{"title":"Modern art and sf iconography","authors":"Evdokia Stefanopoulou","doi":"10.3828/sfftv.2023.8","DOIUrl":"https://doi.org/10.3828/sfftv.2023.8","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"8 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":"124641292","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":"A neglected franchise","authors":"Justice Hagan","doi":"10.3828/sfftv.2023.3","DOIUrl":"https://doi.org/10.3828/sfftv.2023.3","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":"120900049","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}
Pub Date : 2022-10-01DOI: 10.4324/9780080518084-73
A. Grzybowska
Psychological violence is a complex phenomenon that often goes unrecognized. Nonetheless, its effects can seriously impact one’s functioning, including understanding one’s personhood within a given culture, interacting with society, and expressing oneself within its bounds. This stems from the fact that psychological violence, in both its occurrence and its effects, is inextricably linked with meaning-making processes, interpreting the world, and responding to it. Due to its vague definition, the experience of psychological violence is vulnerable to hermeneutical injustice, which, as Miranda Fricker explains, is the effect of a gap in collective interpretative resources and the resulting disadvantage in making sense of one’s reality. Considering culture’s significant impact on conceptualizing psychological violence, this article focuses on its representations in two contemporary sf films, which will be studied for their contribution to hermeneutical (in)justice: Tau (2018) and Upstream Color (2013). The first part delineates the term’s general meaning and how it is applied to this analysis. The second part explores the transmutations of personhood induced by psychological violence in Tau, along with the dialectic between the cultural code of agency and the position of the “victim.” In the third part, the dynamic of psychological violence is recognized as the main driving force for the narrative in Upstream Color, a movie that is interpreted as a spectacle of the woman’s psychological degradation. Finally, the article reflects upon how engaging with these films can either raise or degrade our competence in dealing with the violation of human psyche.
{"title":"Invisible cuts","authors":"A. Grzybowska","doi":"10.4324/9780080518084-73","DOIUrl":"https://doi.org/10.4324/9780080518084-73","url":null,"abstract":"\u0000Psychological violence is a complex phenomenon that often goes unrecognized. Nonetheless, its effects can seriously impact one’s functioning, including understanding one’s personhood within a given culture, interacting with society, and expressing oneself within its bounds. This stems from the fact that psychological violence, in both its occurrence and its effects, is inextricably linked with meaning-making processes, interpreting the world, and responding to it. Due to its vague definition, the experience of psychological violence is vulnerable to hermeneutical injustice, which, as Miranda Fricker explains, is the effect of a gap in collective interpretative resources and the resulting disadvantage in making sense of one’s reality. Considering culture’s significant impact on conceptualizing psychological violence, this article focuses on its representations in two contemporary sf films, which will be studied for their contribution to hermeneutical (in)justice: Tau (2018) and Upstream Color (2013). The first part delineates the term’s general meaning and how it is applied to this analysis. The second part explores the transmutations of personhood induced by psychological violence in Tau, along with the dialectic between the cultural code of agency and the position of the “victim.” In the third part, the dynamic of psychological violence is recognized as the main driving force for the narrative in Upstream Color, a movie that is interpreted as a spectacle of the woman’s psychological degradation. Finally, the article reflects upon how engaging with these films can either raise or degrade our competence in dealing with the violation of human psyche.","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117247465","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}
Marvel’s Agent Carter was the first woman-led comics-based Marvel television show. The two-season series features Peggy Carter, a strong woman and leader who not only combated agents that endangered late 1940s America but also the sexism and racism of the period. Her most powerful opponent in each season is a similarly strong woman, in each case a version of the femme fatale of 1940s film noir. The show underlines that while both Carter and the women who oppose her seek empowerment, their goals differ. The series shows that women’s choices were constrained and sexual harassment was commonplace in this era, with links to ongoing struggle for equality in the present. One reason provided for male behavior towards women during this time is a feeling of threatened masculinity in the wake of the Second World War. Eventually, the show’s social critique is expanded to highlight the racism of the era as well, whereas Carter is shown to value people based on their character and capability, not other factors. The series also reveals the disparity between women’s lived reality and the media portrayals of the time. Critical assessments of media themes of female representation and empowerment, such as in this series, have differed: negative appraisals have criticized such narratives for not pointing to how systemic change can and needs to occur, while positive assessment can be drawn from observing changes that have resulted from “negotiations” taking place between those making the television shows and films and the audiences upon who their success depends. As a result of this ongoing process, a growing number of Marvel television shows and films are being made with strong women in leading roles. Agent Carter, an intelligent, resilient woman who is an able leader, therefore turned out to be the prototypical heroine for later Marvel Cinematic Universe (MCU) productions with women in leading roles.
