Сборники Художественной, Технической, Справочной, Английской, Нормативной, Исторической, и др. литературы.

SF&F encyclopedia (Q-Q)

(vt The Winged Serpent; vt Q: The Winged Serpent) Film (1983). Larco.
Prod and dir Larry COHEN, starring Michael Moriarty, Candy Clark, David
Carradine. Screenplay Cohen. 92 mins. Colour.In this witty MONSTER MOVIE -
which subverts our expectations about how both society and B-movies work
in almost the same breath - "Q" represents on the one hand Quetzalcoatl, a
giant winged serpent (thus sf) and Aztec god (thus not sf) that terrorizes
New York, possibly called up by the city's violence, and on the other hand
Quinn (Moriarty), a small-time jewel thief and opportunist who discovers
the monster's lair atop the Chrysler Building (where there is, naturally
enough, an Aztec pyramid). The likable human monster Quinn metaphorically
coalesces with the literal monster. But Quinn plays Judas to the
incarnated god, thus laying himself open to retribution from a ritual
mutilator, one of Q's disciples. He is saved by cool policeman Shepard
(Carradine), to whom monsters are just one more story in the Naked City.
Moriarty is superb and, in its confident mounting, its sophistication, and
its higher-than-average (for Cohen) production values, Q may be its
director's best film. [PN]



US FANZINE (1950-53), 30 issues, ed from Georgia by Lee HOFFMAN. Though
undistinguished in appearance, Q was noted for the quality and humour of
its writing; along with HYPHEN, its influence on fan publishing is still
strong. Contributors included Walt Willis (1919- ), Robert SILVERBERG,
Wilson TUCKER, Robert BLOCH and James WHITE. Hoffman still publishes, but
no longer edits, Science Fiction Five Yearly, the fanzine holding the
record for the longest gaps between regular issues, founded 1951, #9 in
1991; it shares many contributors with Q. A single-issue reprint
collection of Quandry #14-#17 was published in 1982 by Joe D. Siclari.

US tv series, (1989-1993). Universal/MCA for NBC. Created and prod Donald
P. Bellisario. Supervising prod Deborah Pratt. Writers include Bellisario,
Pratt, Beverly Bridges, Paul Brown, Chris Ruppenthal, Scott Shepherd,
Tommy Thompson. Dirs include David Hemmings, Aaron Lipstadt, James R.
Whitmore, Gilbert Shelton, Christopher Welch, Joe Napolitano, Michael
Watkins, Michael Zinberg. Five seasons to May 1993, 95 one-hour episodes
in all. Colour.QL is an unusual TIME-TRAVEL series, with Scott Bakula as
Sam Beckett (!), a scientist lost in time, helped only by the projected
hologram of Albert (Dean Stockwell), an eccentric colleague trapped in the
future. Unlike the heroes of The TIME TUNNEL (1966-7), who were physically
dumped into historical situations, Beckett travels mentally, his
consciousness inhabiting the bodies of other people at any time between
the 1950s and the 1980s (the time visited has to be after his own birth).
As in Here Comes Mr Jordan (1941), the audience sees the hero as himself
while those around him see the person he is possessing. Although the
premise is gimmicky, the series reached a surprisingly high standard.
Highspots from 1989 have Beckett suddenly in the bodies of a test pilot
about to step into an experimental plane Beckett can't possibly fly, a
mobster required to sing in Italian at a wedding, an old Black man in the
South in the 1950s during a civil-rights demonstration, and a pretty woman
being pursued by a lecherous suitor. Only notionally sf, this is a shade
grittier, funnier and cleverer than it has any right to be, and benefits
strongly from the two relaxed, witty central performances. [KN]


Austrian FANZINE; ed Franz ROTTENSTEINER since its inception in 1963. In
the argot of fans, QM is a "sercon" (serious and constructive) fanzine,
one of the longest-running and most impressive of its type. It publishes
critical, bibliographical, sociopolitical and historical studies of sf,
UTOPIAS, weird fiction and FANTASY. Averaging 90 large unillustrated pages
per issue, QM has now published around 3 million words of serious
criticism; it had reached #74 by the end of 1990. Contributors have
included most of the major German sf critics, and writers such as Herbert
W. FRANKE and Stanislaw LEM; many contributors have been from Eastern
Europe. A collection of some of the best contents is Quarber Merkur (anth
1979 Germany). [PN]

