Five films from the hugely popular sci-fi franchise. In 'The Fly' (1958), a scientist (David Hedison) is obsessed with developing a molecular matter transmitter. When he attempts to test the invention himself, he is unwittingly joined by a companion - a fly that has sneaked into the transportation pod with him. The consequences of the experiment soon become clear, as the scientist begins to take on fly-like characteristics. 'Return of the Fly' (1959) sees the original scientist's son reconstructing the matter transporter which turned his father into an insect, with the young man's experiments leading him down the same insectoid path. In 'Curse of the Fly' (1965) the plot again revolves around the Delambre family, although this time it is the scientist's grandson, Henri Delambre (Brian Donlevy), who becomes obsessed with transporter experiments to the dismay of his two sons, who want to live normal lives and forget about their grandfather's invention. Henri's oldest son, Martin (George Baker), marries a young woman who just escaped from a mental hospital. After Martin's new wife discovers a closet filled with deranged humans left over from failed teleportation experiments, the police are called and Henri attempts to flee using the infamous transporter. 'The Fly' (1986) is the Oscar-winning remake of the 1958 horror classic. Scientist Seth Brundle (Jeff Goldblum), experimenting with transmitting matter uses himself as a guinea-pig, unaware that a fly has got into the machinery. As he embarks on a relationship with Veronica Quaife (Geena Davis), the journalist covering his project, his body slowly begins to take on fly-like characteristics. 'The Fly 2' (1989) is the sequel to the 1986 movie. Dr Seth Brundle is no more, but he has left behind a gruesome legacy: the teleportation device which transformed him into a human fly, and a son, Martin (Matthew Moore/Harley Cross). Infected with his father's insect metabolism, Martin's growth is hugely accelerated, and he is soon a fully grown man (Eric Stoltz). When he discovers the remains of his father's experiment, Martin decides to pick up where Seth left off.

Third big-screen adaptation of John Buchan's classic novel. Mining engineer Richard Hannay (Robert Powell) is on a brief visit to England when his neighbour Colonel Scudder (John Mills) warns him that foreign 'sleeper' agents are at work, planning to pre-empt global war by murdering a foreign dignitary. When Scudder is murdered by the agents Hannay finds himself under suspicion by the police, and goes on the run in a bid to both prove his own innocence and expose the enemy spies.

Taking My Time tells both the tall tale of George Baker's life as a jockey, and the story of a second life emerging from the aftermath of his horror fall on the White Turf at St Moritz in 2017. As a rider, George scaled the highest of highs in the saddle with St Leger victory aboard Harbour Law cementing his place among the sport's elite, despite having the body of a man surely destined for another occupation. Tortuous battles with the scales were ultimately won, popularity among peers and punters was assured and life was good and getting better. Until the terrible accident which left him with serious head injuries forced him to restart; he had to live again. He was the same person but different. New obstacles had to be cleared and trauma both physical and mental needed to be met and overcome. The story is told with the wit and wisdom that has come to characterise George Baker, and his wife Nicola recounts, with humour and humility, the toll taken on the those closest to him and the perilous nature of life at his side.

James Bond (this time played by George Lazenby) hands in his licence to kill after being banned from hunting down his arch-nemesis Blofeld (Telly Savalas). Continuing his investigations alone, he follows a lead to Portugal, meets and falls in love with Tracey Draco (Diana Rigg), and is told by her crimelord father that Blofeld is now in Switzerland. Pretty soon its snow, kilts, girls, secret bases and ski chases, as Bond chases down his enemy and attempts to foil a plan to unleash a deadly chemical weapon.

All three seasons of Terry Nation's acclaimed BBC science fiction drama in which 95% of the population have been wiped out by a freak plague, leaving the remaining survivors to rebuild civilisation. Episodes are: 'The Fourth Horseman', 'Genesis', 'Gone Away', 'Corn Dolly', 'Gone to the Angels', 'Garland's War', 'Starvation', 'Law and Order', 'The Future Hour', 'Revenge', 'Something of Value', 'A Beginning', 'Birth of Hope', 'Greater Love', 'Lights of London (Parts 1 and 2)', 'The Face of the Tiger', 'The Witch', 'A Friend in Need', 'By Bread Alone', 'The Chosen', 'Parasites', 'New Arrivals', 'Over the Hills', 'New World', 'Manhunt', 'A Little Learning', 'Law of the Jungle', 'Mad Dog', 'Bridgehead', 'Reunion', 'The Peacemaker', 'Sparks', 'The Enemy', 'The Last Laugh', 'Long Live the King' and 'Power'.

How a generation of women artists is transforming photography with analogue techniques. Beginning in the 1990s, a series of major artists imagined the expansion of photography, intensifying its ideas and effects while abandoning many of its former medium constraints. Simultaneous with this development in contemporary art, however, photography was moving toward total digitalization. Lateness and Longing presents the first account of a generation of artists-focused on the work of Zoe Leonard, Tacita Dean, Sharon Lockhart, and Moyra Davey-who have collectively transformed the practice of photography, using analogue technologies in a dissident way and radicalizing signifiers of older models of feminist art. All these artists have resisted the transition to the digital in their work. Instead-in what amounts to a series of feminist polemics-they return to earlier, incomplete, or unrealized moments in photography's history, gravitating toward the analogue basis of photographic mediums. Their work announces that photography has become-not obsolete-but "late," opened up by the potentially critical forces of anachronism. Through a strategy of return-of refusing to let go-the work of these artists proposes an afterlife and survival of the photographic in contemporary art, a formal lateness wherein photography finds its way forward through resistance to the contemporary itself.