love of special effects, coupled with a craftsman-like determination to tell a good story with heart-drawn characters' In the appendix section at the end of the book, the author records the contents of six conversations with director Scott between September 1980 and mid-December 1995, a detailed textual record of director Scott. The second part of the appendix describes the six different versions of Blade Runner that exist, such as the director's cut (theatrically released in 1992) and the broadcast version (TV) (aired on USA Network TV in 1996). The third part of the appendix describes the mistakes made during the making of the film. The fourth part is the information received on the web. Part V is a catalog of sound tracks. The sixth part is Blade Runner on tape, laserdisc, and television. Part VII is a cited catalog of the book. The eighth section is about the sources and authors of the pictures in the book. The last part is the film credits.Throughout the book, the author not only objectively describes the detailed production of the film Blade Runner but also provides his own insights and comments on various aspects of the film. Related books on this topic are The Lord of the Rings: The Making of the Movie Trilogy and Jurassic Park. They are both film companion books and cover the making of the film. In comparison, Future Noir: The Making of Blade Runner is the most detailed book on the making of the film and is aimed at an audience of critics, professional film makers, etc. The British Film Institute has included the film as part of its Major Film Classics (Bukatman 2012). The book The Making of Jurassic Park displays a large number of illustrations and images that add to the interest. And it is more of an objective record of the whole making process. The audience for this book is more of a film buff. The Lord of the Rings: The Making of the Movie Trilogy covers the making of all three films and features over 300 cast photos, pre-production model stills, make-up locations, costume design, the New Zealand Symphony Orchestra, and more. It was published almost a full year after the release of the first film and was produced for existing fans. Therefore, the audience targeted was mostly the film's fanbase. Related books under the same theme have the wrong type of pointing and specificity, which is something to think about in film archive induction. Works cited Bukatman, Scott. Blade Runner. 2nd edition., BFI Publishing, 2012, https://doi.org/10.5040/9781838712303. Torres Cruz, Décio. Postmodern Metanarratives: Blade Runner and Literature in the Age of Image. 1st ed., Palgrave Macmillan UK, 2014, https://doi.org/10.1057/9781137439734. Source A related resource from which the described resource is derived Film :Blade Runner Novel:Do Androids Dream of Electric Sheep Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1980-1996 Blade Runner Book Films Science fiction science fiction film