This article asserts that the original Star Trek films (1979–91) have importance for the study of memory and media in the digital era. I advance several interrelated arguments, with a special emphasis on Star Trek: The Motion Picture . First, I address how Star Trek: The Motion Picture ’s treatment of memory corresponds to scientific models of human recollection and theories of archives and databases. Notably, the first Star Trek film expresses anxiety about the mutability of memory and potential ramifications of digitalization. Such elements anticipate major strands of scholarship on memory, digitalization, and franchises from subsequent decades. Second, I introduce the concept of “franchise recall,” which highlights the memory-driven nature of media franchises. Franchise recall manifests through self-reflexive commentary on cross-medium adaptation and/or through the use of recycled footage within installments. By mapping franchise recall across the initial six Star Trek films, I expose an underlying interconnectedness comparable to the associative operations of memory. Throughout the article, I also show how Star Trek: The Motion Picture ’s narrative and aesthetics resemble slow cinema. Overall, I demonstrate the surprising prescience and continued relevance of the original Star Trek films for grappling with the parameters and intersections of human and technological recall.
{"title":"Memory patterns","authors":"Adam Ochonicky","doi":"10.3828/sfftv.2024.1","DOIUrl":"https://doi.org/10.3828/sfftv.2024.1","url":null,"abstract":"\u0000 This article asserts that the original\u0000 Star Trek\u0000 films (1979–91) have importance for the study of memory and media in the digital era. I advance several interrelated arguments, with a special emphasis on\u0000 Star Trek: The Motion Picture\u0000 . First, I address how\u0000 Star Trek: The Motion Picture\u0000 ’s treatment of memory corresponds to scientific models of human recollection and theories of archives and databases. Notably, the first\u0000 Star Trek\u0000 film expresses anxiety about the mutability of memory and potential ramifications of digitalization. Such elements anticipate major strands of scholarship on memory, digitalization, and franchises from subsequent decades. Second, I introduce the concept of “franchise recall,” which highlights the memory-driven nature of media franchises. Franchise recall manifests through self-reflexive commentary on cross-medium adaptation and/or through the use of recycled footage within installments. By mapping franchise recall across the initial six\u0000 Star Trek\u0000 films, I expose an underlying interconnectedness comparable to the associative operations of memory. Throughout the article, I also show how\u0000 Star Trek: The Motion Picture\u0000 ’s narrative and aesthetics resemble slow cinema. Overall, I demonstrate the surprising prescience and continued relevance of the original\u0000 Star Trek\u0000 films for grappling with the parameters and intersections of human and technological recall.\u0000","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"771 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140465801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this analysis, the author analyzes Jindřich Polák’s 1977 sf comedy Tomorrow I’ll Wake Up and Scald Myself with Tea and its implications regarding time travel, ideology, and repetition. In exploring the paradoxes present in time-travel fiction, the article finds there exists a concurrent trauma for the individuals involved, stemming primarily from the splitting-then-reintegrating of the self in the wake of the expedition. The film – centering around a group of former Nazis, whose plan is practically thwarted through a set of comically tragic circumstances regarding the aircraft’s pilot – offers a humorous approach to totalitarian discourse, pointing out the fallibility of said institutions and showing the pitfalls of adherence to Nazi ideology. The author draws on modern instances of fascist ideology and connects them to the comedic situations presented in Polák’s film, putting forth a critical approach to the identification of Nazi modernism as comprised solely of loss and lack.
在这篇分析文章中，作者分析了金德里奇-波拉克（Jindřich Polák）1977 年创作的 F喜剧《明天醒来，我将用茶水烫伤自己》（Tomorrow I'll Wake Up and Scald Myself with Tea）及其对时间旅行、意识形态和重复的影响。在探讨时空旅行小说中存在的悖论时，文章发现对相关个人而言，同时存在着一种创伤，主要源于远征后自我的分裂--再整合。影片围绕一群前纳粹分子展开，他们的计划因飞机驾驶员的一系列滑稽悲惨的情况而实际上遭到了挫败，影片以幽默的方式探讨了极权主义话语，指出了极权主义机构的谬误，并展示了坚持纳粹意识形态的弊端。作者借鉴了法西斯意识形态的现代实例，并将其与波拉克电影中呈现的喜剧情境联系起来，对将纳粹现代主义认定为仅仅由损失和匮乏构成的观点提出了批判性的看法。
{"title":"Ideological repetition and time trauma","authors":"David Kelly","doi":"10.3828/sfftv.2024.4","DOIUrl":"https://doi.org/10.3828/sfftv.2024.4","url":null,"abstract":"\u0000 In this analysis, the author analyzes Jindřich\u0000 Polák’s 1977\u0000 sf comedy\u0000 Tomorrow I’ll Wake Up and Scald Myself with Tea\u0000 and its implications regarding time travel, ideology, and repetition. In exploring the paradoxes present in time-travel fiction, the article finds there exists a concurrent trauma for the individuals involved, stemming primarily from the splitting-then-reintegrating of the self in the wake of the expedition. The film – centering around a group of former Nazis, whose plan is practically thwarted through a set of comically tragic circumstances regarding the aircraft’s pilot – offers a humorous approach to totalitarian discourse, pointing out the fallibility of said institutions and showing the pitfalls of adherence to Nazi ideology. The author draws on modern instances of fascist ideology and connects them to the comedic situations presented in Polák’s film, putting forth a critical approach to the identification of Nazi modernism as comprised solely of loss and lack.\u0000","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"69 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140463362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes the queer pleasures of the 2015 sf movie by the Wachowski sisters, Jupiter Ascending . We find that these pleasures operate on two intertwined levels: the movie’s campy villains and over-the-top aesthetics reflect the themes of queer temporality and reproduction on the textual level, while the straight romance of the protagonist draws on the queer archive of fan fiction. We engage with queer studies and fan studies as critical frameworks that allow us to center affective pleasures of recognizing well-established romantic tropes and character archetypes. Critical debates surrounding Jupiter Ascending point to a larger discussion concerning the space for pleasure within sf texts and sf fan communities, while the movie’s commitment to fan fiction tropes and narrative practices anticipates recent changes in media consumption and production patterns.
