Stuff what I done in 2020

Slept badly, cried, comfort ate, comfort drank, comfort read, comfort watched old movies, sat staring out of windows, struggled with depression (my own and that of loved ones), had a brain seizure (eventually tentatively diagnosed as a ‘vascular incident’), injured left leg in the seizure so had to stop running, started running again, injured right knee running, stopped running again, performed massive amounts of additional labour neither recognised nor remunerated by my employer, left the EU (which was none of my doing), was governed by a bunch of clowns whose arrogance, greed and incompetence has cost thousands of live and billions of pounds (ditto), and missed seeing y’all.

Somehow, during all that, I managed to finish writing The Anthropocene Unconscious, which I should now be revising rather than writing this, and Andrea mocked up a cover based on my suggestions for Verso, though I suspect they are not going with this image or this subtitle:

And I gave a virtual keynote based on its opening chapters:

  • ‘The Anthropocene Unconscious: Geological Disruptions of Discourse’, Anthropocenes: Reworking of the Wound, European Society for Literature, Science and the Arts/Uniwersytet Śląski w Katowicach/Muzeum Śląskie, Katowice, Poland, 17–20 June 2020

I was inundated with requests to say or write things about viruses, contagion, pandemics – and agreed to do these ones because friends (or people Erdogan labelled traitors) asked:

  • The Virus Has Seized the Means of Production’, Boston Review (8 May 2020)
  • Contributed to ‘Thinking Through the Pandemic’ symposium, Science Fiction Studies 142 (2020), 321–376
  • Contributed to ‘Watching Through the Pandemic’, Showcase, TRTWorld 20 April 2020
  • ‘Prospectus for a Viral Future: “The Giving Plague”’, Zanzalá: The Brazilian Journal of Science Fiction Studies (2020)—forthcoming

The only other things I managed to write were:

  • ‘Cli-Fi’ in J.P. Telotte, The Oxford Handbook of New Science Fiction Cinemas (Oxford UP, forthcoming)
  • ‘Tsukamoto Shinya’ in Anna McFarlane, Graham Murphy and Lars Schmeink, eds., 50 Key Figures in Cyberpunk Culture (Routledge, forthcoming)

But I did have two book chapters and two reviews appear:

  • ‘Space/Race: Recovering John M. Faucette’ in Isiah Lavender III and Lisa Yaszek, eds, Literary Afrofuturism in the Twenty-First Century (Ohio State UP 2020), 109–127
  • ‘Representing the Economy and Neoliberal Subjectivity in Le Capital’ in Homer Pettey, ed., The Films of Costa-Gavras: New Perspectives (Manchester UP 2020), 199–215
  • ‘Dan Hassler-Forest, Science Fiction, Fantasy, and Politics: Transmedia World-Building Beyond Capitalism’, Science Fiction Film and Television 13.3 (2020) 434–439
  • ‘Aimee Bahng, Migrant Futures: Decolonizing Speculation in Financial Times’, Extrapolation 61.1–2 (2020), 189–193

I did exactly one public f2f event before everything turned to shit, introducing the restored version of Sergei Eisenstein’s Battleship Potemkin for Arnolfini/Southwest Silents, the Arnolfini, Bristol 13 March 2020.

And I examined three PhDs:

  • Michelle Clarke, Ecocritical Frontiers in Sub-Saharan Anglo-African Speculative Fiction (SOAS, London 2020)
  • Toby Nielson, Ecological Imaginaries: Contemporary Science Fiction Cinema in the Anthropocene (Glasgow University 2020)
  • RJ O’Connor, A Miéville Bestiary: Monsters as Commentary on Real and Conceptual Landscapes in the Work of China Miéville (University of Leeds 2020)

Of the two examined via zoom, my leg suffered massive cramps during Toby’s and my mac died partway through Michelle’s (though fortunately it was after we’d told her she had passed).

And I read 311 books and watched 425 films.

My top 30 films of 2020

In 2020, I saw 425 films (thanks to lockdowns, insomnia, etc). Of the 216 I saw for the first time, these are my top 30 films (three of which I actually saw in a cinema, remember those?):

Voyna i mir I-IV/War and Peace, Parts I-IV (Sergey Bondarchuk 1966- 67)
Wendy and Lucy (Kelly Reichardt 2008)
Krylya/Wings (Larisa Shepitko 1966)
Sanshô Dayû/Sansho the Bailiff (Kenji Mizoguchi 1954)
Blindspotting (Carlos López Estrada 2018)
Kurîpî: Itsuwari no rinjin/Creepy (Kiyoshi Kirosawa 2016)
Gisaengchung/Parasite (Bong Joon-ho 2019)
Zan/Killing (Tsukamoto Shinya 2018)
Chiyari Fuji/Bloody Spear at Mount Fuji (Tomu Uchida 1955)
Salinui chueok/Memories of Murder (Bong Joon Ho 2003)
Banshun/Late Spring (Yasujirô Ozu 1949)
Elena et les hommes (Jean Renoir 1956)
Fat City (John Huston 1972)
Finis Terrae (Jean Epstein 1929)
Fighting With My Family (Stephen Merchant 2019)
Maborosi (Hirokazu Koreeda 1995)
Booksmart (Olivia Wilde 2019)
Nuoc 2030 (Minh Nguyen Vo 2014)
Little Monsters (Abe Forsyth 2019)
Ready or Not (Matt Bettinelli-Olpin and Tyler Gillett 2019)
Catch Me Daddy (Daniel Wolfe 2014)
The Bigamist (Ida Lupino 1953)
Le mani sulla città/Hands Over the City (Francesco Rosi 1963)
Kuro no testu kâ/Black Test Car (Yasuzô Masumura 1962)
Bãhubali: The Beginning (S.S. Rajamouli 2015)
Bãhubali 2: The Conclusion (S.S. Rajamouli 2017)
Córki Dancingu/The Lure (Agnieszka Smoczynska 2015)

Best scene-stealing by a dog award
Tre Fratelli/The Brothers (Francesco Rosi 1981)

Most bonkers production design award
The Scarlet Empress (Josef von Sternberg 1934)

Most 2020 viewing experience
Filibus: The Mysterious Air-Pirate (Mario Roncoroni 1915) – watching a restored print streamed by an Italian museum on the TV along with a crappy old print but with translated intertitles playing at a different frame-rate on a laptop

Other honourable mentions for films I’ve seen before but not in these versions (and all of them in actual cinemas, how 2019 of me!)
Bronenosets Potemkin/Battleship Potemkin, restored version (Sergei Eisenstein 1925)
Der Golem, 4K restoration (Paul Wegener, Carl Boese 1920)
Mad Max: Fury Road, Black and Chrome Edition (George Miller 2015)

And if anyone’s interested, here is the full list of 425
2 Fast 2 Furious (John Singleton 2003)
13 Hours: The Secret Soldiers of Benghazi (Michael Bay 2016)
21 Bridges (Brian Kirk 2019)
7500 (Patrick Vollrath 2019)

Adventure in the Sahara (D. Ross Lederman 1938)
Advise & Consent (Otto Preminger 1962)
Ah-ga-ssi/The Handmaiden (Park Chan-wook 2016)
Akumu tantel/Nightmare Detective (Tsukamoto Shinya 2006)
Alice, Sweet Alice (Alfred Sole 1976)
Alita: Battle Angel (Robert Rodriguez 2019)
Angel Has Fallen (Ric Roman Waugh 2019)
Aniara (Pella Kågerman, Hugo Lilja 2018)
Aningaaq (Jonás Cuarón 2013)
Annihilation (Alex Garland 2018)
Arcadia (Paul Wright 2017)
Arrival (Denis Villeneuve 2016)
Avril et le monde truqué/April and the Extraordinary World (Christian Desmares and Franck Ekinci 2015)
L’Avventura (Michelangelo Antonioni 1960)

The Bad and the Beautiful (Vincente Minnelli 1952)
Bad Boys for Life (Adil and Bilall 2020)
Bad Times at the El Royale (Drew Goddard 2018)
Bãhubali: The Beginning (S.S. Rajamouli 2015)
Bãhubali 2: The Conclusion (S.S. Rajamouli 2017)
Bait (Kimble Rendall 2012)
Bait (Dominic Brunt 2014)
Bakuretsu toshi/Burst City (Ishii Sogo 1982)
Banshun/Late Spring (Yasujirô Ozu 1949)
The Baron of Arizona (Sam Fuller 1950)
Before Midnight (Richard Linklater 2013)
Before Sunrise (Richard Linklater 1995)
Before Sunset (Richard Linklater 2004)
The Beguiled (Sofia Coppola 2017)
Better Luck Tomorrow (Justin Lin 2002)
The Bigamist (Ida Lupino 1953)
Bigger Than Life (Nicholas Ray 1956)
The Birds (Alfred Hitchcock1963)
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (Cathy Yann 2020)
Black and Blue (Deon Taylor 2019)
The Blackboard Jungle (Richard Brooks 1955)
BlacKkKlansman (Spike Lee 2018)
Blind Fury (Phillip Noyce 1989)
Blindness (Fernando Meirelles 2008)
Blindspotting (Carlos López Estrada 2018)
Bloodshot (David S. F. Wilson 2020)
Blue Iguana (Hadi Hajaig 2018)
Bone Tomahawk (S. Craig Zahler 2015)
Booksmart (Olivia Wilde 2019)
The Bride Came C.O.D. (William Keighley 1941)
Brightburn (David Yarovesky 2019)
Bronenosets Potemkin/Battleship Potemkin (Sergei Eisenstein 1925)
Bronenosets Potemkin/Battleship Potemkin, restored version (Sergei Eisenstein 1925)Bud Abbott Lou Costello Meet the Invisible Man (Charles Lamont 1951)
Bulldog Drummond (F. Richard Jones 1929)
Bullet Ballet (Tsukamoto Shinya 1998)
Bumblebee (Travis Knight 2018)
Bus Stop (Joshua Logan 1956)
The Butler (Lee Daniels 2013)

The Cabin in the Woods (Drew Goddard 2011)
Calling Bulldog Drummond (Victor Saville 1951)
Captain Kronos: Vampire Hunter (Brian Clemens 1974)
Casablanca (Michael Curtiz 1942)
Catch Me Daddy (Daniel Wolfe 2014)
C’era una volta il West/Once Upon a Time in the West (Sergio Leone 1968)
Charley Varrick (Don Siegel 1973)
Charlie’s Angels (Elizabeth Banks 2019)
Chelovek s kino-apparatom (Dziga Vertov 1929)
Chikyû kogeki meirei: Gojira tai Gaigan/Godzilla vs. Gigan (Jun Fukuda 1972)
Chinatown (Roman Polanski 1974)
Chiyari Fuji/Bloody Spear at Mount Fuji (Tomu Uchida 1955)
Christine (John Carpenter 1983)
Chui lung/Chasing the Dragon (Jason Kwan, Jing Wong and Aman Chang 2017)
The Cloverfield Paradox (Julius Onah 2018)
Color Out of Space (Richard Stanley 2019)
Concerning Violence: Nine Scenes from the Anti-Imperialistic Self-Defense (Goran Olsson 2014)
Un condamné á mort s’est échappé où Le vent soffle ou il veut/A Man Escaped (Robert Bresson 19560
Contagion (Steven Soderbergh 2011)
Córki Dancingu/The Lure (Agnieszka Smoczynska 2015)
Crawl (Alexandre Aja 2019)
The Crimson Kimono (Sam Fuller 1959)
Crumbs (Miguel Llansó 2015)

Daikaijû Gamera/Gamera (Noriaki Yuasa 1965)
Daikaijû kettô: Gamera tai Barugon/Gamera vs. Baguron (Shigeo Tanaka 1966)
Daikaijû kûchûsen: Gamera tai Gyaosu/Gamera vs. Gyaos (Noriaki Yuasa 1967)
Dai-Nihonjin/Big Man Japan (Matsumoto Hitoshi 2007)
The Dark Tower (Nikolaj Arcel 2017)
The Day After Tomorrow (Roland Emmerich 2004)
The Day the Earth Stood Still (Scott Derrickson 2008)
The Dead Don’t Die (Jim Jarmusch 2019)
Dead Slow Ahead (Mauro Herce 2015)
Death Proof (Quentin Tarantino 2007)
Death Race (Paul W.S. Anderson 2008)
Death Race 2 (Roel Reiné 2010)
Le déjeuner sur l’herbe/Picnic on the Grass (Jean Renoir 1959)
Denchû kozô no bôken/The Adventure of Denchu-Kozo (Tsukamoto Shinya 1987)
The Descent (Neil Marshall 2005)
Destination: Planet Negro! (Kevin Willmott 2013)
Detroit (Kathryn Bigelow 2017)
The Devil is a Woman (Josef von Sternberg 1935)
Les diaboliques (Henr-Georges Clouzot 1955)
Die Hard (John McTiernan 1988)
Dishonored (Josef von Sternberg 1931)
Dong (Jia Zhangke 2006)
Doomsday (Neil Marshall 2008)
Don’t Bother to Knock (Roy Baker 1952)
Dragged Across Concrete (S. Craig Zahler 2018)
Duel (Steven Spielberg 1971)
Du rififi chez les hommes/Rififi (Jules Dassin 1955)

