On a Wednesday in 1977 a phenomenon began. That phenomenon was Star Wars.
Released in only 32 cinemas in the US on 25 May of that year the sci-fi space opera broke all box-office records and changed the movie making business. Star Wars was one of the first films to generate “round the block queues” for screenings (the literal definition of a “blockbuster”).
George Lucas famously popped out for lunch with his wife on opening day, saw lines of people queuing outside Mann’s Chinese Theatre in Los Angeles, and only then realised he had a hit on his hands. He’d expected a flop. So much so that he had a bet with friend Steven Spielberg that Close Encounters of the Third Kind would beat Star Wars at the box office. And that’s why Spielberg still receives 2.5% of profits on the film.
At least some of Star Wars’ initial success was as a result of the canny work of marketing director Charles Lippincoat who, ahead of the film’s release, shopped the novelisation (ghost written by sci-fi author Alan Dean Foster) and Marvel tie-in comics at events like San Diego Comic-Con. This generated a buzz amongst sci-fi fans who were already primed by release date. This is now standard practice with genre films and franchises who put a lot of effort into creating hype ahead of release, but back in 1977 it was a “thinking outside the box” strategy.
Star Wars also invented movie merchandising. As you walk the aisles of your local toy store, the proliferation of movie tie-in toys and action figures is down to the phenomenal success of Star Wars in this area.
Merchandising was such a small part of the movie industry prior to Star Wars that, in 1973, before the film was made George Lucas exchanged $350,000 worth of directing salary for the merchandising rights and the rights to the sequels. Conventional wisdom at the time was that this was a good deal for 20th Century Fox. It eventually cost them billions.
And of the movie itself? Well, I’m a fan and have been for as long as I can remember. I cannot recall the first time I saw the film. In the late 70s and early 80s you simply absorbed Star Wars from the atmosphere. You fenced with lightsabers of rolled up Christmas gift wrap, you hummed the theme music, you played with your cousin’s X-wing fighter toy.
I love the film, even despite its many flaws – a not exactly diverse cast, sometimes creaky acting, the occasional alien proboscis that looked like it was made out of cardboard, plot holes that you could fly a Corellian freighter through – but to me it’s still a vastly enjoyable tale.
George Lucas was inspired by the Flash Gordon type serials of his youth, the films of Akira Kurosawa, the special effects of 2001: A Space Odyssey, and the “heroes journey” mythology of Frazer’s The golden bough. Star Wars is a cinematic melting pot of references and homages that distills them down to a classic “good vs evil” story. The kind that’s timeless in its appeal. Or at least I hope it is… because I’m planning on watching it for another 40 years.
Matariki – the Māori New Year – will take place on Pipiri 25 June 2017. During Matariki we celebrate our unique place in the world. We give respect to the whenua on which we live, and admiration to our mother earth, Papatūānuku.
Matariki 2017 is a fresh look through old eyes at Māori oral traditions, practices and customs associated with the Māori New Year. Over the next three years the Christchurch City Libraries will be re-introducing ‘Te Iwa o Matariki – the Nine stars of Matariki’ beginning with Te Kātao o Matariki – the water stars of Matariki, Waipuna-ā-rangi, Waitī, Waitā.
Matariki Toi – Community Art Project in the Library
Each year a community art project runs in all our libraries for all to explore their creative side. This year the project is weave a star. Materials are supplied, all you have to do is bring your creativity.
Matariki Wā Kōrero – Matariki Storytimes
In addition to our normal Storytimes we have Matariki Storytimes. Come celebrate and welcome the Māori New Year with stories, songs, rhymes and craft activities. All welcome, free of charge.
Our Learning Centres are offering special Matariki Connect sessions for schools, introducing students to the key concepts of Te Iwa o Matariki with a focus on the three water stars, and involving a range of fun activities. This programme is now fully booked.
Other Matariki events in Christchurch
Matariki in the Zone – Sunday, 25 June
Organised by the Avon-Ōtākaro Network – a celebration of Matariki at the Mahinga Kai Exemplar site including the opening of the Poppies commemoration garden. Activities include –
build your own hut
displays and talks
Anzac Drive Reserve
Corserland St (access of New Brighton Road)
“This is what the river told me” art and writing competition
Year 1-13 pupils can submit a written work (up to 2000 words) or artwork (maximum size A3) along the theme of “This is what the river told me”. Entries close 16 June and should be emailed (for artworks a photograph of the art and dimensions/media) to email@example.com
Please include your first and last name, age, school and year.
The author of numerous books of a scientific bent is careful with his words and keen not to ruffle any feathers. It’s speculation on my part, but I wonder if his experience is that, on the topic of Time Travel, passions might sometimes become inflamed?