{"title":"Readings in queer pleasure","authors":"Anna Kurowicka, Agnieszka Kotwasińska","doi":"10.3828/sfftv.2024.5","DOIUrl":"https://doi.org/10.3828/sfftv.2024.5","url":null,"abstract":"\u0000 This article analyzes the queer pleasures of the 2015 sf movie by the Wachowski sisters,\u0000 Jupiter Ascending\u0000 . We find that these pleasures operate on two intertwined levels: the movie’s campy villains and over-the-top aesthetics reflect the themes of queer temporality and reproduction on the textual level, while the straight romance of the protagonist draws on the queer archive of fan fiction. We engage with queer studies and fan studies as critical frameworks that allow us to center affective pleasures of recognizing well-established romantic tropes and character archetypes. Critical debates surrounding\u0000 Jupiter Ascending\u0000 point to a larger discussion concerning the space for pleasure within sf texts and sf fan communities, while the movie’s commitment to fan fiction tropes and narrative practices anticipates recent changes in media consumption and production patterns.\u0000","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"495 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140466025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The apocalyptic mode of writing, as a social endeavor, provides creators the opportunity to critique gender normativity within post-devastation rebuilding and to disrupt the expected binary between oppressor and oppressed. When nothing is left, when our characters reach The End, the abandonment of traditional gender norms and the acceptance of gender-diverse identity catalyzes communal restructuring. The 2021 televised adaptation of Brian K. Vaughan’s and Pia Guerra’s comic series Y: The Last Man (2002–08) is a flipped narrative of gender essentialism – no longer a concern for social stratification, gender becomes a wayside factor in identity for some and an unprecedented, harmful obsession post-cataclysm for others who cannot re-enter social spaces without focusing on what they consider the essential differences in men and women.
世界末日的写作模式作为一种社会努力，为创作者提供了在灾难后重建过程中批判性别规范的机会，并打破了压迫者和被压迫者之间的二元对立。当一切都不复存在时，当我们的角色到达 "尽头 "时，对传统性别规范的摒弃和对性别多元化身份的接受催化了社区的重建。布莱恩-K-沃恩（Brian K. Vaughan）和皮娅-格拉（Pia Guerra）的漫画系列《Y：最后一人》（2002-08 年）的 2021 年电视改编版就是性别本质主义的翻转叙事--性别不再是社会分层的关注点，对某些人来说，性别成为身份认同中的一个无关紧要的因素，而对另一些人来说，性别则是灾难后前所未有的、有害的痴迷，他们无法在不关注他们所认为的男女本质区别的情况下重新进入社会空间。
{"title":"Creating possible alternatives","authors":"Hannah V. Warren","doi":"10.3828/sfftv.2024.2","DOIUrl":"https://doi.org/10.3828/sfftv.2024.2","url":null,"abstract":"\u0000 The apocalyptic mode of writing, as a social endeavor, provides creators the opportunity to critique gender normativity within post-devastation rebuilding and to disrupt the expected binary between oppressor and oppressed. When nothing is left, when our characters reach The End, the abandonment of traditional gender norms and the acceptance of gender-diverse identity catalyzes communal restructuring. The 2021 televised adaptation of Brian K. Vaughan’s and Pia Guerra’s comic series\u0000 Y: The Last Man\u0000 (2002–08) is a flipped narrative of gender essentialism – no longer a concern for social stratification, gender becomes a wayside factor in identity for some and an unprecedented, harmful obsession post-cataclysm for others who cannot re-enter social spaces without focusing on what they consider the essential differences in men and women.\u0000","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"74 21","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140462928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Never-ending fights","authors":"L. Chu","doi":"10.3828/sfftv.2023.5","DOIUrl":"https://doi.org/10.3828/sfftv.2023.5","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133603588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reincarnating the future","authors":"Ishita Jain, Ankita Trivedi","doi":"10.3828/sfftv.2023.10","DOIUrl":"https://doi.org/10.3828/sfftv.2023.10","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131283625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mario Bava’s Chthulucene","authors":"Alessandro Brunazzo","doi":"10.3828/sfftv.2023.6","DOIUrl":"https://doi.org/10.3828/sfftv.2023.6","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114569343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Oversights”","authors":"G. Canavan, D. Hassler-Forest, Ida Yoshinaga","doi":"10.3828/sfftv.2023.1","DOIUrl":"https://doi.org/10.3828/sfftv.2023.1","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129788162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The guest","authors":"D. Kelly","doi":"10.3828/sfftv.2023.2","DOIUrl":"https://doi.org/10.3828/sfftv.2023.2","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114257281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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