Edge of the City (Martin Ritt 1957)
Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder 1979)
Eight Men Out (John Sayles 1988)
Electronic Labyrith THX1138 4EB (George Lucas 1967)
Elena et les hommes (Jean Renoir 1956)
Les enfants du paradis (Marcel Carné 1945)
The Equalizer 2 (Antoine Fuqua 2018)
Evil Dead II (Sam Raimi 1987)
Évolution (Lucille Hadzihalilovic 2015)
Experiment in Terror (Blake Edwards 1962)
Exposed (Declan Dale 2016)

The Faculty (Robert Rodriguez 1998)
Family Plot (Alfred Hitchcock 1976)
Fantastic Four (Tim Story 2005)
Fantastic Four: Rise of the Silver Surfer (Tim Story 2007)
The Farewell (Lulu Wang 2019)
Fast & Furious (Justin Lin 2009)
Fast & Furious Presents: Hobbs & Shaw (David Leitch 2019)
Fast & Furious 7 (James Wan 2015)
The Fast and the Furious (Edward Sampson and John Ireland 1954)
The Fast and the Furious (Rob Cohen 2001)
The Fast and the Furious: Tokyo Drift (Justin Lin 2006)
Fast Five (Justin Lin 2011)
Fat City (John Huston 1972)
The Fate of the Furious (F. Gary Gray 2017)
Fedora (Billy Wilder 1978)
The Fighting 69th (William Keighley 1940)
Fighting With My Family (Stephen Merchant 2019)
Filibus: The Mysterious Air-Pirate (Mario Roncoroni 1915)
Finis Terrae (Jean Epstein 1929)
First a Girl (Victor Saville 1935)
Fixed Bayonets! (Sam Fuller 1951)
Flash Gordon (Mike Hodges 1980)
Forty Guns (Sam Fuller 1957)
Frenzy (Alfred Hitchcock 1972)
Friday the Thirteenth (Victor Saville 1933)
Furious 6 (Justin Lin 2013)
Futsû saizu no kaijin/The Phantom of Regular Size (Tsukamoto Shinya 1986)
The Future (Miranda July 2011)

Gamera tai daiakuju Giron/Gamera vs Guiron (Yuasa Noriaku 1969)
Gamera tai uchu kaiju Bairasu/Gamera vs. Viras (Yuasa Noriaku 1968)
Il gattopardo/The Leopard (Luchino Visconti 1963)
Gentlemen Prefer Blondes (Howard Hawks 1953)
George Lucas in Love (Joe Nussbaum 1999)
The Ghost and Mrs Muir (Joseph L. Mankiewicz 1947)
Gisaengchung/Parasite (Bong Joon-ho 2019)
Godzilla: King of the Monsters (Michael Dougherty 2019)
Gojira, Ebirâ, Mosura: Nankai no daiketto/Ebirah, Terror of the Deep (Jun Fukuda 1966)
Gojira– Minira–Gabara: Oru kaijû daishingeki/All Monsters Attack (Ishirô Honda 1969)
Gojira tai Mekagojira/Godzilla vs Mechagodzilla (Jun Fukuda 1974)
Der Golem, reconstructed version (Paul Wegener, Carl Boese 1920)
La Gomera/The Whistlers (Cornlieu Porumboiu)
Gone in 60 Seconds (H. B. Halicki 1974)
Gone in 60 Seconds (Dominic Sena 2000)
Good Boys (Gene Stupnitsky 2019)
Gräns/Border (Ali Abbasi 2018)
Gravity (Alfonso Cuarón 2013)
Greed (Erich von Stroheim 1924)
Gremlins (Joe Dante 1984)
Gremlins 2: The New Batch (Joe Dante 1990)
Gwen (William McGregor 2018)
Gwoemul/The Host (Bong Joon Ho 2006)

La habitación de Fermat/Fermat’s Room (Luis Piedrahita and Rodrigo Sopeña 2007)
Hail, Caesar! (Joel and Ethan Coen 2016)
Halloween (John Carpenter 1978)
Happy, Texas (Mark Illsley 1999)
Hard, Fast and Beautiful (Ida Lupino 1951)
The Haunted Palace (Roger Corman 1963)
Haze (Tsukamoto Shinya 2005)
Hellboy (Neil Marshall 2019)
Histoire(s) du cinema (Jean-Luc Godard 1989)
His Wooden Wedding (Leo McCarey 1925)
Homo Sapiens (Nikolaus Geyrhalter 2016)
House of Usher (Roger Corman 1960)
How to Marry a Millionaire (Jean Negulesco 1953)
How to Steal a Million (William Wyler 1966)
Hua pi/Painted Skin (Gordon Chan and Andy Wing-Keung Chin 2008)
Humpday (Lynn Shelton 2009)
The Hunt (Craig Zobel 2020)
The Imitation Game (Morten Tyldum 2014)
Infection (Albert Pyun 2005)
Interstellar (Christopher Nolan 2014)
Intolerance: Love’s Struggle Through the Ages (D.W. Griffith 1916)
The Intruder (Roger Corman 1962)
The Invisible Agent (Edwin L. Marin 1942)
The Invisible Man (James Whale 1933)
The Invisible Man (Leigh Whannell 2020)
The Invisible Man Returns (Joe May 1940)
The Invisible Man’s Revenge (Ford Beebe 1944)
The Invisible Woman (A. Edward Sutherland 1940)
I Shot Jesse James (Sam Fuller 1949)
It Happened in Hollywood (Harry Lachman 1937)
Itty Bitty Titty Committee (Jamie Babbit 2007)
Izgnanie/The Banishment (Andrey Zvyagintsev 2007)

La Jetée (Chris Marker 1962)
Jiang shan mei ren/An Empress and the Warriors (Tony Ching Siu Tung 2008))
Jing wu feng yun: Chen Zen/Legend of the Fist: The Return of Chen Zen (Andrew Lau 2010)
John Wick (Chad Stahelski and David Leitch 2014)
John Wick Chapter Two (Chad Stahelski 2017)
John Wick Chapter Three: Parabellum (Chad Stahelski 2019)
Jo Jo Rabbit (Taika Waititi 2019)
Judy & Punch (Mirrah Foulkes 2019)
Jumanji: The Next Level (Jake Kasdan 2019)
Jumanji: The Next Level (Jake Kasdan 2019)
Juno (Jason Reitman 2007)

Kaijû daisensô/Invasion of Astro-Monster (Ishirô Honda 1965)
Kaijtô no kessen: Gojiro no musuko/Son of Godzilla (Jun Fukuda 1967)
Kaijû sôshingeki/Destroy All Monsters (Ishirô Honda 1968)
Kamera wo tomeruna!/One Cut of the Dead (Shini’ichirô Ueda 2017)
Karnavalnaya noch/Carnival Night (Eldar Razanov 1956)
Keanu (Peter Atencio 2016)
Key Largo (John Huston 1948)
The Kid Who Would Be King (Joe Cornish 2019)
King Kong (Merian C. Cooper and Ernest B. Schoedsack 1933)
King Kong (John Guillermin 1976)
King Kong (Peter Jackson 2005)
King Kong Lives (John Guillermin 1986)
King Kong vs. Godzilla (Ishirô Honda and Thomas Montgomery 1963)
The Kitchen (Andrea Berloff 2019)
Knives Out (Rian Johnson 2019)
Kollektivet/The Commune (Thomas Vinterberg 2016)
Koroshi no rakuin/Branded to Kill (Suzuki Seijun 1967)
Kotoko (Tsukamoto Shinya 2011)
Krylya/Wings (Larisa Shepitko 1966)
Kurîpî: Itsuwari no rinjin/Creepy (Kiyoshi Kirosawa 2016)
Kuro no testu kâ/Black Test Car (Yasuzô Masumura 1962)

Lake Placid (Steve Miner 1999)
La La Land (Damien Chazelle 2016)
The Last Command (Josef von Sternberg 1928)
Laura (Otto Preminger 1944)
Let’s Make Love (George Cukor 1960)
Life After Flash (Lisa Downs 2017)
The Life and Death of Colonel Blimp (Michael Powell and Emeric Pressburger 1943)
The Lighthouse (Robert Eggers 2019)
The Lighthouse (Robert Eggers 2019)
The Likely Lads (Michael Tuchner 1976)
Little Joe (Jessica Hausner 2019)
Little Monsters (Abe Forsyth 2019)
Little Women (Greta Gerwig 2019)
Lone Wolf and Cub: Sword of Vengeance (Misumi Kenji 1972)
Long hang tian xia/The Master (Tsui Hark 1992)
Love Nest (Joseph M Newman 1951)
Love, Simon (Greg Berlanti 2018)

Maborosi (Hirokazu Koreeda 1995)
Madame de… (Max Ophüls 1953)
Madeo/Mother (Bong Joon Ho 2009)
Mad Max: Fury Road (George Miller 2015)
Mad Max: Fury Road, Black and Chrome Edition (George Miller 2015)
A Man Apart (F. Gary Gray 2003)
Mandy (Panos Cosmatos 2018)
Le mani sulla città/Hands Over the City (Francesco Rosi 1963)
The Man Who Knew Too Much (Alfred Hitchcock 1956)
Marnie (Alfred Hitchcock 1964)
Me and You and Everyone We Know (Miranda July 2005)
Mekagojira no gyakushu/Terror of Mechagodzilla (Ishirô Honda 1975)
Men in Black: International (F. Gary Gray 2019)
Metropolis (Fritz Lang 1927)
mid90s (Jonah Hill 2018)
Midsommar (Ari Aster 2019)
Mighty Joe Young (Ernest B. Schoedsack 1949)
Miss Fisher and the Crypt of Tears (Tony Tilse 2020)
Mission: Impossible – Fallout (Christopher McQuarrie 2018)
Moby Dick (John Huston 1956)
Monsters (Gareth Edwards 2010)
Morocco (Josef von Sternberg 1930)
Mosura tai gojira/Mothra vs. Godzilla (Ishirô Honda 1964)
Ms. Fisher’s Modern Murder Mysteries: Just Murdered (Fiona Banks 2019)
Ms. Fisher’s Modern Murder Mysteries: Dead Beat (Kevin Carlin 2019)
Ms. Fisher’s Modern Murder Mysteries: Space for Murder (Lynn Hegarty 2019)
The Music Box (James Parrott 1932)
Mysterious Skin (Gregg Araki 2004)

Neon (Eric Bednarski 2014)
Never Fear (Ida Lupino 1950)
A New Leaf (Elaine May 1971)
Niagara (Henry Hathaway 1953)
Night of the Lepus (William F. Claxton 1972)
Nine, Dalmuir West (Kevin Brownlow 1962)
Nobi/Fires on the Plain (Tsukamoto Shinya 2014)
Nuoc 2030 (Minh Nguyen Vo 2014)

Office Killer (Cindy Sherman 1997)
Oliver! (Carol Reed 1968)

Paddington (Paul King 2014)
Paddington 2 (Paul King 2017)
Panique (Julien Duvivier 1946)
Pat and Margaret (Gavin Millar 1994)
The People under the Stairs (Wes Craven 1991)
The Personal History of David Copperfield (Armando Iannucci 2019)
Per qualche dollari in più/For a Few Dollars More (Sergio Leone 1965)
Per un pugno di dollari/A Fistful of Dollars (Sergio Leone 1964)
Pick Up on South Street (Sam Fuller 1953)
The Pit and the Pendulum (Roger Corman 1961)
Point Blank (John Boorman 1967)
Point Break (Kathryn Bigelow 1991)
Power of the Press (Lew Landers 1943)
Profondo Rosso/Deep Red (Dario Argento 1975)
Psycho (Alfred Hitchcock 1960)
The Public Enemy (William A. Wellmann 1931)
Pursued (Raoul Walsh 1947)
The Pursuit of Happyness (Gabriele Muccino 2006)

Raging Bull (Martin Scorsese 1980)
Raiders of the Lost Ark (Steven Spielberg 1981)
Rambo: Last Blood (Adrian Grunberg 2019)
Rashomon (Akira Kurosawa 1950)
Ready or Not (Matt Bettinelli-Olpin and Tyler Gillett 2019)
Rear Window (Alfred Hitchcock 1954)
Reign of Fire (Rob Bowman 2002)
Resident Evil: Extinction (Russell Mulcahy 2007)
River of No Return (Otto Preminger 1954)
The Roaring Twenties (Raoul Walsh 1939)
Rokugatsu no hebi/A Snake of June (Tsukamoto Shinya 2002)
Rope (Alfred Hitchcock 1948)
Rudraksh (Mani Shankar 2004)

