Under the Skin (Original title)
Dates: 2013 (Copyright), 14 March 2014 (Release)Countries: United Kingdom, USA, SwitzerlandDirector: Jonathan Glazer
Synopsis: Horror/Science fiction. An extra-terrestrial seductress preys on men in Scotland by driving round the streets in a van, asking lone men for directions and then offering them a lift. She then takes them to a remote, run-down house where she traps them in a strange black substance from which there is no escape. The alien, though able to flirt, is at a loss with normal human interaction and frequently puzzles people, and becomes vulnerable, with her unusual behaviour (such as going out without a coat in bad weather) and her long silences.
Genres: Horror, Science Fiction
Subjects: Aliens, Glasgow, Flirting
Releases
Date: October 2013Country: United KingdomRelease type: InternetFormat: not specifiedRuntime: 108 mins 19 secs - Distributor: BFIPlayer
Date: 14 March 2014Country: United KingdomRelease type: TheatricalFormat: 35mm Film - Colour - SoundAspect ratio: 1.85:1Runtime: 107 mins 59 secs - Length: 9718 FeetDialogue (original): EnglishDistributor: StudioCanal Limited
Title: façade of feminism: Scarlett Johansson and miss representationAuthor: Matthews, MalcolmArticle type: ArticleLanguage: English
Description: Part of 'Stardom and sf: a symposium on the sf films of Scarlett Johansson', a collection of articles addressing issues of celebrity and the science fiction genre. This article sets out to identify Scarlett Johansson, in the context of four of her science fiction films (‘Under the Skin’ (2013), ‘Her’ (2013), ‘Lucy’ (2014), and ‘Ghost in the Shell’ (2017)), as a cultural mechanism with a distinct rhetorical function, and to challenge the suggestion that her roles in these films represent figures of female empowerment.
In: Science fiction film and television v11 n1 Spring 2018 Pages: 13-19
Title: Performing the inhuman: Scarlett Johansson and sf filmAuthor: Shetley, VernonArticle type: ArticleLanguage: English
Description: Part of 'Stardom and sf: a symposium on the sf films of Scarlett Johansson', a collection of articles addressing issues of celebrity and the science fiction genre. This article gives a reading of three of Scarlet Johansson’s films (‘Her’ (2013), ‘Under the Skin’ (2013), and ‘Lucy’ (2014)) through their respective forms of interplay between particular elements of Johansson’s star persona and the gendered hierarchies against which her characters rebel.
In: Science fiction film and television v11 n1 Spring 2018 Pages: 29-35
Title: Johansson's real performance: documentary style in Under the SkinAuthor: Byrnes, AliciaArticle type: ArticleLanguage: English
Description: Part of 'Stardom and sf: a symposium on the sf films of Scarlett Johansson', a collection of articles addressing issues of celebrity and the science fiction genre. This article examines the ways in which documentary principles infiltrate the form of Scarlett Johansson’s film ‘Under the Skin’ (2013). The article argues that the realism of the film undercuts the viewer’s awareness of Johansson’s iconography.
In: Science fiction film and television v9 n2 Summer 2016 Pages: 309-313
Title: Under the SkinAuthor: Phillips-Carr, ChelseaArticle type: DVD ReviewLanguage: English
Description: DVD review.
In: Screen International n1499 29 Apr 2005 Page: 9
Title: Close encounters on the shop floorAuthor: MACNAB, Geoffrey Article type: ArticleLanguage: English
Description: Production details of UNDER THE SKIN by Jonathan Glazer who has re-teamed with writer Milo Addica.