A curious full house gather at the Piano for this WORD Christchurch session featuring Gleick and fellow New Yorker Daniel Bernardi (erskine fellow, film and media studies scholar, science fiction expert and documentary filmmaker). They discuss the ins and outs, twists, turns and paradoxes of Time Travel. Before long there is, as is the new tradition when two educated Americans speak in the presence of non-Americans… a jocular swipe at the current US president.
Fortunately this science-loving audience is not in the least offended by the joke.
Gleick’s book Time Travel: A history is an exploration of the literature, science and zeitgeist of Time Travel. It’s far-ranging, smart and brain-expanding.
But what made him want to write on that topic in the first place?
I discovered this weird fact – that Time Travel is a new idea. That didn’t make any sense to me.
Why did it take until H. G. Wells’s novel The Time Machine for people to explore that as an idea? It seems a few things came together: photography and cinema were showing people a slice of the past in the present; instantaneous communication was suddenly possible making the lack of temporal alignment in different places more obvious; and time standards became a thing for the first time. As Gleick puts it, “the way people thought about Time was up for grabs”.
Then Einstein came along and things got really interesting.
Though Einstein’s theories allowed for the possibility of a sort of Time Travel, Gleick is quick to point out that it’s not the punching-a-date-on-a-machine or opening-a-portal-to-another-era kind. It’s really just the acknowledgement that there is no universal time. Everyone’s experience of time is personal and given the right set of circumstances (speedlight travel, for instance) your version of time can slow down relative to everyone else’s. This means that the Time Travel stories of the “Rip Van Winkle” (or Futurama) kind become technically possible. But Gleick doesn’t believe the imaginary, sci-fi type Time Travel that continues to excite our imaginations exists, or that it will. Though he seems apologetic about it, as if he’s mindful of deflating the aspirations of wannabe Time Travellers in the audience.
On the enduring appeal of Time Travel in literature and popular culture, Gleick feels that it lets people explore many things about families and relationships – it gives you the ability for “a do-over”. Like the movie Groundhog Day. He points out that a lot of Time Travel stories are about fathers and mothers, families and parents.
Take Back to the Future – isn’t this really just a movie about looking at your parents and realising they were once young like me, and wondering “what was that like?”
This is far from the only reference to Time Travel in popular culture, and many in the audience probably come away from this talk with a reading/watching list that includes:
A Handmaid’s Tale by Margaret Atwood – indicative of pessimism about the future of “our benighted country”.
Doomsday book – H. G. Wells never wrote about going into the past but Connie Willis does.
Looper – Movie that nicely skirts over the paradoxical plot difficulties by having Bruce Willis tell his younger self “If we’re going to talk about Time Travel sh*t we’re gonna be sitting here making diagrams with straws all day”.
Interstellar – Bernardi’s pick as the film that best visualises the science of Time Travel.
Arrival – A film that Gleick feels works very well in performing a “subtle trick” on the audience. All Time Travel stories have to do this but in this film you barely notice it happening.
Twelve Monkeys – Another Bruce Willis film that deals with a Time Travel loop and deals with a death.
“Blink” – Gleick’s favourite episode of Doctor Who, in particular a scene set in a spooky old house, “old houses are great time travel machines”. It’s also the first episode in which the phrase “timey-wimey” is used.
Gleick is at great pains to try and describe these stories in a way that does not reveal any important plot twists. In the case of Planet of the Apes this is… is adorable the right word? The movie came out in 1968. But no spoilers!
Another appealing aspect to Time Travel is that it’s a way of escaping death. After all, (spoiler alert!) Time will kill us all in the end.
When we hear Time’s winged chariot it’s not delivering good news.
But what is Time (other than universally deadly)? Scientists may tell you that Time is the 4th dimension and that it’s similar to the other physical dimensions in that we inhabit one spot and the rest stretches out away from us, both backward and forward. This rather flies in the face of what Gleick says we know “in our guts” about Time i.e. that the past has happened and the future hasn’t.
It seems an oddly obvious statement to have to make, and Gleick says it’s not a scientific one but a religious one.
Some of the audience questions delve into this idea of religious thought versus Time Travel and at this point I get lost, draw a spiral in my notebook and label it “loop of confusion”. Questions like “is God in Time with us?” and “doesn’t an interventionist God imply that the future isn’t set?” do somewhat “screw my noodle”. Given the heady topic, it seems inevitable that I lose the thread of the discussion at some point in proceedings. Perhaps it always has, and always did happen?
Other questions posed include one from my colleague Fee (who wrote her own post about James Gleick) and wonders if the future is set, then what about premonition? Which Gleick says (gently) that he does not believe in, though it’s a powerful idea.
Another question asks how it is that Gleick can explain such scientifically complex stuff in ways that non-scientist folk can understand. He says simply that he’s a journalist so he asks lots of questions and that a big part of it is just getting scientists to talk you as they sometimes “live in their own abstruse world”.