Saboteur (Alfred Hitchcock 1942)
Salinui chueok/Memories of Murder (Bong Joon Ho 2003)
San daikaijû: Chikyû saidai no kessen/Ghidorah, the Three-Headed Monster (Ishirô Honda 1964)
Sanshô Dayû/Sansho the Bailiff (Kenji Mizoguhi 1954)
San xia hao ren/Still Life (Zhangke Jia 2006)
Scandal Sheet (Phil Karlson 1952)
The Scarlet Empress (Josef von Sternberg 1934)
Scary Stories to Tell in the Dark (André Øvredal 2019)
The Seven Year Itch (Billy Wilder 1955)
Shadow of a Doubt (Alfred Hitchcock 1943)
Shakespeare in Love (John Madden 1998)
Shazam! (David F. Sandberg 2019)
Seven (David Fincher 1995)
Shanghai Express (Josef von Sternberg 1932)
Sherlock Jr. (Buster Keaton 1924)
Shichinin no samurai/Seven Samurai (Akira Kurosawa 1954)
Shi yue wei cheng/Bodyguards and Assassins (Teddy Chan 2009)
Shivers (David Cronenberg 1975)
Shockproof (Douglas Sirk 1949)
Showgirls (Paul Verhoeven 1995)
Shurayukihime/Lady Snowblood (Fujita Toshiya 1973)
Sideways (Alexander Payne 2004)
The Silence of the Lambs (Jonathan Demme 1991)
Simba (Brian Desmond Hurst 1955)
Singin’ in the Rain (Stanley Donen and Gene Kelly 1952)
The Sisters Brothers (Jacques Audiard 2018)
Det sjund inseglet/The Seventh Seal (Ingmar Bergman 1957)
Snowpiercer (Bong Joon Ho 2013)
Solo: A Star Wars Story (Ron Howard 2018)
Some Like it Hot (Billy Wilder 1959)
Son of Kong (Cooper 1933)
Sorcerer (William Friedkin 1977)
Sorry to Bother You (Boots Riley 2018)
Sôseiji/Gemini (Tsukamoto Shinya 1999)
Spider-Man: Far From Home (Jon Watts 2019)
The Spoilers (Ray Enright 1942)
Spy (Paul Feig 2015)The Steel Helmet (Sam Fuller 1951)
Strangers on a Train (Alfred Hitchcock 1951)
Superman (Richard Donner 1978)
Suzaki Paradaisu: Akashingô/Suzaki Paradise Red Light District (Yûzô Kawashima 1956)
Sweet Country (Warwick Thornton 2017)
Sweet Smell of Success (Alexander Mackendrick 1957)

The Taking of Pelham One Two Three (Joseph Sargent 1974)
Tales of Terror (Roger Corman 1962)
Terminator: Dark Fate (Tim Miller 2019)
Le testament de Docteur Cordelier/Experiment in Evil (Jean Renoir 1959)
Tetsuo: The Iron Man (Tsukamoto Shinya 1989)
Tetsuo II: Body Hammer (Tsukamoto Shinya 1992)
Tetsuo: The Bullet Man (Tsukamoto Shinya 2009)
There’s No Business Like Show Business (Walter Lang 1954)
The Thing (John Carpenter 1982)
This Land is Mine (Jean Renoir 1943)
Tiny Furniture (Lena Dunham 2010)
To Have and Have Not (Howard Hawks 1944)
Tokyo Fist (Tsukamoto Shinya 1995)
Topaz (Alfred Hitchcock 1969)
Torn Curtain (Alfred Hitchcock 1966)
Torrid Zone (William Keighley 1940)
Touki Bouki (Djibril Diop Mambéty 1973)
Le tout nouveau testament/The Brand New Testament (Jaco Van Dormael 2015)
Toy Story 4 (Josh Cooley 2019)
Transformers: Age of Extinction (Michael Bay 2014)
Transformers: The Last Knight (Michael Bay 2017)
Tre Fratelli/Thre Brothers (Francesco Rosi 1981)
The Trouble with Harry (Alfred Hitchcock 1955)
Tulitikkutehtaan tyttö/The Match Factory Girl (Aki Kaurismäki 1990)
Two Rode Together (John Ford 1961)
Two Years at Sea (Ben Rivers 2011)

L’uccello dalle piume di cristallo/The Bird with the Crystal Plumage  (Dario Argento 1970)
Uncut Gems (Benny and Josh Safdie 2019)
Undertow (David Gordon Green 2004)
Underworld U.S.A. (Sam Fuller 1961)

Valerian and the City of a Thousand Planets (Luc Besson 2017)
The Vast of Night (Andrew Patterson 2019)
Venom (Ruben Fleischer 2018)
Venom (Ruben Fleischer 2018)
La vérité/The Truth (Hirokazu Koreeda 2019)
Vertigo (Alfred Hitchock 1958)
Vibroboy (Jan Kounen 1994)
Vital (Tsukamoto Shinya 2004)
Vozvrashchenie/The Return (Andrey Zvyagintsev 2003)
Voyna i mir I: Andrey Bolonsky/War and Peace, Part I: Andrey Bolonsky (Sergey Bondarchuk 1966)
Voyna i mir II: Natasha Rostova/War and Peace, Part II: Natasha Rostova (Sergey Bondarchuk 1966)
Voyna i mir III: 1812 god/ War and Peace, Part One III: The Year 1812 (Sergey Bondarchuk 1967)
Voyna i mir IV: Pierre Bezukhov/ War and Peace, Part One IV: Pierre Bezukhov (Sergey Bondarchuk 1967)

Wandafuru raifu/After Life (Hirokazu Koreeda 1998)
The Watermelon Woman (Cheryl Dunye 1996)
Welt am Draht/World on a Wire (Rainer Werner Passbinder 1973)
Wendy and Lucy (Kelly Reichardt 2008)
The West Point Story (Roy Del Ruth 1950)
White Heat (Raoul Walsh 1949)
Widows (Steve McQueen 2018)
Winchester ’73 (Anthony Mann 1950)
Winstanley (Kevin Brownlow and Andrew Mollo 1975)
WolfCop (Lowell Dean 2014)
The Woman in Black (Herbert Wise 1989)
The Woman on the Beach (Jean Renoir 1947)
Women Make Film: A New Road Movie Through Cinema (Mark Cousins 2018)
Wong fei hung III: Si wong jaang ba/Once Upon a Time in China III (Tsui Hark 1992)
Wong fei hung VI: Sai wik hung see/Once Upon a Time in China and America (Sammo Hung 1997)

X-Men: Dark Phoenix (Simon Kinberg 2019)

Yardie (Idris Elba 2018)
Ying chun ge zhi Fengbo/The Fate of Lee Khan (King Hu 1973)
Yôkai hantâ: Hiruko/Hiruko the Goblin (Tsukamoto Shinya 1991)

Zan/Killing (Tsukamoto Shinya 2018)

My top 20 reads of 2020

This year, thanks to two lockdowns, the two longest stretches of insomnia I can recall ever suffering and having to withdraw from a number of commitments for health reasons (and some very short volumes), and despite a massive increase in unrecognised and unremunerated workload, I read 311 books.

I’d read 20 of them before* (and one in a different translation).

Of the 291 I read for the first time, these are the best 20.

Alfred Döblin, Berlin Alexanderplatz (1929), Michael Hoffman translation
Namwali Serpell, The Old Drift (2019)
John Sayles, Yellow Earth (2020)
Charlotte Dacre, Zofloya, or The Moor (1806) – it’s a fucking hoot
Robin Robertson, The Long Take (2018)
Ling Ma, Severance (2018)
James Clarke, The Litten Path (2018)
Sue Burke, Semiosis (2018)
Fran Ross, Oreo (1974)
Hari Kunzru, Gods Without Men (2011)
Sherman Alexie, Indian Killer (1996)
Alexandre Dumas, Twenty Years After (1845)
Charles Portis, True Grit (1968)

Short Fiction
Nafissa Thompson-Spires, Heads of the Colored People (2018)
Tim Etchells, Endland (2019)
Julia Armfield, Salt Slow (2019)

Kate Evans, Red Rosa: A Graphic Biography of Rosa Luxemburg (2015)

Saul Williams, The Dead Emcee Scrolls: The Lost Teachings of Hip-Hop (2006)

Jane Elliott, The Microeconomic Mode: Political Subjectivity in Contemporary Popular Aesthetics (2018)
Gilbert Rist, The History of Development: From Western Origins to Global Faith, fifth edition (1997/2019)

Some numbers 142 by straight white men writing in English, 144 by the rest of the world (82 by women), and 25 multi-authored or otherwise don’t fit.

And for anyone who cares, here is the full list:

James Agee, Agee on Film: Reviews and Comments (1958)
–. Selected Journalism and Book Reviews (2005)
–. The Night of the Hunter (1960)
–. Uncollected Film Writing (2005)
Robert Aickman, Cold Hand in Mine (1975)
–. Dark Entries (1964)
Akala, Natives: Race and Class in the Ruins of Empire (2018)
Prayaag Akbar, Leila (2018)
Sherman Alexie, Indian Killer (1996)
Richard Allen, Skinhead Girls (1972)
–. Sorts (1973)
–. Knuckle Girls (1977)
Eric Ambler, The Mask of Dimitrios (1939)
Julia Armfield, Salt Slow (2019)
Eleanor Arnason, Mammoths of the Great Plain, plus… (2010)
Jake Arnott, The Long Firm (1999)
Cinzia Arruzza, Tithi Bhattacharya and Nancy Fraser, Feminism for the 99%: A Manifesto (2019)
Jenn Ashworth, Fell (2016)
Odafe Atogun, Taduno’s Song (2016)
Margaret Atwood, In Other Words: SF and the Human Imagination (2011)

Linda Badley, Claire perkins and Michele Schreiber, eds, Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema (2016)
James Baldwin, Notes of a Native Son (1955)
–. Nobody Knows My Name: More Notes of a Native Son (1961)
–. The Fire Next Time (1963)*
–. The Devil Finds Work (1976)
Iain Banks, The Steep Approach to Garbadale (2007)
–. The Quarry (2013)
Edward Bellamy, Dr. Heidenhoff’s Process (1880)
John Berra, Declarations of Independence: American Cinema and the Partiality of Independent Production (2008)
Charles Beaumont, The Intruder (1959)
Lauren Beukes, Slipping: Stories, Essays & Other Writing (2016)
Gurminder K. Bhambra, Dalia Gebrial and Kerem Nişancıoğlu, eds. Decolonising the University (2018)
Emilie Bickerton, A Short History of Cahiers du cinema (2009)
Terry Bisson, The Left Left Behind, plus… (2010)
Max Blecher, Adventures in Immediate Irreality (1936)
Michael Blumlein, Thoreau’s Microscope, plus… (2018)
Leigh Brackett, Stranger at Home (1946, ghostwriting as George Sanders)
–. The Starmen of Llyrdis (1952)
–. The Big Jump (1955)
–. An Eye for an Eye (1957)
Oyinkan Braithwaite, My Sister, the Serial Killer (2018)
Pat Brereton, Hollywood Utopia: Ecology in Contemporary American Cinema (2005)
Maurice Brauddus, Pimp My Airship (2019)
Anne Brontë, Agnes Grey (1847)
John Buchan, The Thirty-Nine Steps (1915)*
–. Greenmantle (1916)
Holly Jean Buck, After Geoengineering: Climate Tragedy, Repair and Restoration (2019)
Edward Bunker, Stark (2008)
Sue Burke, Semiosis (2018)

Ramsey Campbell, The Face That Must Die (1979)
Hannelore Cayre, The Godmother (2017)
Ted Chiang, Stories of Your Life and Others (2002)
Dave Chipps, Mozart Cuato, Mike Sellers, Matt Frank, Joshua Bugosh, Gonçalo Lopes, Gamera: The Comics Collection (1996, 2017)
Walter Van Tilburg Clark, The Ox-Bow Incident (1940)
James Clarke, The Litten Path (2018)
Barbara Comyns, Our Spoons Came from Woolworths (1950)
Bernard Cornwell, Sharpe’s Tiger (1997)
John Crowley, Totalitopia, plus… (2017)

Charlotte Dacre, Zofloya, or The Moor (1806)
Uriah Derick D’Arcy, The Black Vampyre: A Legend of St. Domingo (1819)
Richard Dawkins, The Selfish Gene, new edition (1989)
Aliette de Bodard, The Dragon That Flew Out of the Sun: Stories of the Xuya Universe (2020)
Daniel Defoe, The Storm (1704)
–. Robinson Crusoe (1719)*
–. A Journal of the Plague Year (1722)
Samuel R. Delany, The Atheist in the Attic, plus… (2018)
Virginie Despentes, Baise-moi (1993)
Alfred Döblin, Berlin Alexanderplatz (1929), Michael Hoffman translation
Cory Doctorow, The Great Big Beautiful Tomorrow, plus… (2011)
Arthur Conan Doyle, The Hound of the Baskervilles (1901–2)*
Alexandre Dumas, Georges (1843)
–. Twenty Years After (1845)
Roxanne Dunbar-Ortiz, An Indigenous People’s History of the United States (2014)