Author: Empey, Julia A. Pages: x, 310 pages
Title: Transnationalism & genre hybridity in new British horror cinema
Author: Decker, Lindsey Pages: 258 pages
Title: Femininity and psychoanalysis: cinema, culture, theory
Author: Piotrowska, Agnieszka Pages: xii, 261 pages
Film, Video or Digital materials held in BFI National Archive(10)
Digital materials(9)
Description: DCDM - PDC Portable Digital CarrierBFI identifier: N-117714
Status: Master - Restricted access to preserved digital file
Description: DCDM - LTO5Duration: 01:49:14 minutesTIFF - BFI identifier: N-134089
Status: Master - Restricted access to preserved digital file
Description: DCDM - LTO5Duration: 01:49:14 minutesTIFF - BFI identifier: N-134089-2
Status: Master - Restricted access to preserved digital file
Description: DCP - PDC Portable Digital CarrierBFI identifier: N-117716
Status: Master - Restricted access to preserved digital file
Description: DCP - LTO5BFI identifier: N-134101
Status: Master - Restricted access to preserved digital file
Description: DCP - LTO5Duration: 01:47:50 minutesBFI identifier: N-134101-2
Status: Master - Restricted access to preserved digital file
Description: MOV - PDC Portable Digital CarrierDuration: 01:43:45 minutesProRes 422 (HQ) - BFI identifier: N-125459
Status: Master - Restricted access to preserved digital file
Description: MOV - MOV - LTO5Duration: 01:43:45 minutesProRes 422 (HQ) - BFI identifier: N-134102
Status: Master - Restricted access to preserved digital file
Description: MOV - MOV - LTO5Duration: 01:43:45 minutesProRes 422 (HQ) - BFI identifier: N-134102-2
Status: Master - Restricted access to preserved digital file
Film materials(1)
Description: 35mm Colour PositiveBase: PolyesterSound: CombinedStock date: 2013BFI identifier: N-177358
Status: Master - Restricted access to preserved film
Dates: 2013 (Copyright), 14 March 2014 (Release)Countries: United Kingdom, USA, SwitzerlandDirector: Jonathan Glazer
Synopsis: Horror/Science fiction. An extra-terrestrial seductress preys on men in Scotland by driving round the streets in a van, asking lone men for directions and then offering them a lift. She then takes them to a remote, run-down house where she traps them in a strange black substance from which there is no escape. The alien, though able to flirt, is at a loss with normal human interaction and frequently puzzles people, and becomes vulnerable, with her unusual behaviour (such as going out without a coat in bad weather) and her long silences.
Genres: Horror, Science Fiction
Subjects: Aliens, Glasgow, Flirting
Releases
Date: October 2013Country: United KingdomRelease type: InternetFormat: not specifiedRuntime: 108 mins 19 secs - Distributor: BFIPlayer
Date: 14 March 2014Country: United KingdomRelease type: TheatricalFormat: 35mm Film - Colour - SoundAspect ratio: 1.85:1Runtime: 107 mins 59 secs - Length: 9718 FeetDialogue (original): EnglishDistributor: StudioCanal Limited
Credits
(324)
©: Seventh Kingdom Productions Limited, ©: Channel Four Television Corporation, ©: The British Film Institute, Production Company: Nick Wechsler, Production Company: JW Films, A co-production with: Sigma Films, [Presented] in association with: Silver Reel, [Presented] in association with: Creative Scotland, FilmNation Entertainment, Supported by: National Lottery through Creative Scotland, Made with the support of: BFI Film Fund, Presents: Film4, Presents: British Film Institute, Worldwide Sales: FilmNation Entertainment, Executive Producer: Tessa Ross, Executive Producer: Reno Antoniades, Executive Producer: Walter Campbell, Executive Producer: Claudia Bluemhuber, Executive Producer: Ian Hutchinson, Executive Producer: Florian Dargel, Developed with the assistance of: Film4, Produced by: James Wilson, Produced by: Nick Wechsler, Co-producer: Alexander O'Neal, Co-producer: Gillian Berrie, Development: Sam Lavender, Business Affairs: Harry Dixon, Production: Tracey Josephs, Director of the Lottery Film Fund: Ben Roberts, Senior Production and Development Executive: Christopher Collins, Head of Production: Fiona Morham, Director of Business Affairs: Will Evans, Business Affairs Executive: Sarah Caughey, Head of Production Finance: Ian Kirk, Development and Production: Robbie Allen, Business Affairs: Linda McClure, Production Manager: Livia Burton, Production Manager: Mark Murdoch, Production Co-ordinator: Georgie Fallon, Assistant Production Co-ordinator: Steven Little, Production Accountant: Neil Cairns, Assistant Accountant: Paul Zieleniec, Assistant Accountant: Paul Imrie, Unit Manager: Brodie Pringle, Location Manager: Eugene Strange, Assistant Location Manager: David Taylor, Location Scout: Alison Young, Location Scout: Sean Barclay, Location Assistant: Morven McPherson, Post-production Supervisor: Richard Lloyd, Post-production Supervisor: Kahleen Crawford, Post-production Co-ordinator: Katie Bullock-Webster, Production Assistant: Fergus Cook, Production Assistant: Iain Canning, Floor Runner: Jack Ivins, Floor Runner: Mark Rossi, 2nd Unit Director: Tom Debenham, 1st Assistant Director: Nick Heckstall-Smith, 1st Assistant Director: David Gilchrist, 1st Assistant Director: Brian Horsburgh, 2nd Assistant Director: Mark Murdoch, 2nd Assistant Director: Marilyn Edmond, 2nd Assistant Director Rehearsals: Mark Hopkins, 3rd Assistant Director: Stephen Carney, 3rd Assistant Director: Susie Lee, Co-3rd Assistant Director: Alex MacKay, 3rd Assistant Director: Marilyn Edmond, 3rd Assistant Director: Laurie Mahon, Assistant to Jonathan Glazer: Elizabeth Doonan, Script Supervisor: Claire Hewitt, Casting Associate: Caroline Stewart, Casting Assistant: Danny Jackson, Crowd Casting: Caroline Stewart, Written by: Walter Campbell, Written by: Jonathan Glazer, Based on the novel by: Michel Faber, Director of Photography: Daniel Landin, [Underwater] Co-ordinator: Trevor Evans, Camera Operator: Mark Silk, A Camera Operator: Stuart Howell, 1st Assistant Camera: Danny Preston, 2nd Assistant Camera: Matt Wesson, A Camera Focus Puller: Nathan Mann, B Camera Focus Puller: Derrick Peters, Simon Surtees, A Camera Clapper Loader: Simon Surtees, Laura Dinnett, B Camera Clapper Loader: Luke Coulter, Alasdair Boyce, Clapper Loader: Grégoire Thévenot, Rana Darwish, Digital Imaging Technician: Mark Purvis, Digital Imaging Technician: Grant McPhee, Data Lab Technician: Chris Nunn, Data Lab Technician: Jody Neckles, James Willett, Camera Engineer: Arron Smith, Camera Trainee: John MacTavish, Camera Trainee: Alex Teale, Peter Tarran, Gaffer: John Colley, Gaffer: Bernie Prentice, Gaffer: Pip Keeling, Gaffer: Alan Martin, Crane Technician: George Powell, Steve Hideg, Libra Head Technician: David Freeth, Motion Control Technician: Justin Pentecost, Rigging Gaffer: Vince Madden, Rigger: Billy Wilson, Rigger: Iain Harrison, Rigger: Steve Howe, Damon Graham, Best Boy: Paul Bates, Electrician: Emily Grainger, Electrician: Callum Milne, Electrician: Donald Campbell, Electrician: Arthur Donnelly, Electrician: David Ritchie, Electrician: David Wilson, Electrician: Vinny Madden Jr, Electrician: Bruno Martins, Electrician: Robert Gavigan, Electrician: Andy Duncan, Electrician: Jason Lobb, Electrician: Olly Crouch, Electrician: Stuart Farmer, Genny Operator: Ross Grainger, Desk Operator: Andy Mountain, Key Grip: Sam Phillips, Key Grip: Dave McAnulty, Grip: Simon Thorpe, Grip: Steve Ellingworth, Grip: Tim Critchell, Assistant Grip: David Littlejohns, Grip: Malcolm Huse, Grip: Keith