Una nueva invitada internacional acaba de confirmar su presencia en la décima edición y aniversario de Cinefan Festival. Por primera vez en la historia del evento asistirá un intérprete de la conocida saga “Regreso al futuro”. La actriz Claudia Wells, que interpretó a la novia de Marty Mcfly, Jennifer Parker, en el primer largometraje de la trilogía, representará en Úbeda a un clásico del cine fantástico y de ciencia ficción. Era un empeño de la organización que la saga tuviera presencia en el evento, desde hace varios años. Ojalá sea la primera de muchos de los que se esperan que pasen por su alfombra roja en las próximas ediciones.
Actriz norteamericana nacida en Kuala Lumpur (Malasia) y criada en San Francisco, California (EEUU), comenzó su carrera artística siendo adolescente, participando en diversas series de televisión como Herbie, The Love Bug (1982), Fama (1984) o Simon & Simon (1985). A pesar de que su carrera interpretativa parecía estar encaminada hacia el éxito, decidió apartarse de los platós cuando a su madre le fue diagnosticado un cáncer; esa trágica experiencia le impulsó a tomar un papel activo en organizaciones benéficas. En 2008 retoma la interpretación con Still Waters Burn, a la que siguen El mentalista (2011), Starship: Rising (2014), EP/Executive Protection (2015) o Vitals (2017), entre otros muchos títulos. A pesar de todo su bagaje artístico, para los fans siempre será recordada como la genuina Jennifer Parker, en la primera entrega de la trilogía de “Regreso al Futuro” (1985).
Claudia Wells se une a los actores ya anunciados del apartado internacional: John Simpkin, Peter Ross-Murray y Sarah Douglas. Los veremos en los encuentros y charlas del festival y en las sesiones de firmas entre el 22 y el 24 de julio. Aún quedan más comunicaciones de invitados internacionales y nacionales. ¡Esperar y ver!
The Time Machine is an 1895 dystopian post-apocalypticscience fictionnovella by H. G. Wells about a Victorian scientist known as the Time Traveller who travels approximately 802,701 years into the future. The work is generally credited with the popularization of the concept of time travel by using a vehicle or device to travel purposely and selectively forward or backward through time. The term "time machine", coined by Wells, is now almost universally used to refer to such a vehicle or device.[1]
Utilizing a frame story set in then-present Victorian England, Wells' text focuses on a recount of the otherwise anonymous Time Traveller's journey into the far future. A work of future history and speculative evolution, The Time Machine is interpreted in modern times as a commentary on the increasing inequality and class divisions of Wells' era, which he projects as giving rise to two separate human species: the fair, childlike Eloi, and the savage, simian Morlocks, distant descendants of the contemporary upper and lower classes respectively.[2][3] It is believed that Wells' depiction of the Eloi as a race living in plenitude and abandon was inspired by the utopic romance novel News from Nowhere (1890), though Wells' universe in the novel is notably more savage and brutal.[4]
In his 1931 preface to the book, Wells wrote that The Time Machine seemed "a very undergraduate performance to its now mature writer, as he looks over it once more", though he states that "the writer feels no remorse for this youthful effort". However, critics have praised the novella's handling of its thematic concerns, with Marina Warner writing that the book was the most significant contribution to understanding fragments of desire[clarify] before Sigmund Freud's The Interpretation of Dreams, with the novel "[conveying] how close he felt to the melancholy seeker after a door that he once opened on to a luminous vision and could never find again".[5]
The Time Machine has been adapted into two feature films of the same name, as well as two television versions and many comic book adaptations. It has also indirectly inspired many more works of fiction in many media productions.
Wells had considered the notion of time travel before, in a short story titled "The Chronic Argonauts" (1888). This work, published in his college newspaper, was the foundation for The Time Machine.