US ORIGINAL-ANTHOLOGY series from Paperback Library, ed Samuel R. DELANY
and the poet Marilyn Hacker (1942-) - they were married 1961-80 -
subtitled "A Quarterly of Speculative Fiction". It was the most overtly
experimental and NEW-WAVE of the ANTHOLOGY series of the early 1970s, and
provoked some hostility in the sf world. It attempted an ambitious,
graphically sophisticated package; but some illustration was substandard
and the design was irritating rather than innovative, with such
counterproductive features as the appearance of authors' names only at the
end of each story and, for #2 (because of a production oversight), the
omission of a contents page. Although Q featured good work by Thomas M.
DISCH, R.A. L AFFERTY, Ursula K. LE GUIN, Joanna RUSS and others, it
lasted only 4 issues: Quark 1 (anth 1970), #2 (anth 1971), #3 (anth 1971)
and #4 (anth 1971). [MJE/PN]


(vt The Quatermass Conclusion) UK tv serial (1979). Euston Films/ITV.
Prod Ted Childs. Dir Piers Haggard, starring John Mills, Simon
MacCorkindale, Rebecca Saire. Written Nigel KNEALE. 4 60min episodes.
Colour. Version for film release (but receiving general release only on
videotape) titled The Quatermass Conclusion, 102 mins.This fourth and
weakest of the Quatermass tv serials (see below for details of the others)
was written in the late 1960s for BBC TV, rejected as too expensive, and
finally made for commercial tv a decade later. The delay rendered
out-of-date the sequences about hippie adolescents lured to neolithic
sites to be harvested by aliens. The other part of the plot, dealing with
near-future breakdown of law and order in a London becoming a wasteland,
is stronger; but the two halves never properly meld, and Q lacks the
narrative thrust of its predecessors. John Mills's Quatermass is rather
old and sad, and, though there is much to enjoy, there is a faintly
querulous, elderly air about the whole production. The cut version, though
planned from the beginning, is semi-incoherent. Kneale's obsessive,
30-year repetition of the science-meets-superstition theme is altogether
jollier in his screenplay for HALLOWEEN III: SEASON OF THE WITCH (1983),
also featuring a stone circle. [PN]

1. UK tv serial (1958-9). BBC TV. Prod and dir Rudolph Cartier, starring
Andre Morell (as Quatermass), Anthony Bushell. Written Nigel KNEALE. 6
35min episodes. (Released on video 1988 at 178 mins.) B/w.As in QATP's two
predecessors, The QUATERMASS EXPERIMENT and QUATERMASS II, Kneale's theme
is demonic possession, dressed up ingeniously as sf. Morell was the best
of the BBC's three Professor Quatermasses, and most critics judge the tv
serial better than the film version. The published script is Quatermass
and the Pit * (1960) by Kneale. For details of the story see below.2. Film
(1967; vt Five Million Years to Earth US) Hammer/Seven Arts. Dir Roy Ward
Baker, starring Andrew Keir (as Quatermass), Barbara Shelley, James
Donald. Screenplay Nigel KNEALE, based on his BBC TV serial. 97 mins.
Colour.Hammer's third Quatermass film, a decade after the second and the
only one with an English actor (Keir) in the title role. The first two
were The QUATERMASS XPERIMENT (1955) and QUATERMASS II (1957). Workers
excavating a tunnel find an apparent unexploded bomb; it is actually a
Martian spaceship. In a plot-turn deftly blending sf with speculation on
Jungian archetype, it turns out that racial memories have been coded in
our brains by Martians during our prehistory: our image of the Devil is a
distorted "memory" of the Martians' appearance (antennae equalling horns),
and our irrational belligerence reflects the Martians' ritualistic culling
of the weaker members of their species. The spaceship's power source is
merely dormant, and as it comes to life (poltergeist phenomena being the
first effect) it reinforces ancient nightmares. In the disturbing climax
panicked Londoners begin an orgy of destruction as a Devil's head rises
above the streets and paranormal powers are let loose. QATP is surely the
inspiration for Stephen KING's novel The Tommyknockers (1987).Kneale's
characteristic blend of GOTHIC and science is intelligent and
entertaining. Although inferior to its tv original, which had more time to
develop its irrational but mesmerizing thesis, the film is still above