{"title":"Marvel’s Agent Carter","authors":"D. Wright","doi":"10.3828/sfftv.2022.24","DOIUrl":"https://doi.org/10.3828/sfftv.2022.24","url":null,"abstract":"\u0000Marvel’s Agent Carter was the first woman-led comics-based Marvel television show. The two-season series features Peggy Carter, a strong woman and leader who not only combated agents that endangered late 1940s America but also the sexism and racism of the period. Her most powerful opponent in each season is a similarly strong woman, in each case a version of the femme fatale of 1940s film noir. The show underlines that while both Carter and the women who oppose her seek empowerment, their goals differ. The series shows that women’s choices were constrained and sexual harassment was commonplace in this era, with links to ongoing struggle for equality in the present. One reason provided for male behavior towards women during this time is a feeling of threatened masculinity in the wake of the Second World War. Eventually, the show’s social critique is expanded to highlight the racism of the era as well, whereas Carter is shown to value people based on their character and capability, not other factors. The series also reveals the disparity between women’s lived reality and the media portrayals of the time. Critical assessments of media themes of female representation and empowerment, such as in this series, have differed: negative appraisals have criticized such narratives for not pointing to how systemic change can and needs to occur, while positive assessment can be drawn from observing changes that have resulted from “negotiations” taking place between those making the television shows and films and the audiences upon who their success depends. As a result of this ongoing process, a growing number of Marvel television shows and films are being made with strong women in leading roles. Agent Carter, an intelligent, resilient woman who is an able leader, therefore turned out to be the prototypical heroine for later Marvel Cinematic Universe (MCU) productions with women in leading roles.","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127574012","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}
Building its present identity from the reimagined recollections of a past age of industry, the steampunk movement’s array of antiquated yet spectacular machines have become hallmarks of our fascination with technology’s history. In this article, I will trace the movement’s retrofuturistic sensibilities through a wave of short films and web series that set themselves within worlds that are constructed from anachronistic devices that belong to neither the past nor the present. Instead, these are texts that, whether constructed by amateur filmmakers, professionals - and a range of practices in-between - use their science fictional identities to disrupt the seemingly linear trajectory of our media’s historical progress. Through them, the aesthetics of nineteenth-century photographic techniques and special effects are reimagined through the lens of current streaming platforms, modern computer-generated imagery and a new breed of maker cultures who desire to conflate cutting-edge innovation with the first wave of invention and experimentation that breathed life into our visual media. Most significantly, however, by exploring the proliferation and popularization of neo-Victorian machinery within the vast array of short films that have been both distributed and produced through highly digitized practices, the steampunk genre will be used to examine representations of craftsmanship and “making” that have become embedded within contemporary popular culture.