David Eggers, The Lifters (2018)
George Eliot, Silas Marner (1861)
Jane Elliott, The Microeconomic Mode: Political Subjectivity in Contemporary Popular Aesthetics (2018)
Warren Ellis and Jason Howard, Trees: In Shadow (2014)*
–. Trees: Two Forests (2015)*
–. Trees: Three Fates (2019–20)
Steve Erickson, Shadowbahn (2017)
Tim Etchells, Endland (2019)
Kate Evans, Red Rosa: A Graphic Biography of Rosa Luxemburg (2015)
Bernardine Evaristo, The Emperor’s Babe (2001)

Howard Fast, Peekskill USA: Inside the Famous 1949 Riots (1951)
–. The Naked God: The Writer and the Communist Party (1957)
William Faulkner, As I Lay Dying (1930)
Eric Flint, Paula Goodlett and Gorg Hugg, 1637: The Volga Rules (2018)
Eric Flint and K.D. Wentworth, The Crucible of Empire (2010)
John Fowles, The Collector (1963)*
Nancy Fraser, The Old is Dying and the New Cannot Be Born: From Progressive Neoliberalism to Trump and Beyond (2019)
Philip French, I Found It at The Movies: Reflections of a Cinephile (2011)
Mattias Frey, The Permanent Crisis of Film Criticism: The Anxiety of Authority (2015)

Ernest J. Gaines, The Autobiography of Miss Jane Pittman (1971)
Elizabeth Gaskell, Sylvia’s Lovers (1863)
John Gibbs, The Life of Mise-en-Scène: Visual Style and British Film Criticism, 1946–78 (2013)
Zoe Gilbert, Folk (2018)
Beryl Gilroy, In Praise of Love and Children (1996)
John Godey, The Taking of Pelham One Two Three (1973)
Rebecca Goldstein, Strange Attractors: Stories (1993)
Robert Murray Graydon, A Case of Arson (1917)
William Murray Graydon, The Law of the Sea (1912)
Graham Greene, The End of the Affair (1951)

Ian Hacking, The Taming of Chance (1990)
Patrick Hamilton, The West Pier (1951)
–. Mr Stimpson and Mr Gorse (1953)
–. Unknown Assailant (1955)
Virginia Hamilton, The House of Dies Drear (1968)
Knut Hamsun, Pan (1894)
Elizabeth Hand, Fire, plus… (2017)
Karen Milwood Hargrave, The Girl of Ink and Stars (2016)
Nick Harkaway, Gnomon (2017)
Nathaniel Hawthorne, The Scarlet Letter (1850)*
Cecil Hayter, The Slave Market! (1907)*
Scott Heim, Mysterious Skin (1995)
Ernest Hemingway, A Farewell to Arms (1929)
–. To Have and Have Not (1937)
Nalo Hopkinson, Report from Planet Midnight, plus… (2012)
–. Falling in Love with Hominids (2015)
Yuri Herrara, The Transmigration of Bodies (2013)
Sarah Holding, SeaBEAN (2013)
–. SeaWAR (2014)
–. SeaRISE (2014)
Reynold Humphries, Hollywood’s Blacklists: A Political and Cultural History (2010)
I.Q. Hunter, Cult Film as a Guide to Life: Fandom, Adaptation and Identity (2016)
Megan Hunter, The End We Start From (2017)
Andrew Michael Hurley, The Loney (2014)
Zahid Hussain, The Curry Mile (2006)

Gabino Iglesias, Zero Saints: A Barrio Noir (2015)
David Ingram, Green Screen: Environmentalism and Hollywood Cinema (2000)

Ayize Jama-Everett, The Liminal People (2011)
C.L.R James, Mariners, Renegades and Castaways: The Story of Herman Melville and the World We Live In (1953)
Stephen Graham Jones, Zombie Sharks with Metal Teeth (2013)
Miranda July, No One Belongs Here More Than You (2007)
–. The First Bad Man (2015)

Marc Kaplan, The Last Temptation of Sun Ra (2011)
Christian Keathley, Cinephilia and History, or The Wind in the Trees (2006)
Sarah Keller, Anxious Cinephilia: Pleasure and Peril at the Movies (2020)
Leigh Kennedy, Saint Hiroshima (1987)*
William Kennedy, Ironweed (1983)
Mark Kermode, The Good, the Bad and the Multiplex: What’s Wrong with Modern Movies? (2011)
Porochista Khakpour, The Last Illusion (2014)
Laleh Khalili, Sinews of War and Trade: Shipping and Capitalism in the Arabian Peninsula (2020)
Patrisse Khan-Cullors and Asha Bandele, When They Call You a Terrorist: A Black Lives Matters Memoir (2017)
Paul Kingsnorth, Alexandria (2020)
Karl Ove Knausgaard, My Struggle 5: Some Rain Must Fall (2010)
–. My Struggle 6: The End (2011)
Sakyo Komatsu, Virus (1964)
Mary Robinette Kowal, The Fated Sky (2019)
David J. Kowalski, The Company of the Dead (2012)
Paul Krassner, Patty Hearst and the Twinkie Murders: A Tale of Two Trials, plus… (2014)
Hari Kunzru, Gods Without Men (2011)
Henry Kuttner, Fury (1950)

Paul LaFarge, The Night Ocean (2017)
Joe R. Lansdale, Vanilla Ride (2009)
–. Miracles Ain’t What They Used To Be, plus…(2016)
Christopher J. LeBron, The Making of Black Lives Matter: A Brief History of an Idea (2017)
Ursula K. Le Guin, The Farthest Shore (1973)
–. Tehanu (1990)
–. The Wild Girls, plus… (2011)
Cixin Liu, The Wandering Earth (2011)
Sarah Lotz, The White Road (2017)
Wesley Lowery, “They Can’t Kill Us All”: The Story of Black Lives Matters (2017)
Roger Luckhurst, Corridors: Passages of Modernity (2019)

Ling Ma, Severance (2018)
John D. MacDonald, The Executioners (1957)
Ken MacLeod, The Human Front, plus… (2013)
Barry N. Malzberg, The Destruction of the Temple (1974)
–. Chorale (1978)
Laura Marcus, ed. Twelve Women Detective Stories (1997)
Adam Mars-Jones, Second Sight: The Selected Film Writing of Adam Mars-Jones (2019)
Tim Maughan, Infinite Detail (2019)
Maxine McArthur, Time Future (1999)
–. Time Past (2002)
Ian McEwan, Solar (2010)
Claude McKay, Banjo (1929)
–. Amiable with Big Teeth (2017)
Danielle McLaughlin, Dinosaurs on Other Planets (2015)
Zakes Mda, The Whale Caller (2005)
Herman Melville, Typee: A Peep at Polynesian Life (1846)*
–. Omoo: A Narrative of Adventures in the South Seas (1847)*
–. Mardi: And A Voyage Thither (1849)
Steve Mentz, Shipwreck Modernity: Ecologies of Globalization, 1550–1719 (2015)
Andrew Milner and J.R. Burgmann, Science Fiction and Climate Change: A Sociological Approach (2020)
Chris Mooney, The Republican War on Science (2005)
Michael Moorcock, Modem Times 2.0, plus… (2011)
Timothy Morton, Humankind: Solidarity with Nonhuman People (2017)
Ottessa Moshfegh, Eileen (2016)
Walter Mosley, Always Outnumbered Always Outgunned (1997)
Sarah Moss, Ghost Wall (2018)
Mitch R. Murray and Mathias Nilges, William Gibson and the Futures of Contemporary Culture (2020)
Benjamin Myers, Beastings (2014)

Annalee Newitz, Autonomous (2017)
Michael Z. Newman, Indie: An American Film Culture (2011)
Mick Norman, Angels from Hell (1973)*
–. Angel Challenge (1973)*
–. Guardian Angels (1974)*
–. Angels on My Mind (1974)*

Frank Owen, South (2016)
Helen Oyeyemi, Mr Fox (2011)

Paul Park, A City Made of Words, plus… (2019)
Adrian Parr, Hijacking Sustainability (2009)
Michelle Paver, Wakenhyrst (2019)
Salam Pax, The Baghdad Blog (2003)
David Peace, Nineteen Seventy Four (1999)
Mervyn Peake, Titus Groan (1946)*
–. Gormenghast (1950)*
Dale Pendell, The Great Bay: Chronicles of the Collapse (2010)
Robert G. Penner, Strange Labour (2020)
–. ed., Big Echo Interviews, 2017–2020 (2020)
Ann Pettifor, The Case for the Green New Deal (2019)
Marge Piercy, My Life, My Body, plus… (2015)
Frederik Pohl, Drunkard’s Walk (1960)
–. Demon in the Skull (1965/1985)
–. Homegoing (1989)
Rachel Pollack, The Beatrix Gates, plus… (2018)
Charles Portis, True Grit (1968)
A.J. Pott, The Boyhood of Belinda (1931)
E. Deidre Pribram, Cinema & Culture: Independent Film in the United States, 1980–2001 (2002)

H.L.T. Quan, Growth Against Democracy: Savage Developmentalism in the Modern World (2014)

Edogawa Rampo, Beast in the Shadows (1928)
–. The Black Lizard (1934)
Alastair Reynolds, Revenger (2016)
B. Ruby Rich, New Queer Cinema: The Director’s Cut (2013)
Nathaniel Rich, Losing Earth: The Decade We Could Have Stopped Climate Change (2019)
Walt and Leigh Richmond-Donahue, Blindsided (1993)
Gilbert Rist, The History of Development: From Western Origins to Global Faith, fifth edition (1997/2019)
Robin Robertson, The Long Take (2018)
Kim Stanley Robinson, The Lucky Strike, plus… (2009)
Fran Ross, Oreo (1974)
Rudy Rucker, Surfing the Gnarl, plus… (2012)
Rolan Rugero, Baho! (2012)

Hiroshi Sakurazaka, Slum Online (2005)
James Sallis, Death Will Have Your Eyes (1997)
José Saramago, Blindness (1995)
Andrew Sarris, The American Cinema: Directors and Directions, 1929–1968 (1968)
Stephanie Saulter, Gemsigns (213)
John Sayles, Yellow Earth (2020)
Carter Scholz, Gypsy, plus… (2015)
Sam Selvon, Moses Ascending (1975)
Ernest Sempill, The Man from Scotland Yard (1908)
Levent Şenyürek, The Book of Madness (2007)
Namwali Serpell, The Old Drift (2019)
Ashley Shelby, South Pole Station (2017)
John Shirley, New Taboos, plus… (2013)
Vandana Shiva, The Violence of the Green Revolution: Third World Agriculture, Ecology and Politics (1991)
Robert Silverberg, Blood on the Mink (1962)
Clifford Simak, All Flesh Is Grass (1965)
Upton Sinclair, Our Lady (1938)
Iceberg Slim, Mama Black Widow (1969)
–. Death Wish (1977)
–. Long White Con (1977)
–. Airtight Willie and Me (1979)
Joan Slonczewski, The Children Star (1998)
Norman Spinrad, Raising Hell, plus… (2014)
Tom Standage, The Victorian Internet (1998)
Neal Stephenson, Fall; or, Dodge in Hell (2019)
Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759–67)*
–. A Sentimental Journey Through France and Italy (1768)*
Rex Stout, Under the Andes (1914)
Tricia Sullivan, Occupy Me (2016)
Helen Sword, The Writer’s Diet: A Guide to Fit Prose (2007)
–. Stylish Academic Writing (2012)
Imre Szeman and Dominic Boyer, eds, Energy Humanities: An Anthology (2017)

Koushun Takami, Battle Royale (1999)
Richard Taylor, The Battleship Potemkin (2000)
Adrian Tchaikovksy, Children of Time (2015)
Adrian Tchaikovsky and Keris McDonald, Short Changes (2020)
G.H. Teed, The Brotherhood of the Yellow Beetle (1913)
–. The Black Eagle  (1923)
Tade Thompson, Household Gods and Other Narrative Offences (2020)
–. The Rosewater Redemption (2019)
Jim Thompson, Heed the Thunder (1946)
–. King Blood (1954)
–. The Grifters (1963)
–. Nothing But A Man (1970)
–. Fireworks: The Lost Writings (1988)
–. The Rip-Off (1989)
Nafissa Thompson-Spires, Heads of the Colored People (2018)
James Tiptree Jr., Up the Walls of the World (1978)
Yannis Tzioumakis, American Independent Cinema, second edition (2006, 2017)

Peter Van Greenaway, The Medusa Touch (1973)
John Varley, Titan (1979)
Yanis Varoufakis, Austerity (2018)
Eben Venter, Trencherman (2006)
Gore Vidal, Thieves Fall Out (1953)
Harl Vincent, The Copper-Clad World (1931)
Gerald Vizenor, Hotline Healers: An Almost Browne Novel (1997)

Priscilla Wald, Contagious: Cultures, Carriers, and the Outbreak Narrative (2007)
David Wallace-Wells, The Uninhabitable Earth: A Story of the Future (2019)
Rosie Warren, ed. Salvage #8: Comrades, This Is Madness (2020)
Peter Watts, Blindsight (2006)
–. Echopraxia (2014)
Alan Weisman, The World Without Us (2007)
Archie Weller, The Day of the Dog (1981)
Colson Whitehead, Apex Hides the Hurt (2007)
Aliya Whiteley, Skein Island (2019)
Charles Willeford, Miami Blues (1984)
Saul Williams, The Dead Emcee Scrolls: The Lost Teachings of Hip-Hop (2006)
Paula Willoquet-Maricondi, ed., Framing the World: Explorations in Ecocriticism and Film (2010)
David H. Wilson, The Psychotic Dr. Schreber (2019)
G. Willow Wilson et al., Ms. Marvel, volume nine: Teenage Wasteland (2016)
Sheena Wilson, Adam Carlson and Imre Szeman, eds. Petrocultures: Oil, Politics, Culture (2017)
Brian Wood et al., The Massive, volume one: Black Pacific (2012)
–. The Massive, volume two: Subcontinental (2012–13)
–. The Massive, volume three: Longship (2013)
–. The Massive, volume four: Sahara (2014)
–. The Massive, volume five: Ragnarok (2014)
Nick Wood, Water Must Fall (2020)
Cornell Woolrich, Rendezvous in Black (1948)

Masaki Yamada, Aphrodite (1980)

Joanna Zylinska, The End of Man: A Feminist Counterapocalypse (2018)

Random relevant covid-19 reading: Graham Green and Henry Kuttner (and CL Moore)

A couple of short old novels randomly plucked from boxes where they’ve languished unread for decades suddenly have things to say about social distancing, contact and the legacy of these pandemic times.