Mead, Video Playback Operator: Bob Bridges, Video Playback Assistant: Stuart Bridges, Stills Photographer: Niall O'Brien, one-cam Technical Supervisor: Louis Mustill, one-cam Camera Engineer: Arron Smith, one cam Director of Photography: Tom Debenham, Visual Effects Supervisor: Tom Debenham, Visual Effects Supervisor: Dominic Parker, Visual Effects Executive Producer: Rachael Penfold, Visual Effects Producer: Chaya Feiner, Earle Stuart Callender, Senior Visual Effects Co-ordinator: Laura Lynch, Visual Effects Co-ordinator: Leila Nicotera, Element Shoot Co-ordinator: Robert Timmins, Visual Effects Consultant: Tim Field, Visual Effects Design: One of Us, Design and Visual Effects: One of Us, Additional Visual Effects: WebVFX, Compositing Supervisor: Petra Schwane, Digital Artist: Barny Stoppard, Digital Artist: Cristina Vozian, Pre-vis Artist: Conor Breen, Simon Allen, Senior Special Effects Supervisor: Mark Curtis, Special Effects: Asylum Models & Effects, Senior Mechanical Supervisor: Tony Skinner, Pyrotechnic Supervisor: Paul Dunn, Modelmaking Supervisor: Mark Ward, Mould Shop Supervisor: Adam Sankey, Effects Technical Director: Sam Swift-Glasman, Effects Artist: Dan Warder, Look Development/CG Supervisor: Stephen Murphy, Texture Artist: Richard Hopkins, Cloth Technical Director: Adrian Pinder, 3D Camera Tracker: Sarah Byers, Rotoanim Artist: Christina Mandia, Rotoanim Artist: Ritchie Hoyle, Dan Moore, Visual Effects Data Wrangler: Greg Fee, Systems Administrator: Matt Power, Editor: Paul Watts, On-line Editor: Gareth Bishop, Assistant Editor: Paul Dawber, Additional Assistant Editor: Andy Hague, Visual Effects Editor: Andy Hague, Production Designer: Chris Oddy, Art Director: Emer O'Sullivan, Standby Art Director: Martin McNee, Assistant Art Director: Nicki McCallum, Senior Character Technical Director: Andrea Falcone, Graphic Designer: Philip Barrett, Storyboard Artist: Adrian Marler, Sculptor: Andy Garner, Sculptor: Jonathan Hateley, Roland Stevenson, Props Buyer: Craig Menzies, Assistant Props Buyer: Carly Parris, Props Master: Jim Elliot, Dressing Props: Matt Mooney, Dressing Props: Alan Harley, Dressing Props: Roddy Garden, Standby Props: John Booth, Standby Props: Chris McMillan, Standby Props: Paul Cutler, Stagehand: Mike Scanlon, Art Department Assistant: Georgina Gordon-Smith, Art Department Assistant: Helen Allingham, Art Department Assistant: Imogen Toner, Construction Manager: Derek Fraser, Head of Department Greensman: Roger Holden, Standby Greensman: Will Holden, Ollie Campbell, Greensman: Jon Colson, Gavin Johnson, Costume Designer: Steven Noble, Costume Supervisor: Nat Van Halle, Costume Supervisor: Clementine Charity, Standby Costume: Nat Van Halle, Hair and Make-up Designer: Chrissie Beveridge, Make-up and Hair Artist: Helen Barrett, Jessica Cruickshank, Dental Technician: Kevin Morris, Dental Technician: Darren Grassby, Maria Smith, Senior Prosthetic Supervisor: Kate McConnell, Title Design: Farrow, Title Design: Mark Farrow, Title Design: Gary Stillwell, Colourist: John Claude, Music Composed by: Mica Levi, Score Performed by: Mica Levi, Score Performed by: Vincent Sipprell, Score Performed by: Oliver Coates, Score Performed by: Max Baillie, Score Performed by: Emma Smith, Score Performed by: Eugene Feygelson, Score Performed by: Anisa Arslanagic, Score Performed by: Rebecca Gardiner, Score Performed by: Max Ruisi, Score Performed by: Charlotte Kerbegian, Score Performed by: Harriet Scott, Score Performed by: Laura Murphy, Score Performed by: Marc Pell, Benjamin Griffiths, Orchestrator and Associate Music Producer: Evan Jolly, Music Arranged by: Mica Levi, Peter Raeburn, Music Produced and Supervised by: Peter Raeburn, Music Supervisor: Jay James, Technical