• Afterword: Reading mad men in the era of Trump

      Forde, Teresa; McNally, Karen; University of Derby; London Metropolitan University (Palgrave Macmillan, 2019-12-12)
      This edited collection examines the enduringly popular television series as Mad Men still captivates audiences and scholars in its nuanced depiction of a complex decade. This is the first book to offer an analysis of Mad Men in its entirety, exploring the cyclical and episodic structure of the long form series and investigating issues of representation, power and social change. The collection establishes the show’s legacy in televisual terms, and brings it up to date through an examination of its cultural importance in the Trump era. Aimed at scholars and interested general readers, the book illustrates the ways in which Mad Men has become a cultural marker for reflecting upon contemporary television and politics.
    • Defining the female artist: Marion Adnams and surrealism

      Forde, Teresa; University of Derby (07/03/2018)
      Marion Adnams’ work can be placed into different periods and subject matter and curating her work involves making decisions about such criteria. But to what extent are wider grouping useful in defining an artist’s work and does placing Marion Adnams in the context of Surrealism offer any insights into her practice? The relationship of women artists to Surrealism and the female/male dichotomies within the movement will be considered in relation to the ways in which they resonate with motifs and themes within Marion Adnams’ own work. French Surrealism was largely envisaged as a collective movement, encapsulated in its British counterpart in the work of artists such as Nash and Agar, in painting, found objects and poetry, which may provide an understanding of Marion’s individual yet surrealist approach to her work.
    • Découverte de l’artiste’ (discovering the artist): Finding Marion Adnams through her work with a focus on ‘Infante égarée

      Forde, Teresa; University of Derby (2018)
      This video installation expresses the process of research Marion Adnams' paintings and the paper model of Infante égarée in particular. A version of paper model from the original painting has been constructed and animated in order to understand the structure of the original paper doll and to emulate the movement that is implicit in its structure. The animation was then superimposed onto the original painting. Adnams described the figure as lost and wandering in the forest and this sense of dislocation is captured within the twisting movement of the figure and haunting soundtrack. The title of the painting is also restored to Adnams’ preferred French title. The video is part of the Marion Adnams Project and illustrates an interest in practice as a form of research. The video installation formed part of the ‘Marion Adnams: A Singular Woman’ retrospective at Derby Museums and Gallery (Dec 2017-March 2018).
    • Entries on the L word and true blood.

      Forde, Teresa; University of Derby (Syracuse University Press., 13/11/2018)
      Entires on the finales of television series: The L word and True Blood as part of a collection on finales.
    • Marion Adnams symposium

      University of Derby; Derby Museum and Art Gallery; Forde, Teresa (07/03/2018)
      A unique opportunity to further explore the life and work of Marion Adnams, including the exhibition of Marion Adnams' work and her involvement in the Midland Group, as well as broader linked themes, such as the representation of women artists.
    • Marion Adnams: A singular woman

      Forde, Teresa; Wood, Val; Bamford, Lucy; University of Derby; Derby Museums and Art Gallery (Derby Museum and Art Gallery, 02/12/2017)
      Retrospective of Marion Adnams' work: Marion Elizabeth Adnams was born in Derby in 1898 where she remained, for the most part, until her death, aged ninety-six. During the course of her long life, she forged a reputation as a painter of deeply distinctive and dream-like visions inspired by the Surrealist movement. Adnams exhibited almost continuously in London and regional art galleries from the late 1930s and examples of her work can be found in many public collections, alongside that of her friends and contemporaries Evelyn Gibbs and Eileen Agar. Despite this, her work is largely forgotten today. This important exhibition brings together the full and diverse range of her art for the first time in almost fifty years in a bid to recapture the legacy of this most remarkable artist. This exhibition was made possible with support from Art Fund. This exhibition was curated in partnership with Val Wood, independent researcher, and Teresa Forde, Senior Lecturer in Film and Media at the University of Derby.
    • Olivia Dunham and the new frontier in fringe

      Forde, Teresa; University of Derby (McFarland, 2019-07-12)
      From the Star Wars expanded universe to Westworld, the science fiction western has captivated audiences for more than fifty years. These twelve new essays concentrate on the female characters in the contemporary science fiction western, addressing themes of power, agency, intersectionality and the body. Discussing popular works such as Fringe, Guardians of the Galaxy and Mass Effect, the essayists shed new light on the gender dynamics of these beloved franchises, emphasizing inclusion and diversity with their critical perspectives.
    • The Orrery/The Orrery: between image and object

      Forde, Teresa; University of Derby (2012)
    • Solaris - Lem/Tarkovsky/Soderbergh: adaptations in space

      Forde, Teresa; University of Derby (Gylphi, 2013)
    • Strange days: might as well face it you're addicted

      Forde, Teresa; University of Derby (Cambria Press, 2012)
    • The sunshine soundtrack as aural attraction

      Forde, Teresa; University of Derby (Routledge, 2011)
      Abstract The relationship between image track and soundtrack within film has generally privileged the moving image. Early cinema and contemporary special effects cinema have both been described as a ‘cinema of attractions’ due to the emphasis upon special effects and computer-generated imagery. Within science fiction the importance of image has been emphasised as a way of conveying alien environments and new technology. Drawing on the work of writers on sound such as Chion and Sonnenschein, on Mikhail Bakhtin's notion of the chronotope and the idea of the sublime, this paper explores the ways in which soundtrack fulfils the role of ‘aural attraction’ as an alternative way of understanding the function of sound within science fiction film. Sunshine is a British science fiction film which charts the journey of a crew travelling into the sun in order to save the earth. The soundtrack is a collaboration between Underworld and John Murphy and it draws upon ambient and dance music in order to convey the atmosphere of fear, hope and the sublime when facing the sun. In evoking the space mission the soundtrack blends sound effects and musical score to provide an evocative aural composition which accentuates, extends and replaces the visual image within the film.
    • Television dramas as memory screens

      Forde, Teresa; University of Derby (2011)
      Abstract: Within this article I am focus upon the construction of both social and personal memories within the television drama, drawing upon Landsberg’s notion of prosthetic memory and King’s identification of ‘afterwardsness’ as ways of comprehending the construction of memory and the past within texts. The examples are The Long Walk to Finchley (Tony Saint, BBC 4, 2008) and Life on Mars (2007-8). Both dramas share a number of concerns yet each has a very different context within British television. The relationship between viewers’ adopting memories from the dramas and incorporating these into their own sets of memories, including my own memories of the dramas is considered. Equally, the negotiation of the media and public discourses as memory screens with which we interact is a primary concern.
    • You anorak!: the Doctor Who experience and experiencing Doctor Who

      Forde, Teresa; University of Derby (Intellect, 2013)