From Graham Greene’s The End of the Affair (1951): end of the affair

She stood up abruptly and said, ‘Let’s go,’ and was suddenly taken with a fit of coughing. It seemed to big a cough for her small bdy: her forehead sweated with its expulsion. […] I moved towards her […]. ‘Sarah,’ I said. She turned her head sharply away, as though she were looking to see if anyone were coming, to see if there was time . . . but when she turned again the cough took her. She doubled up in the doorway and coughed and coughed. Her eyes were red with it. In her fur coat she looked like a small animal cornered.
‘I’m sorry.’
I said with bitterness, as though I had been robbed of something, ‘That needs attending to.’
‘It’s only a cough.’ She held her hand out and said ‘Good-bye – Maurice.’ The name was like an insult. I said ‘Good-bye’, but didn’t take her hand.

furySome 700 years later, on human-colonised Venus, in Henry Kuttner’s Fury (1950, co-written with uncredited CL Moore):

He clasped his hands before him and bowed slightly in the semi-oriental gesture of greeting that had for so long replaced the handshake.


Finally, the compleat Midsommar (Ari Aster 2019) one-sentence review tweets


So l finally saw Midsommar, or, the Bizarre Demonisation of ‘Scandinavian Style’ Social Democracy

So l finally saw Midsommar, or, the Dangers of Undertheorised Participant-Observation Methodologies

So l finally saw Midsommar, or, the Need for Strong Research Ethics Committees and Rigorous Approval Processes

So l finally saw Midsommar, or, the Never-Decreasing Need for Ari Aster to Hire a Script Editor

So l finally saw Midsommar and I am left wondering: what is the point of dressing up as a bear if you are not then going to punch out a nun?

Der Golem, wie er in die Welt kam (Wegener 1920)

The-Golem-1-e1574353233440and so anyway it turns out that the best thing about Paul Wegener’s Der Golem, wie er in die Welt kam (1920) is not the stunning 4K restoration, which makes it look like a completely different film to the one that’s only been available in shitty prints and ropey transfers for decades, nor is it sniggering at the subtitle, which I am told by a German friend would nowadays  mean ‘and how he ejaculated into the world’ , no, the very best thing about this film about a creature fashioned from clay and brought to life through mystical powers, is the way it it loses all credibility the moment Fabian (Lothar Muthel, below right, shirt-cocking, full-Winnie-the-Pooh) starts to express an interst in, well, girls…


A question about Knausgaard

51TfzLcO3BL._AC_SY400_ML2_So in the middle section of The End, the sixth and final volume of Karl Ove Knausgaard’s My Struggle, are we supposed to notice all the parallels between Hitler’s youth and his own early years, even though he never draws explicit attention to them, and thus be grateful he is merely making hilariously lofty claims for the significance of his work by subjecting us to 450 interminable pages of poorly argued and banal literary-philosophical-historical-aesthetic-theological exegesis, rather than, say, invading Poland or committing genocide?

Asking for a friend.

My top 31 films of 2019

1100This year I watched 320 movies, 214 for the first time – and of those, these are my top 31, in some kind of order:

Bait (Mark Jenkins 2019)
In Fabric (Peter Strickland 2018)
The Million Ryô Pot (Sadao Yamanaka 1935)
Happiness (Aleksandr Medvedkin 1934)
One Cut of the Dead (Shin’ichiro Ueda 2017)
Nitrate Kisses (Barbara Hammer 1992)
Us (Jordan Peele 2019)
Revenge (Coralie Fargeat 2017)
The Murder of Mr Devil (Ester Krumbachová 1970)
Sorry to Bother You (Boots Riley 2018)
Knives Out (Rian Johnson 2019)
Fruitvale Station (Ryan Coogler 2013)
The Wind-of-Youth Group Crosses the Mountain Pass (Seijun Suzuki 1961)
The Man Who Killed Hitler and Then The Bigfoot (Robert D Krzykowski 2018)
Death of a Cyclist (Juan Antonio Bardem 1955)
The Mad Miss Manton (Leigh Jason 1938)
Deadpool 2 (David Leitch 2018)
A New Leaf (Elaine May 1971)
Turbo Kid (François Simard, Anouk Whissell, Yohan-Karl Whissell 2015)
Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, Rodney Rothman 2018)
Eight Hours of Terror (Suzuki Seijun 1957)
Burning (Chang-dong Lee 2018)
The Big Short (Adam McKay 2015)
Eggshells (Tobe Hooper 1969)
Jesus Shows You the Way to the Highway (Miguel Llansó 2019)
Liebelei (Max Ophüls 1933)
Fruit of Paradise (Vera Chytilová 1970)
Sometimes a Great Notion (Paul Newman 1971)
Possum (Matthew Holness 2018)
The Guilty (Gustav Möller 2018)
Arctic (Joe Penna 2018)

The full list of 320 is below, but first this year’s awards

Best title
The Man Who Killed Hitler and Then The Bigfoot (2018), although some tough competition from 2 Lava 2 Lantula! (2016), The Wind-of-Youth Group Crosses the Mountain Pass (1961), Jesus Shows You the Way to the Highway (2019), The Phantom Museum: Random Forays Into the Vaults of Sir Henry Wellcome’s Medical Collection (2003) and Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum) (2011)

Best high concept utterly screwed up
Downsizing (2017)

Most delightful penis reveal
Border (2018)

Best escalation of violence in a pub
Bait (2019)

Most terrifying rabbits
A draw between The Favourite (2018) and Us (2019)

Best drowning
Sometimes a Great Notion (1971)

Best use of Inception fart horn in a hilariously inept conclusion
Annihilation (2018)

Best gorilla/sandwich routine
Son of Ingagi (1940)

Most pointless Gerard Butler film
A draw between Geostorm (2017) and anything else I might have seen this year that he was in

Film Andrea most regretted coming to see with me in a cinema
Inland Empire (2006) – though in retrospect, she liked having seen it much more than she liked the actual process of seeing it

The Gee thanks for the recommendation Nick award
A draw between the two films Nick recommended: 6 Underground (2019) and Anna and the Apocalypse (2017)

Most brilliantly unexpected end credits
Assassination Nation (2018)

The 320
2 Lava 2 Lantula! (Nick Simon 2016)
6 Underground (Michael Bay 2019)
13 Tzameti (Géla Babluani 2005)
21 Jump Street (Phil Lord and Chris Miller 2012)
22 Jump Street (Phil Lord and Chris Miller 2014)
28 Days Later… (Danny Boyle 2002)
28 Weeks Later (Juan Carlos Fresnadillo 2007) 

Abwege (GW Pabst 1928)
The Agony and the Ecstasy (Carol Reed 1965)
Akutarô/The Incorrigible (Seijun Suzuki 1963)
Akutarô-den: Warui hoshi no shita demo/Born Under Crossed Stars (Seijun Suzuki 1965)
The Alcohol Years (Carol Morley 2000)
Alice in Not So Wonderland (Stephen and Timothy Quay 2007)
Alien: Covenant (Ridley Scott 2017)
American Animals (Bart Layton 2018)
Anna and the Apocalypse (John McPhail 2017)
Annie Oakley (George Stevens 1935)
Annihilation (Alex Garland 2018)
Anthropocene: The Human Epoch (Jennifer Baichwall, Edward Burtynsky and Nicholas de Pencier 2018)
Ant-Man and the Wasp (Peyton Reed 2018)
Aquaman (James Wan 2018)
Arctic (Joe Penna 2018)
Ariel (Aki Kaurismäki 1988)
De Artificiali Perspectiva, or Anamorphosis (Stephen and Timothy Quay 1991)
The Asphalt Jungle (John Huston 1950)
Assassination Nation (Sam Levinson 2018)
L’assassin habite…au 21/The Murderer Lives at Number 21 (Henri-Georges Clouzot 1942)
Avengers: Age of Ultron (Joss Whedon 2015)
Avengers: Endgame (Anthony and Joe Russo 2019)
Avengers: Infinity War (Anthony and Joe Russo 2018) 

Badlands (Terrence Malick 1973)
The Bad Lieutenant: Port of Call – New Orleans (Werner Herzog 2009)
Bait (Mark Jenkins 2019)
Beast (Michael Pearce 2017)
Beasts of the Southern Wild (Benh Zeitlin 2012)
Beoning/Burning (Chang-dong Lee 2018)
The Big Lebowski (Joel and Ethan Coen 1998)
The Big Short (Adam McKay 2015)
Bing feng: Chong sheng shi men/Iceman (Wing-Cheong Law 2014)
Black Rainbow (Mike Hodges 1989)
Black Rainbow (Mike Hodges 1989)
The Blair Witch Project (Daniel Myrick and Eduardo Sánchez 1999)
Blue Story (Andrew Onwubolu 2019)
Bokeh (Geoffrey Orthwein and Andrew Sullivan 2017)
Bush Mama (Haile Gerima 1975) 

The Cabinet of Jan Svankmajer (Stephen and Timothy Quay 1984)
Callan (Don Sharp 1974)
The Calligrapher (Stephen and Timothy Quay 1991)
Can You Ever Forgive Me? (Marielle Heller 2018)
Capharnaüm/Capernaum (Nadine Labaki 2018)
Captain Fantastic (Matt Ross 2016)
Captain Marvel (Anna Boden, Ryan Fleck 2019)
Carnival of Souls (Herk Harvey 1962)
Carry on Screaming! (Gerald Thomas 1966)
Casablanca (Michael Curtiz 1942)
Claudine (John Berry 1974)
The Comb (Stephen and Timothy Quay 1991)
The Congress (Ari Folman 2013)
Crash! (Charles Band 1976)
Croupier (Mike Hodges 1998) 

The Dark Mirror (Robert Siodmak 1946)
The Day After Tomorrow (Roland Emmerich 2004)
The Day Shall Come (Chris Morris 2019)
The Dead Don’t Die (Jim Jarmusch 2019)
Deadpool 2 (David Leitch 2018)
Dead Slow Ahead (Mauro Herce 2015)
Death Race 2000 (Paul Bartel 1975)
Decasia: The State of Decay (Bill Morrison 2002)
Deliverance (John Boorman 1972)
Dellamorte Dellamore/Cemetery Man (Michele Soavi 1994)
Destroyer (Karyn Kusama 2018)
Les deux timides (René Clair 1928)
Do the Right Thing (Spike Lee 1989)
Dou foh sin/Flash Point (Wilson Yip 2007)
Downsizing (Alexander Payne 2017)
Dreams of a Life (Carol Morley 2011)
Driving Miss Daisy (Bruce Beresford 1989)
Dune (David Lynch 1984)

Edge (Carol Morley 2010)
Edge of Tomorrow (Doug Liman 2014)
Eggshells (Tobe Hooper 1969)
Emil and the Detectives (Milton Rosmer 1935)
Emil und die Detektive/Emil and the Detectives (Gerhard Lamprecht 1931)
The End (Burt Reynolds 1978)
The Endless (Justin Benson and Aaron Moorhead 2017)
The Equalizer (Antoine Fuqua 2014)
Eurydice: She, So Beloved (Stephen and Timothy Quay 2007)
Everyday Something (Carol Morley 2001)
Evolution (Lucile Hadzihalilovic 2015)
eXistenZ (David Cronenberg 1999)
Ex Voto (Stephen and Timothy Quay 1989)