Co-ordinator for Music: Dan Gay, Technical Assistant: Samuel Karl Bohn, Technical Programming: Rael Jones, Music Editor: Gerard McCann, Score Engineer: Luis Almau, Goetz Botzenhardt, Score Recorded at: Soundtree Studios, Score Mixer: Jake Jackson, Additional Score Mixer: Simone Filiali, Score Mixed at: Soho Sound Kitchen, Music Research: Alex Benge, Julian Guidetti, Sound Design: Johnnie Burn, Production Sound Mixer: Nigel Albermaniche, Boom Operator: Andrew Quinney, Sound Assistant: Bryn Duffy, Re-recording Mixer: Johnnie Burn, Re-recording Mixer: Steve Single, Mix Technician: Ashley Smith, Audio Post-production Services at: Wave Studios Ltd, Re-recorded at: Goldcrest Post Production, Technicolor Sound Services London, Supervising Sound Editor: Johnnie Burn, 1st Assistant Sound Editor: Simon Carroll, Dialogue Editor: Jussi Honka, Sound Effects Editor: Ed Downham, Additional Sound Effects Editor: Alex Nicholls-Lee, Sound Effects Editor: Steve Browell, ADR Recordist: Stuart St. Vincent Welch, Foley Artist: Jason Swanscott, Foley Artist: Alissa Timoshkina, Foley Artist: Margarita Osepyan, Foley Recordist: Billy Mahoney, Foley Editor: Barnaby Smyth, Foley Editor: Joe Mount, Action Vehicles Design and Build: MGM Cars, Action Vehicle Co-ordinator: Ben Dillon, Assistant Action Vehicle Co-ordinator: Paul 'H' Smith, Action Vehicle Technician: Terry Smith, Stunt Co-ordinator: Gareth Milne, Stunt Performer: Sian Milne, Stunt Performer: Peter Pedrero, Stunt Performer: Andy Merchant, Stunt Performer: Ian Pead, Stunt Performer: Rick English, Stunt Performer: Gary Connery, Gary Hoptrough, Utility Stand-in: Alan Smith, Utility Stand-in: Jo Dutton, Utility Stand-in: Elle Wilson, Stephanie Snowden, Stand-in: Catherine Woolston, Stand-in: Adam Nowell, Stand-in: Louise McKusker, Dive Supervisor: Fred Woodcock, Production Legal Services: Lee & Thompson LLP, Production Legal Services: Reno Antoniades, Rebecca Pick, Script Clearances: Debbie Banbury, Post-production Script: Sapex, Dialect Coach: Paula Jack, Dialect Coach: Deborah Hecht, Armourer: Jim Elliott, Creature Feature and Trainer: David Stewart, Animal Handler: Trevor Smith, Publicity: Jonathan Rutter, Publicity: Premier, [EPK]: PMA Film & Television, EPK Producer: Pip Ayers, EPK Director: Tom Savage, Camera Equipment: Movietech, Lighting Equipment: Panalux, Digital Intermediate: Dirty Looks, Digital Intermediate Producer: Helle Absalonsen, Digital Intermediate Technical Supervisor: Tom Balkwill, World Revenues Collected and Distributed by: Freeway CAM B.V., Completion Guarantor: Film Finances
Cast
(24)
Scarlett Johansson (alien), Jeremy McWilliams, Lynsey Taylor Mackay, Dougie McConnell, Kevin McAlinden, D Meade, Andrew Gorman, Joe Szula, Krystof Hadek, Roy Armstrong, Alison Chand, Ben Mills, Oscar Mills, Lee Fanning, Paul Brannigan, Marius Bincu, Scott Dymond, Stephen Horn, Adam Pearson, May Mewes, Michael Moreland, Gerry Goodfellow, Dave Acton, Jessica Mance
Articles held in BFI Reuben Library
(5)
In: Science fiction film and television v11 n1 Spring 2018 Pages: 5-11Title: façade of feminism: Scarlett Johansson and miss representationAuthor: Matthews, MalcolmArticle type: ArticleLanguage: English
Description: Part of 'Stardom and sf: a symposium on the sf films of Scarlett Johansson', a collection of articles addressing issues of celebrity and the science fiction genre. This article sets out to identify Scarlett Johansson, in the context of four of her science fiction films (‘Under the Skin’ (2013), ‘Her’ (2013), ‘Lucy’ (2014), and ‘Ghost in the Shell’ (2017)), as a cultural mechanism with a distinct rhetorical function, and to challenge the suggestion that her roles in these films represent figures of female empowerment.