He frequently stated that he had thought of using some of this material in a series of articles in the Pall Mall Gazette, but in response to a request by W. E. Henley, the editor of National Observer, he rewrote "The Chronic Argonauts" into a series of seven loosely connected and fictionalized essays which were anonymously published in the newspaper from 17 March to 23 June 1894.[6][7] The series was never completed as Henley stepped down from his role as editor in National Observer. With his encouragement, Wells continued to work on the story, and at the end of the year when Henley was given the position as editor of Heinemann's periodical The New Review, he arranged for the story to be published there in serialized form in the January to May 1895 editions instead, which Wells was paid £100 (equal to about £15,000 today) for.[8][9][10]Henry Holt and Company published the first book edition (possibly prepared from a different manuscript)[11] on 7 May 1895; Heinemann published an English edition on 29 May.[8] These two editions are different textually and are commonly referred to as the "Holt text" and "Heinemann text", respectively. Nearly all modern reprints reproduce the Heinemann text.[12]
The story reflects Wells's own socialist political views, his view on life and abundance, and the contemporary angst about industrial relations. It is also influenced by Ray Lankester's theories about social degeneration[13] and shares many elements with Edward Bulwer-Lytton's novel Vril, the Power of the Coming Race (1871).[14] It is also thought that Wells' Eloi race shares many features with the works of other English socialists, most notably William Morris and his work News from Nowhere (1890), in which money is depicted as irrelevant and work is merely undertaken as a form of pleasure.[4] Other science fiction works of the period, including Edward Bellamy's novel Looking Backward: 2000–1887 (1888) and the later film Metropolis (1927), dealt with similar themes.[citation needed] In his later reassessment of the book, published as the 1931 preface to The Time Machine, Wells wrote that the text has "lasted as long as the diamond-framed safety bicycle, which came in at about the date of its first publication", and is "assured it will outlive him", attesting to the power of the book.[5]
Based on Wells's personal experiences and childhood, the working class literally spent a lot of their time underground. His own family would spend most of their time in a dark basement kitchen when not being occupied in their father's shop.[15] Later, his own mother would work as a housekeeper in a house with tunnels below,[16] where the staff and servants lived in underground quarters.[17] A medical journal published in 1905 would focus on these living quarters for servants in poorly ventilated dark basements.[18] In his early teens, Wells became a draper's apprentice, having to work in a basement for hours on end.
This work is an early example of the Dying Earth subgenre. The portion of the novella that sees the Time Traveller in a distant future where the sun is huge and red also places The Time Machine within the realm of eschatology; that is, the study of the end times, the end of the world, and the ultimate destiny of humankind.[19]
A Victorian Englishman, identified only as the Time Traveller, tells his weekly dinner guests that he has experimental verification of a machine that can travel through time. He shows them what he says is a small model, and they watch it disappear. He says he has a big machine nearly finished in his laboratory, in which a person could travel through time. At dinner the following week, a weary, bedraggled Traveller recounts to his guests what he experienced on his journey to the future.
In the new narrative, the Time Traveller goes into the future, observing things moving in quick motion around him. He sees his house disappear and turn into a lush garden. The Traveller stops in A.D. 802,701, and meets the Eloi, a society of small, childlike humanoids. They live in small communities within large and futuristic yet deteriorating buildings, and adhere to a fruit-based diet. His efforts to communicate with them are hampered by their lack of curiosity or discipline. They appear happy and carefree but fear the dark, particularly moonless nights. They give no response to nocturnal disappearances, possibly because they are so afraid of them. After exploring the area around the Eloi's residences, the Traveller reaches the top of a hill overlooking what was once London and finds the ruins of what once was a metropolis. He concludes that the entire planet became a garden, with little trace of human society or engineering from the hundreds of thousands of years prior, and that communism[21] has at last been achieved. He also theorizes that intelligence springs from necessity; with no real challenges facing the Eloi, they have lost the spirit, intelligence, and physical fitness of humanity at its peak.
Returning to the site where he arrived, the Traveller finds his machine missing; he is confident that it at least has not traveled through time, as he had removed its levers. Later, he encounters the Morlocks, ape-like troglodytes who live in darkness underground and surface only at night. Deducing that they must have taken his time machine, he explores one of many "wells" that lead to the Morlocks' dwellings and discovers them operating the machinery and industry that makes the above-ground paradise of the Eloi possible. He realizes that the Morlocks control and feed upon the Eloi. The Traveller speculates that the human race has diverged into two species: the favored aristocracy has become the Eloi, and their mechanical servants have become the Morlocks.
Meanwhile, he rescues Eloi Weena from drowning, as none of the other Eloi take any notice of her plight. The Traveller takes Weena with him on an expedition to "The Palace of Green Porcelain", a distant structure which turns out to be a derelict museum. Here, the Traveller finds a fresh matches and fashions a crude weapon against Morlocks, whom he must fight to recover his machine. He plans to take Weena back to his own time to save her from the horrors of the future world. Because the tiring journey back to Weena's home is too much for them, they stop in the forest for the night. They are eventually attacked by Morlocks, and Weena faints. The Traveller escapes when a small fire he left behind them to repel the Morlocks turns into a forest fire; Weena and the Morlocks are lost in the blaze.
The Morlocks open the Sphinx and use the machine as bait to capture the distraught Traveller, not understanding that he can use it to escape. He reattaches the levers before travelling further ahead to roughly 30 million years from his own time. There, he sees some of the last living things on a dying Earth: crab-like creatures wandering blood-red beaches chasing enormous butterflies, in a world covered in lichenoid vegetation. He continues to make jumps forward through time, seeing Earth's rotation cease and the sun grow larger, redder, and dimmer, and the world falling silent and freezing as the last living things die out.
Overwhelmed, he returns to his own time, arriving at the laboratory just three hours after he originally left. He arrives late to his own dinner party, whereupon, after eating, the Traveller relates his adventures to his disbelieving visitors, producing as evidence two unusual white flowers Weena put in his pocket.