Face/Off (John Woo 1997)
Fast and Furious (Justin Lin 2009)
Fast and Furious: Hobbs and Shaw (David Leitch 2019)
The Favourite (Yorgos Lanthimos 2018)
Une femme douce (Robert Bresson 1969)
First Man (Damien Chazelle 2018)
Forbidden Planet (Fred McLeod Wilcox 1956)
Four Weddings and a Funeral (Mike Newell 1994)
The Front Page (Lewis Milestone 1931)
Fruitvale Station (Ryan Coogler 2013)
Fumihazushita haru/The Boy Who Came Back (Suzuki Seijun 1958)

Gamer (Mark Neveldine and Brian Taylor 2009)
Geostorm (Dean Devlin 2017)
Girl (Lukas Dhont 2018)
Gojira/Godzilla (Ishiro Honda 1954)
Gojira no gyakushû/Godzilla Raids Again (Motoyoshi Oda 1955)
Godzilla: King of the Monsters (Michael Dougherty 2019)
Goldstone (Ivan Sen 2016)
La grande illusion (Jean Renoir 1937)
Gräns/Border (Ali Abbasi 2018)
The Great Escape (John Sturges 1963)
Guardians of the Galaxy (James Gunn 2014)
Guardians of the Galaxy volume 2 (James Gunn 2017)

Hachijikan no kyôfu/Eight Hours of Terror (Suzuki Seijun 1957)
Hadaka no shima/The Naked Island (Kaneto Shindo 1960)
Hai tiin yakuza/Teenage Yakuza (Suzuki Seijun 1962)
Halloween (David Gordon Green 2018)
Happy Death Day (Christopher Landon 2017)
Happy Death Day 2U (Christopher Landon 2019)
The Happytime Murders (Brian Henson 2018)
The Heat (Paul Feig 2013)
High Life (Claire Denis 2018)
His Kind of Woman (John Farrow 1951)
The Hole in the Ground (Lee Cronin 2019)
Homo Sapiens (Nikolaus Geyrhalter 2016)
The Hurricane Heist (Rob Cohen 2018)

Iceman (Fred Schepisi 1984)
If Beale Street Could Talk (Barry Jenkins 2018)
In Absentia (Stephen and Timothy Quay 2000)
In Fabric (Peter Strickland 2018)
Inland Empire (David Lynch 2006)
Institute Benjamenta, or This Dream People Call Human Life (Stephen and Timothy Quay 1995)
Inventorium of Traces (Stephen and Timothy Quay 2009)
It’s Alive (Larry Cohen 1974) 

Jack Reacher: Never Go Back (Edward Zwick 2016)
Jesus Shows You the Way to the Highway (Miguel Llansó 2019)
Jiang hu er nü/Ash is Purest White (Jia Zhangke 2018)
Jigsaw (Michael and Peter Spierig 2017)
Jin yi wei/14 Blades (Daniel Lee 2010)
John Wick (Chad Stahelski and David Leitch 2014)
Joker (Todd Phillips 2019)
Jurassic World (Colin Trevorrow 2015) 

Kamera o tomeru na!/One Cut of the Dead (Shin’ichiro Ueda 2017)
Kemono no nemuri/The Sleeping Beast Within (Seijun Suzuki 1960)
Kick-Ass (Matthew Vaughn 2010)
Kick-Ass 2 (Jeff Wadlow 2013)
Kimi no wa wa/Your Name (Makoto Shinkai 2016)
The Kindergarten Teacher (Sara Colangelo 2018)
Kinoteka: Ident (Stephen and Timothy Quay 2008)
Knives Out (Rian Johnson 2019)
Kokoa (Moustapha Alassane 1985)
Koroshi no rakuin/Branded to Kill (Seijun Suzuki 1967)
Kozure Ôkami: Ko wo kashi ude kashi tsukamatsuru/Sword of Vengeance (Kenji Misumi 1972)
Kurôn wa kokyô mezasu/The Clone Returns Home (Kanji Nakajima 2008) 

The Last Sharknado: It’s About Time (Anthony C Ferrante 2018)
Lavalantula (Mike Mendez 2015)
Lazzaro felice/Happy as Lazzaro (Alice Rohrwacher 2018)
The Learning Tree (Gordon Parks 1969)
The Legend of Hell House (John Hough 1973)
The Lego Ninjago Movie (Charlie Bean, Paul Fisher and Bob Logan 2017)
Leningrad Cowboys Go America (Aki Kaurismäki 1989)
Liebelei (Max Ophüls 1933)
The Limehouse Golem (Juan Carlos Medina 2016)
Lone Star (John Sayles 1996)
Lost River (Ryan Gosling 2014)
The Love Witch (Anna Biller 2016)

Ma (Tate Taylor 2019)
The Mad Miss Manton (Leigh Jason 1938)
Mandy (Panos Cosmatos 2018)
Mansfield Park (Patricia Rozema 1999)
Man-Thing (Brett Leonard 2005)
The Man Who Killed Hitler and Then The Bigfoot (Robert D Krzykowski 2018)
The Man Who Shot Liberty Valance (John Ford 1962)
Man with a Movie Camera (Dziga Vertov 1929)
The Man with the Iron Fists (RZA 2012)
Maska (Stephen and Timothy Quay 2010)
Maska (Stephen and Timothy Quay 2010)
The Meg (Jon Turteltaub 2018)
Menschen am Sonntag/People on Sunday (Robert Siodmak, Edgar G Ulmer 1930)
Mikkô zero rain/Smashing the O-Line (Suzuki Seijun 1960)
Mile 22 (Peter Berg 2018)
Miracle on 34th Street (George Seaton 1947)
Monsters and Men (Reinaldo Marcus Green 2018)
Mr Nobody (Jaco Van Dormael 2009)
Muerte de un ciclista/Death of a Cyclist (Juan Antonio Bardem 1955)
My Fair Lady (George Cukor 1964)
Mystery Road (Ivan Sen 2013) 

National Treasure: Book of Secrets (Jon Turteltaub 2007)
Near Dark (Kathryn Bigelow 1987)
A New Leaf (Elaine May 1971)
New Towns, Our Town: Stories on Screen (various 2019)
Night of the Demon (Jacques Tourneur 1957)
The Nile Hilton Incident (Tarik Saleh 2017)
Ninjô kami fûsen/Humanity and Paper Balloons (Sadao Yamanaka 1937)
Nitrate Kisses (Barbara Hammer 1992)
Nocturna Artificiala (Stephen and Timothy Quay 1979)
Noisy Licking, Dribbling and Spitting (Vicky Smith 2014)
Notorious (Alfred Hitchcock 1946) 

Ocean’s Eight (Gary Ross 2018)
The Old Dark House (James Whale 1932)
Once Upon a Time …in Hollywood (Quentin Tarantino 2019)
Onibaba (Kaneto Shindo 1964)
Opium (Robert Reinert 1919)
Örökbefogadás/Adoption (Márta Mészáros 1975)
Otesánek/Little Otik (Jan Svankmajer 2000)
Out of Blue (Carol Morley 2018)
Out of the Furnace (Scott Cooper 2013)
Overlord (Justin Wyatt 2018)
Ovove stromu rajskych jime/Fruit of Paradise (Vera Chytilová 1970)

Pacific Rim Uprising (Steven S DeKnight 2018)
Paris, Texas (Win Wenders 1984)
The Phantom Museum: Random Forays Into the Vaults of Sir Henry Wellcome’s Medical Collection (Stephen and Timothy Quay 2003)
La piel que habito/The Skin I Live In (Pedro Almodóvar 2011)
Pit Stop (Jack Hill 1969)
Possum (Matthew Holness 2018)
Prospect (Zeek Earl and Christopher Caldwell 2018) 

Qi jian/Seven Swords (Tsui Hark 2005)

Rabid (Jen and Sylvia Soska 2019)
Rashomon (Akira Kurosawa 1950)
Ready Player One (Steven Spielberg 2018)
Red Sparrow (Francis Lawrence 2018)
Rehearsals for Extinct Anatomies (Stephen and Timothy Quay 1988)
Resolution (Justin Benson and Aaron Moorhead 2012)
Le retour d’un aventurier (Moustapha Alassane 1966)
The Return of Swamp Thing (Jim Wynorski 1989)
Revenge (Coralie Fargeat 2017)
The Ritual (David Bruckner 2018)
The Ruins (Carter Smith 2008)
Saat po long/SPL Kill Zone (Wilson Yip 2005)
Samba le grand (Moustapha Alassane 1977)
Sandanju no otoko/The Man with a Shotgun (Suzuki Seijun 1961)
San xia hao ren (Jia Zhanke 2006)
Saw (James Wan 2004)
Saw II (Darren Lynn Bousman 2005)
Saw III (Darren Lynn Bousman 2006)
Saw IV (Darren Lynn Bousman 2007)
Saw V (David Hackl 2008)
Saw VI (Kevin Greutert 2009)
Saw 3D (Kevin Greutert 2010)
Schaste/Happiness (Aleksandr Medvedkin 1934)
The Seventh Victim (Mark Robson 1943)
Sharknado (Anthony C Ferrante 2013)
Sharknado 2: The Second One (Anthony C Ferrante 2014)
Sharknado 3: Oh Hell No! (Anthony C Ferrante 2015)
Sharknado 4: The 4th Awakens (Anthony C Ferrante 2016)
Sharknado 5: Global Swarming (Anthony C Ferrante 2017)
The Shop Around the Corner (Ernst Lubitsch 1940)
A Simple Favor (Paul Feig 2008)
Singin’ in the Rain (Stanley Donen and Gene Kelly 1952)
Skjelvet/The Quake (John Andrea Andersen 2018)
Den skyldige/The Guilty (Gustav Möller 2018)
Skyscraper (Rawson Marshall Thurber 2018)
Sleuth (Joseph L. Mankiewicz 1972)
Sometimes a Great Notion (Paul Newman 1971)
Songs for Dead Children (Stephen and Timothy Quay 2003)
Son of Ingagi (Richard C Kahn 1940)
Sorry to Bother You (Boots Riley 2018)
Sorry to Bother You (Boots Riley 2018)
Sorry to Bother You (Boots Riley 2018)
Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, Rodney Rothman 2018)
Split Second (Tony Maylam 1992)
The Spy Who Dumped Me (Susanna Fogel 2018)
Stalin My Neighbour (Carol Morley 2004)
A Star Is Born (George Cukor 1954)
Star Wars: Episode VIII – The Last Jedi (Rian Johnson 2017)
Star Wars: Episode IX – The Rise of Skywalker (JJ Abrams 2019)
Stella Dallas (King Vidor 1937)
Stille Nacht: Dramolet (Stephen and Timothy Quay 1988)
Stille Nacht II: Are We Still Married (Stephen and Timothy Quay 1992)
Stille Nacht III: Tales from Vienna Woods (Stephen and Timothy Quay 1993)
Stille Nacht IV: Can’t Go Wrong Without You (Stephen and Timothy Quay 1993)
Street of Crocodiles (Stephen and Timothy Quay 1986)
Streets of Fire (Walter Hill 1984)
Swamp Thing (Wes Craven 1982)
Sweet Sweetback’s Baadasssss Song (Melvin Van Peebles 1971) 

Tange Sazen yowa: Hyakuman ryô no tsubo /The Million Ryô Pot (Sadao Yamanaka 1935)
Tarzan and His Mate (Cedric Gibbons 1934)
Tarzan Finds a Son! (Richard Thorpe 1939)
Terminator Genisys (Alan Taylor 2015)
Te shu sen fen/Special ID (Clarence Yiu-leung Fok 2103)
Test pilota Pirx/Pilot Pirx’s Inquest (Marek Piestrak 1979)
La tête d’un homme (Julien Duvivier 1933)
Thale (Aleksander Nordaas 2012)
Thelma (Joachim Trier 2017)
The Thing (John Carpenter 1982)
The Third Man (Carol Reed 1949)
This Unnameable Little Broom (Stephen and Timothy Quay 1985)
Three Billboards outside Ebbing, Missouri (Martin McDonagh 2017)
Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum) (Stephen and Timothy Quay 2011)
Tintin et le mystère de la Toisin D’or/Tintin and the Golden Fleece (Jean-Jacques Vierne 1961)
Tôge o wataru wakaikaze/The Wind-of-Youth Group Crosses the Mountain Pass (Seijun Suzuki 1961)
Tokyo naito/Tokyo Knights (Seijun Suzuki 1961)
Tokyo Tribe (Sion Sono 2014)
Tomb Raider (Roar Uthuag 2018)
Transamerica (Duncan Tucker 2005)
Triple Threat (Jesse V Johnson 2019)
Trudno byt bogom/Hard to Be a God (Aleksey German 2o13)
Turbo Kid (François Simard, Anouk Whissell, Yohan-Karl Whissell 2015)

Unmistaken Hands: Ex Voto F.H. (Stephen and Timothy Quay 2013)
Us (Jordan Peele 2019)
Us (Jordan Peele 2019) 

A Vigilante (Sarah Daggar-Nickson 2018)
Vrazda ing. Certa/The Murder of Mr Devil (Ester Krumbachová 1970)

