This is the complete screen recording of a paper I gave last month at a conference in Montreal, The Magic of Special Effects: Cinema, Technology, Reception, 10 November 2013. Aside from the final plenary talk by Tom Gunning, I was the last speaker at this intensive, 6-day conference, so I will plead a little bit of fatigue and befrazzlement; I mostly resisted the urge to rewrite my paper over the course of the week as I heard so many stimulating ideas from the other speakers, but I will no doubt feed some of that stimulation back into the next draft of my paper. What I presented was an early sketch of my chapter on Spielberg for a forthcoming book, and thanks to helpful comments and questions from other delegates, I have a better idea of what I need to do to develop it into a longer, stronger essay. I hope you enjoy this snapshot of a work-in-progress, but let me know in the comments section if you have suggestions for improvement. Although the finished chapter will explore in more historical depth the relationship between Spielberg and Industrial Light and Magic, what I presented here is an attempt to characterise what Spielberg does with visual effects set-pieces, and how the audience is embedded in a “spectacular venue” for the presentation of marvellous things.
For no better reason than to mark the birthday (in 1866) of H.G. Wells, here’s a wholly charming audio clip of a meeting between the great SF author and his “little namesake”, Orson Welles. It’s a cordial bit of mutual appreciation, but to hear Welles modestly plugging a forthcoming film called Citizen Kane at Wells’ insistence, is a bit delightful. And there’s an interesting, if brief dismissal of the fuss surrounding Welles’ broadcast of The War of the Worlds.