The original narrator relates that he returned to the Traveller's house the next day, finding him preparing for another journey and promising to return in a short time. After waiting for three years, however, the narrator says that the Traveller has not returned.
A section from the thirteenth chapter of the serial published in New Review (May 1895, partway down p. 577 to p. 580, line 29)[22] does not appear in either of the 1895 editions of the book.[23][24][25] It was drafted at the suggestion of Wells's editor, William Ernest Henley, who wanted Wells to "oblige your editor" by lengthening the text with, among other things, an illustration of "the ultimate degeneracy" of humanity. "There was a slight struggle," Wells later recalled, "between the writer and W. E. Henley who wanted, he said, to put a little 'writing' into the tale. But the writer was in reaction from that sort of thing, the Henley interpolations were cut out again, and he had his own way with his text."[26] This portion of the story was published elsewhere as "The Final Men" (1940)[27] and "The Grey Man".[28] The deleted text was also published by Forrest J Ackerman in an issue of the American edition of Perry Rhodan.[citation needed]
The deleted text recounts an incident immediately after the Traveller's escape from the Morlocks. He finds himself in the distant future in a frost-covered moorland with simple grasses and black bushes, populated with furry, hopping herbivores resembling kangaroos. He stuns or kills one with a rock, and upon closer examination realises they are probably the descendants of humans / Eloi / Morlocks. A gigantic, centipede-like arthropod approaches and the Traveller flees into the next day, finding that the creature has apparently eaten the tiny humanoid. The Dover Press[29] and Easton Press editions of the novella restore this deleted segment.[citation needed]
Significant scholarly commentary on The Time Machine began from the early 1960s, initially contained in various broad studies of Wells's early novels (such as Bernard Bergonzi's The Early H.G. Wells: A Study of the Scientific Romances) and studies of utopias/dystopias in science fiction (such as Mark R. Hillegas's The Future as Nightmare: H.G. Wells and the Anti-Utopians). Much critical and textual work was done in the 1970s, including the tracing of the very complex publication history of the text, its drafts, and unpublished fragments.[citation needed]
A further resurgence in scholarship came around the time of the novella's centenary in 1995, and a major outcome of this was the 1995 conference and substantial anthology of academic papers, which was collected in print as H.G. Wells's Perennial Time Machine.[30] This publication then allowed the development of a guide-book for academic study at Master's and Ph.D. level: H.G. Wells's The Time Machine: A Reference Guide.[31]
The scholarly journal The Wellsian has published around twenty articles on The Time Machine, and a U.S. academic journal The Undying Fire, devoted to H.G. Wells studies, has published three articles since its inception in 2002.[citation needed][32]
Wells's source for the name Morlock is less clear. It may refer to the Canaanite god Moloch associated with child sacrifice. The name Morlock may also be a play on mollocks – what miners might call themselves – or a Scots word for rubbish,[33] or a reference to the Morlacchi community in Dalmatia.[34]
The Time Machine can be read as a symbolic novel. The time machine itself can be viewed as a symbol, and there are several symbols in the narrative, including the Sphinx, flowers, and fire.
The statue of the Sphinx is the place where the Morlocks hide the time machine and references the Sphinx in the story of Oedipus who gives a riddle that he must first solve before he can pass.[35] The Sphinx appeared on the cover of the first London edition as requested by Wells and would have been familiar to his readers.[33]
The white flowers can symbolize Weena's devotion and innocence and contrast with the machinery of the time machine.[35] They are the only proof that the Time Traveller's story is true.
Fire symbolizes civilization: the Time Traveller uses it to ward off the Morlocks, but it escapes his control and turns into a forest fire.[35]
The CBS radio anthology Escape adapted The Time Machine twice, in 1948 starring Jeff Corey, and again in 1950 starring Lawrence Dobkin as the traveller. A script adapted by Irving Ravetch was used in both episodes. The Time Traveller was named Dudley and was accompanied by his skeptical friend Fowler as they travelled to the year 100,080.
In 1994, an audio drama was released on cassette and CD by Alien Voices, starring Leonard Nimoy as the Time Traveller (named John in this adaptation) and John de Lancie as David Filby. John de Lancie's children, Owen de Lancie and Keegan de Lancie, played the parts of the Eloi. The drama is approximately two hours long and is more faithful to the story than several of the film adaptations. Some changes are made to reflect modern language and knowledge of science.
Robert Glenister starred as the Time Traveller, with William Gaunt as H. G. Wells in a new 100-minute radio dramatisation by Philip Osment, directed by Jeremy Mortimer as part of a BBC Radio Science Fiction season. This was the first adaptation of the novella for British radio. It was first broadcast on 22 February 2009 on BBC Radio 3[37] and later published as a 2-CD BBC audio book.