In: Science fiction film and television v11 n1 Spring 2018 Pages: 13-19
Title: Performing the inhuman: Scarlett Johansson and sf filmAuthor: Shetley, VernonArticle type: ArticleLanguage: English
Description: Part of 'Stardom and sf: a symposium on the sf films of Scarlett Johansson', a collection of articles addressing issues of celebrity and the science fiction genre. This article gives a reading of three of Scarlet Johansson’s films (‘Her’ (2013), ‘Under the Skin’ (2013), and ‘Lucy’ (2014)) through their respective forms of interplay between particular elements of Johansson’s star persona and the gendered hierarchies against which her characters rebel.
In: Science fiction film and television v11 n1 Spring 2018 Pages: 29-35
Title: Johansson's real performance: documentary style in Under the SkinAuthor: Byrnes, AliciaArticle type: ArticleLanguage: English
Description: Part of 'Stardom and sf: a symposium on the sf films of Scarlett Johansson', a collection of articles addressing issues of celebrity and the science fiction genre. This article examines the ways in which documentary principles infiltrate the form of Scarlett Johansson’s film ‘Under the Skin’ (2013). The article argues that the realism of the film undercuts the viewer’s awareness of Johansson’s iconography.
In: Science fiction film and television v9 n2 Summer 2016 Pages: 309-313
Title: Under the SkinAuthor: Phillips-Carr, ChelseaArticle type: DVD ReviewLanguage: English
Description: DVD review.
In: Screen International n1499 29 Apr 2005 Page: 9
Title: Close encounters on the shop floorAuthor: MACNAB, Geoffrey Article type: ArticleLanguage: English
Description: Production details of UNDER THE SKIN by Jonathan Glazer who has re-teamed with writer Milo Addica.
Books held in BFI Reuben Library
(3)
Title: Feminist posthumanism in contemporary science fiction film and media: from Annihilation to High Life and beyondAuthor: Empey, Julia A. Pages: x, 310 pages
Title: Transnationalism & genre hybridity in new British horror cinema
Author: Decker, Lindsey Pages: 258 pages
Title: Femininity and psychoanalysis: cinema, culture, theory
Author: Piotrowska, Agnieszka Pages: xii, 261 pages
Film, Video or Digital materials held in BFI National Archive(10)
Digital materials(9)
Description: DCDM - PDC Portable Digital CarrierBFI identifier: N-117714
Status: Master - Restricted access to preserved digital file
Description: DCDM - LTO5Duration: 01:49:14 minutesTIFF - BFI identifier: N-134089
Status: Master - Restricted access to preserved digital file
Description: DCDM - LTO5Duration: 01:49:14 minutesTIFF - BFI identifier: N-134089-2
Status: Master - Restricted access to preserved digital file
Description: DCP - PDC Portable Digital CarrierBFI identifier: N-117716
Status: Master - Restricted access to preserved digital file
Description: DCP - LTO5BFI identifier: N-134101
Status: Master - Restricted access to preserved digital file
Description: DCP - LTO5Duration: 01:47:50 minutesBFI identifier: N-134101-2
Status: Master - Restricted access to preserved digital file
Description: MOV - PDC Portable Digital CarrierDuration: 01:43:45 minutesProRes 422 (HQ) - BFI identifier: N-125459
Status: Master - Restricted access to preserved digital file
Description: MOV - MOV - LTO5Duration: 01:43:45 minutesProRes 422 (HQ) - BFI identifier: N-134102
Status: Master - Restricted access to preserved digital file
Description: MOV - MOV - LTO5Duration: 01:43:45 minutesProRes 422 (HQ) - BFI identifier: N-134102-2
Status: Master - Restricted access to preserved digital file
Film materials(1)
Description: 35mm Colour PositiveBase: PolyesterSound: CombinedStock date: 2013BFI identifier: N-177358
Status: Master - Restricted access to preserved film