UK tv serial (1953). BBC TV. Prod and dir Rudolph Cartier, starring
Reginald Tate (as Quatermass), Isabel Dean, Duncan Lamont. Written Nigel
KNEALE. 6 30min episodes. B/w.Before the first episode, the BBC warned
that the serial was "thought to be unsuitable for children or persons of a
nervous disposition". For 6 Saturday nights the UK tv audience watched a
genuinely unsettling story unfold - an ingenious combination of sf and the
traditional horror theme of possession. It was a milestone in televised
sf. The script was published as The Quatermass Experiment * (1959) by
Kneale. For details of the story The QUATERMASS XPERIMENT . [JB]

1. UK tv serial (1955). BBC TV. Prod and dir Rudolph Cartier, starring
John Robinson (as Quatermass). Written Nigel KNEALE. 6 35min episodes.
B/w.This was the sequel to The QUATERMASS EXPERIMENT ; for details of the
story see below. The script was published as Quatermass II * (1960) by
Kneale.2. Film (1957; vt Enemy from Space US) Hammer/United Artists. Dir
Val Guest, starring Brian Donlevy (as Quatermass), Bryan Forbes, John
Longden, Sidney James. Screenplay Nigel KNEALE, Val Guest, based on the
BBC TV serial by Kneale. 85 mins. B/w.This was #2 of the 3 Quatermass
films produced by Hammer, and the first coscripted by Kneale; it is the
most difficult to judge since Kneale, who disliked Donlevy's US
performance and Guest's tampering with his script, withdrew the film from
circulation in 1965 when rights reverted to him. Many critics think it the
best of the Quatermass films, and some deem it the greatest of all UK sf
movies (though astonishingly similar in theme to the US film INVASION OF
THE BODY SNATCHERS [1956]): disturbing, intense, unrelenting, paranoid and
especially nightmarish in its depiction of figures in power conspiring
with aliens capable of entering and controlling human bodies. Much of the
action takes place in the brooding landscapes of the North of England,
where a mysterious technological complex turns out to be the alien power
base. The strong political allegory of ordinary people cruelly exploited
by a cold-blooded (and in this case literally inhuman) ruling class was
very adventurous for the time.The tv ending (Quatermass goes into space to
destroy the asteroid which is the alien base) is dropped in the film. The
film's predecessor was The QUATERMASS XPERIMENT (1955) and its successor

(vt The Creeping Unknown US) Film (1955). Hammer. Dir Val Guest, starring
Brian Donlevy (as Quatermass), Richard Wordsworth, Jack Warner. Screenplay
Richard Landau, Val Guest, based on the BBC TV serial by Nigel KNEALE. 82
mins, cut to 78 mins. B/w.It was this film version of the BBC's tv serial
The QUATERMASS EXPERIMENT that convinced the Hammer company there was
money in horror. (The spelling "Xperiment" referred jokingly to the X
certificate Hammer correctly expected the film to be given because of what
seemed in those innocent days its alarming horror content.) An astronaut
returns to Earth infected by spores from space that slowly take over his
body, finally transforming him into an amorphous blob that retreats into
Westminster Abbey, where it is electrocuted by Quatermass. (The original
tv serial ends with Quatermass talking to all the three astronaut psyches
lingering within the monster, thus convincing the blob to self-destruct.)
Richard Wordsworth's shambling, pitiful performance as the afflicted
astronaut is quite moving, communicating (though he barely speaks) a sense
of something utterly alien to human experience. TQX is a minor classic.




[r] SPAIN.