W. (Oliver Stone 2008)
Wake in Fright (Ted Kotcheff 1971)
Walkabout (Nicolas Roeg 1971)
Walkabout (Nicolas Roeg 1971)
Watermark (Jennifer Baichwal and Edward Burtynsky 2013)
Wet Job (Shaun O’Riordan 1981)
Wonderwood: Comme des garçons (Stephen and Timothy Quay 2010)
Wong Fei Hung/Once Upon a Time in China (Tsui Hark 1991)
Wong Fei Hung II: Nam yee tung chi keung/Once Upon a Time in China II (Tsui Hark 1992)
World War Z (Marc Forster 2013)

xXx (Rob Cohen 2002) 

Yi dai zong shi/The Grandmaster (Wong Kar-Wai 2013)
Yi ge rende wu lin/Kung Fu Killer (Teddy Chan 2014)
Yip Man 3/Ip Man 3 (Wilson Yip 2015) 

Zama (Lucrecia Martel 2017)
Zatôichi abare-himatsuri/Zato-ichi Goes to the Fire Festival (Kenji Mitsumi 1970)



My top 23 (or 34) books of 2019

01Evaristo2-superJumboOf the 260 books I read this year (245 for the first time), these are my top 23 (or 34, depending on how you count them)

Bernadine Evaristo, Girl, Woman, Other (2019)
Abdelrahman Munif, Cities of Salt trilogy (1984–89)
Lucy Ellmann, Ducks, Newburyport (2019)
Annie Proulx, Barkskins (2013)
Richard Powers, Orfeo (2014)
Marlon James, The Book of Night Women (2009)
Leni Zumas, Red Clocks (2018)
Paul Auster, 4321 (2017)
Amitav Ghosh, The Glass Palace (2000)
Stephen Graham Jones, Mongrels (2016)
Francis Spufford, Red Plenty (2010)
Chester Himes, The Third Generation (1954)
Larissa Lai, The Tiger Flu (2018)
Wu Ming, Altai (2009)

Richard McGuire, Here (2014)
Emil Ferris, My Favorite Thing is Monsters, volume one (2017)
Yeon-Sik Hong, Uncomfortably Happily (2012)
Laura Redniss, Radioactive: Marie and Pierre Curie, A Tale of Love and Fallout (2011)
G. Willow Wilson, et al, Ms. Marvel, volumes 1–10 (2013–15)
Saladin Ahmed, Sami Kivelä and Jason Wordie, Abbott (2018)

Critical works
Jennifer Fay, Inhospitable World: Cinema in the Time of the Anthropocene (2018)
Mark Fisher, k-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016) (2018)
Philip Mirowski and Dieter Plehwe, eds, The Road from Mont Pelerin: The Making of the Neoliberal Thought Collective (2015

The full list of titles is below, but first the stats:
all of the world except 112… (but only 47 women)
…straight white men writing in English 82
multi-authored or otherwise don’t fit 66

The full 260
Basma Abdel Aziz, The Queue (2013)
Dan Abnet, Andy Lanning et al, Guardians of the Galaxy: Legacy (2008)
–. Guardians of the Galaxy: War of Kings, Book 1 (2009)
–. Guardians of the Galaxy: War of Kings, Book 2 (2009)
–. Guardians of the Galaxy: Realm of Kings (2010)
Saladin Ahmed, Sami Kivelä and Jason Wordie, Abbott (2018)
Naomi Alderman, The Power (2016)
Martin Amis, Night Train (1997)
Steven Amsterdam, Things We Didn’t See Coming (2009)
Charlie Jane Anders, The City in the Middle of the Night (2019)
Edward Anderson, Thieves Like Us (1937)
Isaac Asimov, The Gods Themselves (1972
Jane Austen, Mansfield Park (1814)
–. Northanger Abbey (1818)
Jane Austen and Seth Grahame-Smith, Pride and Prejudice and Zombies (2009)
Paul Auster, 4321 (2017)

Paolo Pacigalupi and Tobias S Buckell, The Tangled Lands (2018)
Aimee Bahng, Migrant Futures: Decolonizing Speculation in Financial Times (2018)
James Baldwin, If Beale Street Could Talk (1974)
James Baldwin and Raoul Peck, I Am Not Your Negro (2017)
JG Ballard, The Drowned World (1962)
Gary Barker and Michael Kaufman, The Afghan Vampires Book Club (2015)
Aaron Bastani, Fully Automated Luxury Communism (2019)
Samit Basu, Turbulence (2012)
–. Resistance (2014)
Franco ‘Bifo’ Berardi, Futurability: The Age of Impotence and the Horizon of Possibility (2017)
Sebastian Berger, The Social Costs of Neoliberalism: Essays on the Economics of K. William Kapp (2017)
Hassan Blasim, The Madman of Freedom Square (2009)
Olivier Bocquet and Jean-Marc Rochette, Snowpiercer 3: Terminus (2016)
Christophe Bonneuil and Jean-Baptiste Fressoz, The Shock of the Anthropocene: The Earth, History and Us (2013)
Anne Brontë, The Tenant of Wildfell Hall (1848)
Max Brooks, World War Z: An Oral History of the Zombie War (2006)
Eric Brown, Penumbra (1999)
Ken Bruen, Purgatory (2013)
Kenneth Bulmer, ed., New Writing in SF 29 (1976)
Daisy Butcher, ed., Evil Roots: Killer Tales of the Botanical Gothic (2019)
Octavia Butler, Kindred (1979)

Pedro Cabiya, Wicked Weeds: A Zombie Novel (2016)
Bill Campbell, David Brame and Damian Duffy, Baaaaad Muthaz, volume one (2019)
Ramsey Campbell, The Influence (1988)
–. Obsession (1985)
John Carnell, ed., New Writings in SF 3 (1964)
–. New Writings in SF 4 (1965)
–. New Writings in SF 5 (1965)
–. New Writings in SF 6 (1965)
–. New Writings in SF 7 (1966)
Arthur C. Clarke, The Deep Range (1957)
Jeffrey Jerome Cohen, Stone: An Ecology of the Inhuman (2015)
Stanley Cohen, States of Denial: Knowing about Atrocities and Suffering (2001)
Carlo Collodi, The Adventures of Pinocchio (1883)
James S.A. Corey, Cibola Burn (2014)
–. Nemesis Games (2015)
Clive and Dirk Cussler, Arctic Drift (2008)

Didier Daeninckx, Murder in Memoriam (1984)
William Davies, ed., Economic Science Fictions (2018)
Anthony Del Col, Jahnoy Lindsay and Ian Herring, Luke Cage: Everyman (2018)
Damian Duffy and John Jennings, Octavia Butler’s Kindred (2017)
Alexandre Dumas, The Three Musketeers (1844)

Esi Edugyan, Washington Black (2018)
George Eliot, Middlemarch (1871-72)
Erle C. Ellis, Anthropocene: A Very Short Introduction (2018)
Lucy Ellmann, Ducks, Newburyport (2019)
Amal el-Mohtar and Max Gladstone, This is How You Lose the Tie War (2019)
Frederik Engels, Socialism: Utopian and Scientific (1880)
Bernadine Evaristo, Girl, Woman, Other (2019)

Michel Fabre and Robert F Skinner, eds, Conversations with Chester Himes (1995)
Brian Fagan, The Attacking Ocean: The Past, Present and Future of Rising Sea Levels (2013)
Christa Faust, Gary Phillips and Andrea Camerini, Peepland (2017)
Jennifer Fay, Inhospitable World: Cinema in the Time of the Anthropocene (2018)
Emil Ferris, My Favorite Thing is Monsters, volume one (2017)
Mark Fisher, k-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016) (2018)
–. The Weird and the Eerie (2016)
Eric Flint and Charles E. Gannon, 1636: The Vatican Sanction (2017)
Eric Flint and Alistair Kimble, Iron Angels (2017)
Eric Flint, Gorg Huff and Paula Goodlett, The Alexander Inheritance (2017)
Philip S. Foner and Alexis Buss, eds, The Letters of Joe Hill (2015)
Seshu Foster, Atomik Aztex (2005)
Carl Freedman, ed., Conversations with Isaac Asimov (2005)
–., ed., Conversations with Ursula K. Le Guin (2008)
Max Frisch, Man in the Holocene (1979)

Jostein Gaarder, The World According to Anna (2013)
Maggie Gee, The Flood (2004)
Steve Gerber et al., The Man-Thing: The Complete Collection, volume 1 (1970–74)
–. The Man-Thing: The Complete Collection, volume 2 (1974)
Amitav Ghosh, The Circle of Reason (1986)
–. The Calcutta Chromosome (1996)
–. The Glass Palace (2000)
–. The Hungry Tide (2004)
–. Sea of Poppies (2008)
–. River of Smoke (2011)
–. Flood of Fire (2015)
–. The Great Derangement: Climate Change and the Unthinkable (2016)
–. Gun Island (2019)
Axel Goodbody and Adeline Johns-Putra, eds, Cli-Fi: A Companion (2019)
Greg Grandin, The Empire of Necessity: The Untold History of a Slave Rebellion in the Age of Liberty (2014)
Boris Groys, ed., Russian Cosmism (2018)

Paul Hawken, Amory B. Lovins and L. Hunter Lovins, Natural Capitalism: The Next Industrial Revolution (1999)
Arthur Herzog, Heat (1977)
Elina Hirvonen, When Time Runs Out (2015)
Jack Halberstam, Trans*: A Quick and Quirky Account of Gender Variability (2018)
Clive Hamilton, Requiem for a Species: Why We Resist the Truth about Climate Change (2010)
Frances Hardinge, The Lie Tree (2015)
Thomas Hardy, The Woodlanders (1877)
Aleksander Hemon, The Making of Zombie Wars (2015)
Chester Himes, The Third Generation (1954)
Philip Hoare, Leviathan or, The Whale (2008)
Mike Hodges, Bait, Grist and Security (2018)
Yeon-Sik Hong, Uncomfortably Happily (2012)
Saad Z. Hossain, Escape from Baghdad! (2012)

Rita Indiana, Tentacle (2015)
Simon Ings, The Weight of Numbers (2006)
Emmi Itäranta, Memory of Water (2012)

Marlon James, The Book of Night Women (2009)
Daisy Johnson, Fen (2016)
Stephen Graham Jones, Mongrels (2016)

William Melvin Kelley, A Different Drummer (1962)
Caitlín R. Kiernan, The Red Tree (2009)
Paul Kingsnorth, Beast (2016)
–. Confessions of a Recovering Environmentalist (2017)
–. One No, Many Yeses: A Journey to the Heart of the Global Resistance Movement (2003)
–. Real England: The Battle Against the Bland (2008)
Barbara Kingsolver, Flight Behaviour (2012)
Andrzej Klimowski and Danusia Schejbal, Robot… (2011)
Karl Ove Knausgaard, My Struggle 1: A Death in the Family (2009)
–. My Struggle 2: A Man in Love (2009)
–. My Struggle 3: Boyhood Island (2010)
–. My Struggle 4: Dancing in the Dark (2010)
Eduardo Kohn, How Forests Think: Toward an Anthropology Beyond the Human (2013)
Mary Robinette Kowal, The Calculating Stars (2018)

Larissa Lai, The Tiger Flu (2018)
Joe R. Lansdale, The Elephant in the Room (2019)
Bruno Latour, Down to Earth: Politics in the New Climate Regime (2017)
Victor LaValle and John Joseph Adams, eds, The People’s Future of the United States (2019)
Ann Leckie, Provenance (2017)
Dennis Lee, Civil Elegies and Other Poems (1972)
Benjamin LeGrand and Jean-Marc Rochette, Snowpiercer 2: The Explorers (1999–2000)
Jacques Lob and Jean-Marc Rochette, Snowpiercer 1: The Escape (1982)
Jeff Loveness and Brian Kessinger, Groot (2015)
Roger Luckhurst, Alien (2014)