{"title":"Streaming steam","authors":"Robbie McAllister","doi":"10.3828/sfftv.2022.23","DOIUrl":"https://doi.org/10.3828/sfftv.2022.23","url":null,"abstract":"\u0000Building its present identity from the reimagined recollections of a past age of industry, the steampunk movement’s array of antiquated yet spectacular machines have become hallmarks of our fascination with technology’s history. In this article, I will trace the movement’s retrofuturistic sensibilities through a wave of short films and web series that set themselves within worlds that are constructed from anachronistic devices that belong to neither the past nor the present. Instead, these are texts that, whether constructed by amateur filmmakers, professionals - and a range of practices in-between - use their science fictional identities to disrupt the seemingly linear trajectory of our media’s historical progress. Through them, the aesthetics of nineteenth-century photographic techniques and special effects are reimagined through the lens of current streaming platforms, modern computer-generated imagery and a new breed of maker cultures who desire to conflate cutting-edge innovation with the first wave of invention and experimentation that breathed life into our visual media. Most significantly, however, by exploring the proliferation and popularization of neo-Victorian machinery within the vast array of short films that have been both distributed and produced through highly digitized practices, the steampunk genre will be used to examine representations of craftsmanship and “making” that have become embedded within contemporary popular culture.","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123913156","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}
Immortality has been one of the main desires for humanity throughout history; currently, science is trying to achieve it through cryonics techniques. This article intends to trace an overview of cryonics development in the actual world and to analyze its possible consequences by studying three Spanish sf films that address human cryopreservation. The article argues the sf genre should be considered a valuable resource to generate philosophical reflections about the ethical implications of science and technology for society and human lives in the future.
{"title":"Who wants to live forever?","authors":"De Madrid","doi":"10.3828/sfftv.2022.22","DOIUrl":"https://doi.org/10.3828/sfftv.2022.22","url":null,"abstract":"\u0000Immortality has been one of the main desires for humanity throughout history; currently, science is trying to achieve it through cryonics techniques. This article intends to trace an overview of cryonics development in the actual world and to analyze its possible consequences by studying three Spanish sf films that address human cryopreservation. The article argues the sf genre should be considered a valuable resource to generate philosophical reflections about the ethical implications of science and technology for society and human lives in the future.","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"107 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114100620","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}
D.C. Fontana’s contributions to the Star Trek franchise test the epistemological consequences of sharing space. Fontana wrote screenplays for various Star Trek series from 1966 until 2006. Her scripts challenge cultural readings of progress driven by absolute individual freedom, which is an obstacle to functional community. The franchise, in idealizing free exploration, tends to celebrate the infinite accumulation of knowledge, but Fontana’s narratives destabilize and limit knowledge instead. She writes stories about cohabitation and symbiotic relationships that enable collaborative futures.
dc Fontana对《星际迷航》系列的贡献检验了共享空间的认识论结果。丰塔纳从1966年到2006年为《星际迷航》系列写剧本。她的剧本挑战了由绝对个人自由驱动的进步文化解读，这是功能性社区的障碍。在将自由探索理想化的过程中，这部电影倾向于颂扬知识的无限积累，但丰塔纳的叙事却破坏了知识的稳定，限制了知识的发展。她写关于同居和共生关系的故事，使合作的未来成为可能。
{"title":"Sharing outer space","authors":"L. Norris","doi":"10.3828/sfftv.2022.25","DOIUrl":"https://doi.org/10.3828/sfftv.2022.25","url":null,"abstract":"\u0000D.C. Fontana’s contributions to the Star Trek franchise test the epistemological consequences of sharing space. Fontana wrote screenplays for various Star Trek series from 1966 until 2006. Her scripts challenge cultural readings of progress driven by absolute individual freedom, which is an obstacle to functional community. The franchise, in idealizing free exploration, tends to celebrate the infinite accumulation of knowledge, but Fontana’s narratives destabilize and limit knowledge instead. She writes stories about cohabitation and symbiotic relationships that enable collaborative futures.","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116339169","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":"An American Spider-Man in London","authors":"R. Mayo","doi":"10.3828/sfftv.2022.17","DOIUrl":"https://doi.org/10.3828/sfftv.2022.17","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123835615","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":"Disability and sf film and television","authors":"G. Canavan, Anindita Banerjee, D. Hassler-Forest","doi":"10.3828/sfftv.2022.11","DOIUrl":"https://doi.org/10.3828/sfftv.2022.11","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130125978","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":"Film review","authors":"Aoife Fealy","doi":"10.3828/sfftv.2022.19","DOIUrl":"https://doi.org/10.3828/sfftv.2022.19","url":null,"abstract":"","PeriodicalId":276686,"journal":{"name":"Science Fiction Film & Television","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130196348","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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