US sf magazine; large- BEDSHEET slick format; 13 issues, Spring 1978-Oct
1981; published by M.W. Communications Inc (William G. Wilson and Robert
V. Michelucci), Pittsburgh; ed William G. Wilson Jr. The final, redesigned
issue, had a new title: Quest/Star, subtitled "The World of Science
Fiction".Questar began as a media SEMIPROZINE largely devoted to talk
about COMICS and sf CINEMA, with a sprinkling of not very good stories. #3
introduced interior colour illustration, and a greater concentration on
movies and interviews. Though glossy, it remained insipid. Only with #13 -
for which, astonishingly, H.L. GOLD was dragged from retirement as fiction
editor - did Q begin publishing reputable fiction. This was too little,
too late. Undercapitalized - and undersold, despite its patchy national
distribution from #7 - Q sank, lamented by few. Publication was irregular,
though approximately quarterly. [PN]

Film (1981). ICC-Cine-Trail (Montreal)/Belstar Productions/Stephan Films
(Paris). Dir Jean-Jacques Annaud, starring Everett McGill, Ron Perlman,
Nameer El-Kadi, Rae Dawn Chong. Screenplay by Gerard Brach, based on La
Guerre du Feu (1909) by J.H. ROSNY aine. 100 mins. Colour.This
Canadian/French coproduction dramatizes the 1909 French classic
prehistoric romance by J.H. Rosny aine, trans as The Quest for Fire: A
Novel of Prehistoric Times (cut trans 1967 US). Great care (possibly
misplaced, since who can know?) was taken to make it all seem authentic,
from positions adopted for love-making (body language credited to Desmond
Morris) and an imaginary agglutinative language with a vocabulary of about
200 sounds (linguistics credited to Anthony BURGESS). The tribe's fire has
gone out, and three tribesmen go on a quest to find fresh fire (it is a
kind of Holy Grail), confronting a more primitive cannibal tribe and then
the more sophisticated Ivaka, who know how to make fire. As an exercise in
imaginary ANTHROPOLOGY it is mildly impressive (though it has its cod
aspects, its 1909 original not being the last word in prehistoric
insight); as story-telling, it covers familiar generic ground, but is all
very enjoyable - especially the arbitrary herd of mammoths (elephants
wearing rugs) - and rather touching. The Kenyan and Scottish highlands,
beautifully photographed, stand in for prehistoric Europe. [PN]

Film (1971). Peter Rogers Productions. Dir Ralph Thomas, starring Tom
Bell, Joan Collins, Denholm Elliott, Laurence Naismith. Screenplay Terence
Feely, based on "Random Quest" (1961) by John WYNDHAM. 91 mins.
Colour.Romance about a physicist (Bell) accidentally transferred to a
PARALLEL WORLD, where he falls in love with the wife (Collins) of his
alter ego, a playwright and cad, whose place he has taken. She dies. On
being sucked back to our own world, he desperately quests for her
counterpart, hoping to save her and have a second chance at love. He does.
Good performances, so-so as sf, with the differences of the new world
(Kennedy not assassinated, etc.) established only perfunctorily. Wyndham's
original story is one of his weakest. [PN]

Made-for-tv film (1974). Universal/NBC. Dir Richard A. Colla, starring
Robert Foxworth (as Questor), Mike Farrell, John Vernon. Teleplay Gene
RODDENBERRY, Gene L. Coon. 100 mins. Colour.This was the rather good pilot
episode for a tv series that never sold. Questor, the last of a series of
ANDROID guardians deposited on Earth eons ago by a beneficent ALIEN race,
has been faultily programmed, and the story involves his search for
information that will explain his origin and mission. Little is resolved,
since the film was designed as an introduction only. The novelization is
The Questor Tapes * (1974) by D.C. FONTANA. [JB]



(? - ) US writer who began publishing sf with "Rest in Pieces" for IASFM
in 1980, but who came to more general notice, after several 1980s stories
in ASF, with the Dreams sequence of sf adventures: Dreams of Flesh and
Sand (1988), Dreams of Gods and Men (1989) and Singularities (1990). The
tales are clear-cut and taut, but the huge corporations dominated by AIs
were unsurprising fare for readers familiar with the rapid explosion of
the CYBERPUNK subgenre. Yesterday's Pawn (1989), also an adventure tale,
takes its adolescent protagonist through space and time as he attempts to
decipher the importance of an ancient artefact; but Systems (1989) returns
to cyberpunk territory in the fast-paced story of a "data hunter"
simultaneously grieving for his pregnant wife and solving the mysteries
surrounding her murder. [JC]