I am lucky enough to get the last mic grab of the night and ask my own question (which if I could have a Time Travel do-over for, I would make slightly less waffley). It’s with reference to the way we think about Time in terms of spatial metaphor. In the Western world we conceive of the past as being behind us and the future in front of us but in Māori culture this is flipped around – the past is known and therefore visible before you and it’s the future that approaches you from behind. In the course of researching had he found any other cultures that view Time this way? Gleick replies that the language we use, the words that we use to describe Time really shape how we think about it and that in some Asian languages Time travels on an “up and down” axis or “right to left”.
And if I thought my noodle was screwed before it definitely is now. As I exit the theatre along with the rest of the audience I concentrate on travelling forward through space and backwards/forwards/vertically through time.
Time: The real history of science fiction – BBC programme that discusses several of the films discussed in this session as well as the Grandfather paradox and other Time Travel tropes. (log in with your library card number and PIN to watch online)
If you’d told me when I was ten years old that I’d still enjoy a Famous Five tale 30 years later I’d have been thrilled. If you’d told me that at 15 I’d have been mortified. Such is the inextricable (and uncool) bond that Enid Blyton’s youthful sleuths have with childhood, innocence, and jolly good fun.
But things have changed and so have George, Dick, Anne, Julian and Timmy. Get ready for “Enid Blyton for Grown-ups”.
The former Dorset-based cousins now flat together in London, have office jobs, mobile phones, and drinking problems (Julian). It’s now less “lashings of ginger beer” and more “out on the lash at the local”. Author Bruno Vincent’s reworking of Blyton’s much beloved characters incorporates humorous observations on modern life, knowing nods, and is positively soaked in irony.
Take, for example, George’s response to Anne’s suggestion that they all chip in for a Mother’s Day gift for Aunt Fanny, since she was practically a second mother to them all during their summers in Kirrin.
…My memory is that we were nearly killed about two dozen times. I think Mummy should count herself lucky to have escaped a custodial sentence for neglect…
Five Forget Mother’s Day sees the now young professionals grappling with mysteries of the “what do we get Aunt Fanny for Mother’s Day?” variety.
It’s a fun, quick read that somehow manages to be witty and modern whilst still retaining that “don’t worry, old bean, we’ll all muck in together and get through this sticky wicket” attitude that typified the original Famous Five.
An unexpected benefit of this particular title in the series (others on my “to read” list include “Five Go Parenting” and “Five on Brexit Island“), is that if you leave it lying around, your co-parent might take this as a passive-aggressive hint that Mother’s Day is Not To Be Forgotten. In my case this effect was unintentional, but it could perhaps be strategically deployed in families where forgetfulness is rife?
Five Forget Mother’s Day; conspicuously visible on a couch arm near you?
6.30am: Service begins centred around the Memorial Cenotaph
7.15am: Service concludes with Mayor Lianne Dalziel laying a wreath on behalf of the citizens of Christchurch.
Organised by the Canterbury Branch of the Malayan Veterans Association in conjunction with the Christchurch Branch of the Royal New Zealand Returned and Services Association (RSA), and the Christchurch City Council.
There will be a volley of shots fired and a fly-over by the Royal New Zealand Air Force. The New Zealand Army Band will be in attendance and a bugler will play The Last Post.
The service runs for about 30–45mins and will be projected on two large screens.
The Citizens’ Service is organised by Christchurch City Council in conjunction with Christchurch Cathedral and the RSA. An address will be given by Air Commodore Andrew Woods, RNZAF and representatives of the NZ Defence Force, Consular Corps and various Christchurch youth groups will be attending.
In 2015, the Canterbury Province Field in Cranmer Square contained 632 crosses commemorating the men and women of Christchurch who died in 1915. A further 825 crosses were added in 2016 and the field will gain more crosses again this year.
Exhibitions, displays and events
Heathcote WWI Soldiers Remembered – 31 March to 30 April at Linwood Library at Eastgate Mall. The soldiers from Heathcote Valley who died in WWI are individually remembered in an exhibition at Linwood Library.
Eastside Gallery: Anzac Exhibition 2017 Opening Wednesday 19 April – Friday 28 April. A multi-media participatory experience on the theme, “We honour, we remember, we reflect”. Photographs, artworks, installations, memorabilia, talks, readings, poetry and prose, printed and audiovisual material. With a poetry evening on Friday 28 April.
All you had to do to enter was name one of our Music eResources. We had a healthy number of entries but there were only 2 winners, namely:
Disappointed that you didn’t win?
You can listen to the pieces featured in next week’s concert (John Adams Shaker loops, Mozart’s Clarinet concerto in A major, and Beethoven’s Symphony no. 6 in F major, Pastorale) from the comfort of home (or the bus, or wherever) via Classical Music Library.