University of Hertfordshire

By the same authors

'Dyschronia in Nigel Kneale’s The Stone Tape'

Research output: Contribution to conferencePaper

Standard

'Dyschronia in Nigel Kneale’s The Stone Tape'. / Broughton, Mark.

2006. Paper presented at Cultural Fictions II, London, United Kingdom.

Research output: Contribution to conferencePaper

Harvard

Broughton, M 2006, ''Dyschronia in Nigel Kneale’s The Stone Tape'' Paper presented at Cultural Fictions II, London, United Kingdom, 15/06/06, .

APA

Broughton, M. (2006). 'Dyschronia in Nigel Kneale’s The Stone Tape'. Paper presented at Cultural Fictions II, London, United Kingdom.

Vancouver

Broughton M. 'Dyschronia in Nigel Kneale’s The Stone Tape'. 2006. Paper presented at Cultural Fictions II, London, United Kingdom.

Author

Broughton, Mark. / 'Dyschronia in Nigel Kneale’s The Stone Tape'. Paper presented at Cultural Fictions II, London, United Kingdom.

Bibtex

@conference{bdb2ba89e9f94c26afa3ad5dc4823a89,
title = "'Dyschronia in Nigel Kneale’s The Stone Tape'",
abstract = "The Stone Tape (BBC, 1972) concerns a group of scientists who have assembled in a country house, in order to devise new recording technologies. After their programmer Jill seems to have experienced a ghost, the team discovers that the walls of the house have acted as a recording medium, on which a tragic death has been stored. The team accidentally wipes this high fidelity recording. Beneath it a deteriorated recording of a more distant past is revealed, indecipherable and thus far more horrific. Kneale’s plot belongs to a hybrid sub-genre, which synthesises science fiction and the ghost story; ostensibly paranormal phenomena are rationalised by advanced science. As in most fictional exorcisms, the ghost is understood when its past is narrativised, but in this sub-genre, it is mainly technology which is used to unfurl the alternative history represented synecdochically by the ghost. Advanced science is thus associated with different modes of reading and articulating history. The Stone Tape is unique, though, in that its climax hinges, not on a narratable ghost, but on the playback of a decayed recording; during the period in which a recording haunts the house, the stored information deteriorates. The result is a corrupted alternative history, or dyschronia, which is irreducible to a discrete, coherent narrative. The recording is no longer an isolable ghost, but a series of abstract signals, redolent of the oscillograms shown in the programme’s title sequence. Advanced technology and ancient signals are linked by The Stone Tape. The discrete, concrete narrative of the Victorian ghost is juxtaposed with both atavistic and futuristic abstract signs. This paper explores the metaphysical oppositions in The Stone Tape between the concrete and the abstract, and between the narratable and the indecipherable, in the context of British television drama in the early 1970s.",
keywords = "Nigel Kneale, Dyschronia, Science Fiction, Horror, British Television, Scriptwiting, 1970s, Trauma",
author = "Mark Broughton",
note = "Mark Broughton, 'Dyschronia in Nigel Kneale’s The Stone Tape', paper presented at Cultural Fictions II, London, UK, 15-17 June, 2006. ; Cultural Fictions II ; Conference date: 15-06-2006",
year = "2006",
month = "6",
day = "15",
language = "English",

}

RIS

TY - CONF

T1 - 'Dyschronia in Nigel Kneale’s The Stone Tape'

AU - Broughton, Mark

N1 - Mark Broughton, 'Dyschronia in Nigel Kneale’s The Stone Tape', paper presented at Cultural Fictions II, London, UK, 15-17 June, 2006.

PY - 2006/6/15

Y1 - 2006/6/15

N2 - The Stone Tape (BBC, 1972) concerns a group of scientists who have assembled in a country house, in order to devise new recording technologies. After their programmer Jill seems to have experienced a ghost, the team discovers that the walls of the house have acted as a recording medium, on which a tragic death has been stored. The team accidentally wipes this high fidelity recording. Beneath it a deteriorated recording of a more distant past is revealed, indecipherable and thus far more horrific. Kneale’s plot belongs to a hybrid sub-genre, which synthesises science fiction and the ghost story; ostensibly paranormal phenomena are rationalised by advanced science. As in most fictional exorcisms, the ghost is understood when its past is narrativised, but in this sub-genre, it is mainly technology which is used to unfurl the alternative history represented synecdochically by the ghost. Advanced science is thus associated with different modes of reading and articulating history. The Stone Tape is unique, though, in that its climax hinges, not on a narratable ghost, but on the playback of a decayed recording; during the period in which a recording haunts the house, the stored information deteriorates. The result is a corrupted alternative history, or dyschronia, which is irreducible to a discrete, coherent narrative. The recording is no longer an isolable ghost, but a series of abstract signals, redolent of the oscillograms shown in the programme’s title sequence. Advanced technology and ancient signals are linked by The Stone Tape. The discrete, concrete narrative of the Victorian ghost is juxtaposed with both atavistic and futuristic abstract signs. This paper explores the metaphysical oppositions in The Stone Tape between the concrete and the abstract, and between the narratable and the indecipherable, in the context of British television drama in the early 1970s.

AB - The Stone Tape (BBC, 1972) concerns a group of scientists who have assembled in a country house, in order to devise new recording technologies. After their programmer Jill seems to have experienced a ghost, the team discovers that the walls of the house have acted as a recording medium, on which a tragic death has been stored. The team accidentally wipes this high fidelity recording. Beneath it a deteriorated recording of a more distant past is revealed, indecipherable and thus far more horrific. Kneale’s plot belongs to a hybrid sub-genre, which synthesises science fiction and the ghost story; ostensibly paranormal phenomena are rationalised by advanced science. As in most fictional exorcisms, the ghost is understood when its past is narrativised, but in this sub-genre, it is mainly technology which is used to unfurl the alternative history represented synecdochically by the ghost. Advanced science is thus associated with different modes of reading and articulating history. The Stone Tape is unique, though, in that its climax hinges, not on a narratable ghost, but on the playback of a decayed recording; during the period in which a recording haunts the house, the stored information deteriorates. The result is a corrupted alternative history, or dyschronia, which is irreducible to a discrete, coherent narrative. The recording is no longer an isolable ghost, but a series of abstract signals, redolent of the oscillograms shown in the programme’s title sequence. Advanced technology and ancient signals are linked by The Stone Tape. The discrete, concrete narrative of the Victorian ghost is juxtaposed with both atavistic and futuristic abstract signs. This paper explores the metaphysical oppositions in The Stone Tape between the concrete and the abstract, and between the narratable and the indecipherable, in the context of British television drama in the early 1970s.

KW - Nigel Kneale

KW - Dyschronia

KW - Science Fiction

KW - Horror

KW - British Television

KW - Scriptwiting

KW - 1970s

KW - Trauma

M3 - Paper

ER -