The adaptation retained the nameless status of the Time Traveller and set it as a true story told to the young Wells by the time traveller, which Wells then re-tells as an older man to the US journalist, Martha, whilst firewatching on the roof of Broadcasting House during the Blitz. It also retained the deleted ending from the novella as a recorded message sent back to Wells from the future by the traveller using a prototype of his machine, with the traveller escaping the anthropoid creatures to 30 million AD at the end of the universe before disappearing or dying there.
On 5 September 2017, Big Finish Productions released an adaptation of The Time Machine. This adaptation was written by Marc Platt and starred Ben Miles as the Time Traveller.
Platt explained in an interview that adapting The Time Machine to audio was not much different from writing Doctor Who, and that he could see where some of the roots of early Doctor Who came from.[38]
The first visual adaptation of the book was a live teleplay broadcast from Alexandra Palace on 25 January 1949 by the BBC, which starred Russell Napier as the Time Traveller and Mary Donn as Weena. No recording of this live broadcast was made; the only record of the production is the script and a few black and white still photographs. A reading of the script, however, suggests that this teleplay remained fairly faithful to the book.[39]
In 1960, the novella was made into a US science fiction film, also known promotionally as H.G. Wells's The Time Machine. The film starred Rod Taylor, Alan Young, and Yvette Mimieux. The film was produced and directed by George Pal, who also filmed a 1953 version of Wells's The War of the Worlds. The film won an Academy Award for time-lapse photographic effects showing the world changing rapidly.
In 1993, Rod Taylor hosted Time Machine: The Journey Back reuniting him with Alan Young and Whit Bissell, featuring the only sequel to Mr. Pal's classic film, written by the original screenwriter, David Duncan. In the special were Academy Award-winners special effect artists Wah Chang and Gene Warren.
Sunn Classic Pictures produced a television film version of The Time Machine as a part of their "Classics Illustrated" series in 1978. It was a modernization of the Wells's story, making the Time Traveller a 1970s scientist working for a fictional US defence contractor, "the Mega Corporation". Dr. Neil Perry (John Beck), the Time Traveller, is described as one of Mega's most reliable contributors by his senior co-worker Branly (Whit Bissell, an alumnus of the 1960 adaptation). Perry's skill is demonstrated by his rapid reprogramming of an off-course missile, averting a disaster that could destroy Los Angeles. His reputation secures a grant of $20 million for his time machine project. Although nearing completion, the corporation wants Perry to put the project on hold so that he can head a military weapon development project. Perry accelerates work on the time machine, permitting him to test it before being forced to work on the new project.
The 1960 film was remade in 2002, starring Guy Pearce as the Time Traveller, a mechanical engineering professor named Alexander Hartdegen, Mark Addy as his colleague David Philby, Sienna Guillory as Alex's ill-fated fiancée Emma, Phyllida Law as Mrs. Watchit, and Jeremy Irons as the Uber-Morlock. Playing a quick cameo as a shopkeeper was Alan Young, who featured in the 1960 film. (H.G. Wells himself can also be said to have a "cameo" appearance, in the form of a photograph on the wall of Alex's home, near the front door.)
The film was directed by Wells's great-grandson Simon Wells, with an even more revised plot that incorporated the ideas of paradoxes and changing the past. The place is changed from Richmond, Surrey, to downtown New York City, where the Time Traveller moves forward in time to find answers to his questions on 'Practical Application of Time Travel;' first in 2030 New York, to witness an orbital lunar catastrophe in 2037, before moving on to 802,701 for the main plot. He later briefly finds himself in 635,427,810 with toxic clouds and a world laid waste (presumably by the Morlocks) with devastation and Morlock artifacts stretching out to the horizon.
It was met with mixed reviews and earned $56 million before VHS/DVD sales. The Time Machine used a design that was very reminiscent of the one in the Pal film but was much larger and employed polished turned brass construction, along with rotating glass reminiscent of the Fresnel lenses common to lighthouses. (In Wells's original book, the Time Traveller mentioned his 'scientific papers on optics'.) Hartdegen becomes involved with a female Eloi named Mara, played by Samantha Mumba, who essentially takes the place of Weena, from the earlier versions of the story. In this film, the Eloi have, as a tradition, preserved a "stone language" that is identical to English. The Morlocks are much more barbaric and agile, and the Time Traveller has a direct impact on the plot.
In Time After Time, H.G. Wells invents a time machine and shows it to some friends in a manner similar to the first part of the novella. He does not know that one of his friends is Jack The Ripper. The Ripper, fleeing police, escapes to the future (1979), but without a key which prevents the machine from remaining in the future. When it does return home, Wells follows him in order to protect the future (which he imagines to be a utopia) from the Ripper. In turn, the film inspired a 2017 TV series of the same name.
Tema anterior
_title_page.jpg)