Film (1985). Cinepro/Pillsbury. Dir Geoffrey Murphy, starring Bruno
Lawrence, Alison Routledge, Peter Smith. Screenplay Bill Baer, Bruno
Lawrence, Sam Pillsbury, based on The Quiet Earth (1981) by Craig
HARRISON. 91 mins. Colour.This New Zealand film tells of a
scientific/metaphysical DISASTER, perhaps consequent upon a secret project
in energy transmission, in which all people disappear from the Earth
except those who coincidentally die at the moment of the disaster: these
are resurrected. A guilt-ridden scientist plays solitary games in a
deserted city; he meets a woman survivor and then a tough Maori, with the
usual male rivalry ensuing. The scientist realizes the fabric of the
Universe has become unstable and tries to put it right, with interesting
results. A small, low-key, honest film, suffering from a derivative
storyline and rather pedestrian direction and performances. [PN]

[s] Max ADELER.

Kenneth BULMER.

Pseudonym of UK writer Halliwell Sutcliffe (1870-1932), whose Baron
Verdigris: A Romance of the Reversed Direction (1894) features a
12th-century knight cast into confusion by being able to remember both the
past and the future, but not to distinguish between them. [JC]

(1935- ) US writer who began publishing work of genre interest with
Dreamer (1988), a dark fantasy, and who came to wide notice with Ishmael
(1992), which won the first Turner Tomorrow Award of $500,000. The novel
is a quietly told but elegantly unrelenting indictment of Homo sapiens's
lethal tenure as rulers of the planet, spoken through the consciousness of
a melancholy, didactic great ape ( APES AND CAVEMEN) who attempts to teach
the human protagonist what must be done: you must (he insists) change your
lives; or you will all die. [JC]

(1927- ) Northern Irish illustrator. One of the "grand old men" (with
Brian LEWIS) of UK sf illustration in the 1950s, GAQ did hundreds of
illustrations for UK sf magazines, beginning 1951, including 36 covers for
NW, 24 for Science Fantasy, 3 for Nebula Science Fiction, 2 for Vision of
Tomorrow and, in a minor 1982 comeback after largely disappearing from the
scene in the mid-1960s, 2 for EXTRO. Specializing in alien landscapes, his
astronomical paintings were often compared to those of Chesley BONESTELL,
though his use of colour was less photographically realistic. His interior
black-and-white work was intricate. [JG/PN]

(? - ) US editor whose Quinn Publishing Co started the magazine IF in
1952; JLQ became editor after the first 4 issues. Its circulation
gradually declined, and in 1958 JLQ appointed Damon KNIGHT in his place.
The magazine's fortunes did not revive and JLQ suspended publication,
subsequently selling the title to the publishers of GALAXY SCIENCE
FICTION. With Eve Wulff he ed 2 anthologies drawn from the magazine: The
First World of If (anth 1957) and The Second World of If (anth 1958).


Film (1979). Lion's Gate/20th Century-Fox. Dir Robert Altman, starring
Paul Newman, Bibi Andersson, Vittorio Gassman, Fernando Rey, Brigitte
Fossey, Nina Van Pallandt, David Langton. Screenplay Frank Barhydt,
Altman, Patricia Resnick, from a story by Altman, Lionel Chetwynd,
Resnick. 118 mins. Colour.This strange film, crucified on release, is
perhaps better than the then-consensus suggested. Newman is the
seal-hunter in an (apparently) post- HOLOCAUST frozen future, a new Ice
Age, who with his pregnant wife joins a dying but still crowded city,
where corpses are left in the snow for the dogs to eat, where nobody is
born any more, and where anomie is held at bay only by obsessive playing
of the game Quintet. This is played either on a board or in real life; in
the latter case 5 people must be killed: only 1 will survive. Newman's
wife (Fossey) is accidentally killed during a game attack (along with
Earth's last foetus), and Newman vengefully joins the game, wins, killing
his new lover (Andersson) in the process, and vanishes back into the snow.
The obvious reading is that of the still vigorous, romantic hero
destroying a corrupt society. Another plausible reading is that the
death-focused game is all the real life that is left, and that the hero's
despising it is itself a sterile act of turning away: the hero as lost
fool. The imagery is strong, the pace glacial and the theme
overintellectualized; the deliberately international cast sounds most of
the time very uncomfortable with English (though the very alienation that
suggests is appropriate to the story). Q bores the watcher, yet lingers
for years in the mind. [PN]

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