Gregory McDonald, Snatched (1980)
–. Safekeeping (1985)
Richard McGuire, Here (2014)
Kristi McKim, Cinema as Weather: Stylistic Screens and Atmospheric Change (2013)
Pierre Macherey, A Theory of Literary Production (1966)
Sophie Mackintosh, The Water Cure (2018)
Ken MacLeod, Newton’s Wake (2004)
Nick Mamatas, I Am Providence (2016)
Bill Mantlo, Dan Abnett, Andy Lanning, et al., Rocket Raccoon and Groot: Complete Collection (1959–2013)
James Vance Marshall, Walkabout (1959)
Richard Matheson, Someone is Bleeding (1953)
–. Fury on Sunday (1953)
–. Ride the Nightmare (1959)
Farah Mendlesohn, The Pleasant Profession of Robert A. Heinlein (2019)
Tobias Menely and Jesse Oak Taylor, eds, Anthropocene Readings: Literary History in Geologic Times (2017)
Jim Miller, Flash: A Novel (2010)
Wu Ming, Altai (2009)
Philip Mirowski and Dieter Plehwe, eds, The Road from Mont Pelerin: The Making of the Neoliberal Thought Collective (2015)
Pankaj Mishra, Age of Anger: A History of the Present (2017)
Rosa Montero, Tears in Rain (2011)
Alan Moore, Stephen Bisette and John Totleben, Saga of the Swamp Thing, book one (1983–84)
Alan Moore, Stephen Bisette and John Totleben, Saga of the Swamp Thing, book two (1984–85)
Alan Moore, Stephen Bisette and John Totleben, Saga of the Swamp Thing, book three (1985)
Alan Moore, Stephen Bisette, John Totleben and Stan Woch, Saga of the Swamp Thing, book four (1985–86)
Alan Moore, Rick Veitch, John Totleben and Alfredo Alcala, Saga of the Swamp Thing, book five (1986–87)
Alan Moore, Rick Veitch, John Totleben and Alfredo Alcala, Saga of the Swamp Thing, book six (1987)
Jason W. Moore, ed., Anthropocene or Capitalocene?Nature, History, and the Crisis of Capitalism (2016)
James Morrow, The Asylum of Dr Caligari (2017)
Oli Mould, Against Creativity (2018)
Fiona Mozley, Elmet (2017)
Abdelrahman Munif, Cities of Salt (1984)
–. The Trench (1986)
–. Variations on Night and Day (1989)
Haruki Murakami, The Elephant Vanishes (1993)

Fred Nadis, The Man from Mars: Ray Palmer’s Amazing Pulp Journey (2013)
Kim Newman, An English Ghost Story (2014)

Craig Oldham, ed., They Live (2018)

Christian Parenti, Tropic of Chaos: Climate Change and the New Geography of Violence (2011)
Adrian Parr, The Wrath of Capital: Neoliberalism and Climate Change (2013)
Raj Patel and Jason W. Moore, A History of the World in Seven Cheap Things (2018)
Jamie Peck, Constructions of Neoliberal Reason (2010)
Petrocultures Research Group, After Oil (2016)
Leigh Phillips, Austerity Ecology and the Collapse-Porn Addicts: A Defence of Growth, Progress, Industry and Stuff (2014)
Leigh Phillips and Michael Rozwarski, People’s Republic of Walmart: How the World’s Biggest Corporations are Laying the Foundation for Socialism (2019)
Karen Pinkus, Fuel: A Speculative Dictionary (2016)
J Posadas, Flying Saucers, the Process of Matter and Energy, Science, the Revolutionary and Working-Class Struggle and the Socialist Future of Mankind (1968)
Richard Powers, Orfeo (2014)
Vijay Prashed, Red Star Over the Third World (2019)
Robert N. Proctor and Londa Schienbinger, eds, Agnotology: The Making and Unmaking of Ignorance (2008)
Annie Proulx, Barkskins (2013)
Annie Proulx, Barkskins (2013)

Chen Qiufan, Waste Tide (2013)

Laura Redniss, Radioactive: Marie and Pierre Curie, A Tale of Love and Fallout (2011)
Arundhati Roy, The God of Small Things (1997)
–. The Ministry of Utmost Happiness (2017)
Nicholas Royle, The Uncanny (2003)

Hiroshi Sakurazaka, All You Need Is Kill (2004)
George Saunders, Fox 8 (2013)
–. Lincoln in the Bardo (2017)
James C. Scott, Against the Grain: A Deep History of the Earliest State (2017)
Michel Serres, Malfeasance: Appropriation through Pollution (2008)
Andrew Shaffer (with Fin Shepard and April Wexler), How to Survive a Sharknado and other Unnatural Disasters (2014)
Ntozake Shange, For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (1976)
–. For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (1976)
Ali Shaw, The Trees (2016)
Sue Short, Darkness Calls: A Critical Investigation of Neo-Noir (2019)
Georges Simenon, The Stain on the Snow (1948)
–. Maigret and the Dead Girl (1954)
Upton Sinclair, The Flivver King (1937)
Johanna Sinisalo, The Blood of Angels (2011)
Nihad Sirees, The Silence and the Roar (2004)
Quinn Slobodian, Globalists: The End of Empire and the Birth of Neoliberalism (2018)
Ben Smith, Doggerland (2019)
Scott Smith, The Ruins (2006)
Zadie Smith, Swing Time (2016)
Francis Spufford, Red Plenty (2010)
Neal Stephenson and Nicole Galland, The Rise and Fall of D.O.D.O. (2017)

J.P. Telotte, Animating the Science Fiction Imagination (2018)
Rupert Thomson, Divided Kingdom (2005)
Tade Thompson, The Rosewater Insurrection (2019)
Lavie Tidhar, The Vanishing Kind (2018)
Samo Tomšič, The Capitalist Unconscious: Marx and Lacan (2015)
Duncan Tonatiuh, Undocumented: A Worker’s Fight (2018)
Ilija Trojanow, The Lamentations of Zeno (2011)
Anna Tsing, Heather Swanson, Elaine Gan and Nils Bubandt, eds, Arts of Living on a Damaged Planet: Ghost and Monsters (2017)
Antti Tuomainen, The Healer (2010)

John Updike, Rabbit, Run (1960)

Catherynne M. Valente, The Refrigerator Monologues (2017)
Juan Gabriel Vásquez, The Sound of Things Falling (2011)
Jules Verne, Backwards to Britain (1989)
–. Robur the Conqueror (1886)
Sherryl Vint, Science Fiction: The Essential Knowledge (2020)
William T. Vollmann, No Immediate Danger: Volume One of Carbon Ideologies (2018)

Howard Waldrop, Horse of a Different Color: Stories (2013)
David F. Walker, Guillermo Sanna and Marcio Menyz, Luke Cage: Caged! (2018)
Edgar Wallace, The Green Rust (1919)
Rosie Warren, ed., Salvage 7: Towards the Proletarocene (2019)
Mike Wayne, Marxism Goes to the Movies (2020)
Len Wein, Bernie Wrightson, Nestor Redondo, The Bronze Age Swamp Thing, volume one (1973–74)
Andy Weir, Artemis (2017)
Harald Welzer, Climate Wars: Why People Will Be Killed in the 21st Century (2008)
Tommy Wieringa, These Are the Names (2012)
G. Willow Wilson, The Bird King (2019)
G. Willow Wilson, et al, Ms. Marvel, volume one: No Normal (2013–14)
–. Ms. Marvel, volume two: Generation Why (2014)
–. Ms. Marvel, volume three; Crushed (2014)
–. Ms. Marvel, volume four: Last Days (2014)
–. Ms. Marvel, volume five: Super Famous (2015)
–. Ms. Marvel, volume six: Civil War II (2015)
–. Ms. Marvel, volume seven: Damage Per Second (2015)
–. Ms. Marvel, volume eight: Mecca (2015)
Ariel S. Winter, The Twenty-Year Death: Malniveau Prison (2014)
–. The Twenty-Year Death: The Falling Star (2014)
–. The Twenty-Year Death: Police at the Funeral (2014)
Peter Wohlleben, The Hidden Life of Trees: What They Feel, How They Communicate – Discoveries from a Secret World (2015)
Matthew J Wolf-Meyer, Theory for the World to Come: Speculative Fiction and Apocalyptic Anthropology (2019)

George M Young, The Russian Cosmists: The Esoteric Futurism of Nikolai Fedorov and His Followers (2012)
Lidia Yuknavitch, The Book of Joan (2017)
Kathryn Yusoff, A Billion Black Anthropocenes or None (2018)

Jan Zalasiewicz, The Earth After Us: What Legacy Will Humans Leave in the Rocks? (2008)
Leni Zumas, Red Clocks (2018)

The stuff what I done in 2019

As I continue this Xmas to struggle with The Anthropocene Unconscious, this fucking recalcitrant book that refuses to be written, it is nice to look back over the year to see what else has happened – though that warm sensation might just be procrastination…

The biggest thing this year was receiving the International Association for the Fantastic in the Arts Distinguished Scholarship Award, and being the Scholar Guest of Honour at the 40th International Conference for the Fantastic in the Arts, 2019. It was lovely to be back at the conference, and to catch up with so many people, after a seven year hiatus.

My GoH speech  received the not-so-rare distinction of being mocked in Private Eye‘s ‘Pseuds Corner’, between Charlotte Church and Grimes – ‘Our Frightful Hobgoblin, or, Notes Towards Full-On Fully-Automated Luxury Green Interspecies Feminist Queer Space Communism of Colour’. (A longer version of it, with a longer title, is forthcoming in Journal of the Fantastic in the Arts some time.)

Private Eye

I also appeared on a panel with Sarah Pinsker, John Rieder, Nisi Shawl, Joan Slonczewski, Fran Wilde, and did an opening plenary with Sherryl Vint and author GoH G. Willow Wilson (!), whose work I’ve loved since first reading Cairo. And as a special bonus, Willow is just lovely to hang out with.

While I’m namedropping, this year I also got to drink way too much wine with:

  • the Quay brothers, before and after but not actually (and surprisingly) during a panel I did with them (and Andrzej Klimowski, Danusia Stok and Simon Ings) on Stanislaw Lem for the Kinoteka Polish Film Festival/Polish Cultural Institute at The Barbican in April
  • Mike Hodges (again), before and during a screening of his Black Rainbow, which I introduced for Cinema Rediscovered in Bristol in July
  • Andrea, Karolina and Claudia before and – from a shared bottle classily passed back and forth along the row – during a screening of Mauro Herce’s Dead Slow Ahead I introduced at Ujazdowski Castle Centre for Contemporary Art in Warsaw in December

There was, however, no wine consumed before, during or after the screening of Robert Siodmak and Edgar G. Ulmer’s Menschen am Sonntag I introduced for Bristol Festival of Ideas’ Festival of the City/Southwest Silents in Bristol in October. (In my very slight defence it was a Sunday at noon, and I had neglected to bring any bad influences with me.)

I gave one other keynote this year

  • ‘Revenant, Repetition, Road Block: Foreclosed Futures in Late-Anthropocene SF’, Striking Back? On Imperial Fantasies and Fantasies of Empire, Max Planck Institute, Göttingen, Germany in September

but after the absurd number I’ve done in the last few years, I figured it’s about time to get back into the discipline of giving 20 minute papers, so I did these two (though the first one was pulled out of the hat when someone had to withdraw at the last minute from a conference I organised):

  • ‘The Great Derangement and the Anthropocene Unconscious’, Imag(in)ing the Anthropocene, UWE/Watershed in June
  • ‘Other Affect in Slow SF: The Clone Returns Home and Dead Slow Ahead’, Senses of Science Fiction: Visions, Sounds, Spaces, University of Warsaw, Poland in December

Oh, and I organised a conference, Imag(in)ing the Anthropocene, mainly as an excuse to hang out with Karolina and Dan over a rainy Bristol weekend in June

Publications-wise, Global Studies in Science Fiction, which I co-edit with Anindita Banerjee and Rachel Haywood Ferreira, published a couple more volumes:

  • Amy Ransom and Dominick Grace, eds, Canadian Science Fiction, Fantasy and Horror: Bridging the Solitudes
  • Simone Brioni and Daniele Comberiati, Italian Science Fiction

The collection I co-edited with Rhys Williams finally appeared:

  • M John Harrison: Critical Essays


I published my first journal article for a couple of years, but it has a long and complicated history, and was written ages ago:

  • ‘Afrofuturism and the Archive: Robots of Brixton and Crumbs’, Science Fiction Film and Television 12.1 (2019): 171–193

It was uncommissioned and is actually the first article I have ever cold-submitted to a journal. Which felt like an accomplishment of some sort until Gerry Canavan kindly pointed out that since I founded the journal what else could they do…

I published a couple of book chapters and my first review in a couple of years:

  • ‘Afrofuturism in the New Wave Era’ in Eric Carl Link and Gerry Canavan, eds, The Cambridge History of Science Fiction (Cambridge UP 2019), 396–414
  • ‘Science Fiction and Cult Cinema’ in Ernest Mathijs and Jamie Sexton, eds, The Routledge Companion to Cult Cinema (Routledge 2019), 59–68
  • ‘Bradley Schauer, Escape Velocity: American Science Fiction Film, 1950–1982’, Science Fiction Studies 137 (2019): 200–203

I also contributed to the ‘Extrapolation­ at Sixty’ symposium, and wrote screening notes for the first time

  • ‘Ice Ice Baby’, screening notes on Iceman (Schepisi 1984) for Science Fiction Theatre/Castle Cinema in London in April

And I finished my three-year stint as a jury member for the SFRA’s Pilgrim Award – John Rieder received it his year – and I examined a couple of pretty impressive PhDs:

  • Sinéad Murphy, Present Futures and Present Pasts: Speculative Aesthetics in Contemporary Arab Literature (King’s College, London 2019)
  • Evdokia Stefanopoulou, The American Science Fiction Film in the 21st Century: Between Bodies and Worlds (Aristotle University of Thessaloniki, Greece 2019)

Now if only The Anthropocene Unconscious was as easy to write as this post…