Pub Date : 2021-01-01DOI: 10.1007/978-3-030-91709-8
Michael C. Carroll
{"title":"Plato’s Labyrinth","authors":"Michael C. Carroll","doi":"10.1007/978-3-030-91709-8","DOIUrl":"https://doi.org/10.1007/978-3-030-91709-8","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"31 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84207893","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 examines the connections between 1960s student protests, particularly the occupation of the University of Tokyo in 1968-9, and 1980s cyberpunk film in Japan. I argue that these films, while critical of the student movement, aim to reclaim and transform the utopian spirit that motivated them. Using the global 1960s framework, I situate Japanese cyberpunk film within the wider debates of this decade, particularly those concerning personal liberation and affluence. Using Tom Moylan’s concept of the critical dystopia, I demonstrate that utopian thinking does not disappear after 1968 in Japan but undergoes metamorphosis in these films.
{"title":"Global cyberpunk","authors":"Sasha Myerson","doi":"10.3828/sfftv.2020.21","DOIUrl":"https://doi.org/10.3828/sfftv.2020.21","url":null,"abstract":"\u0000This article examines the connections between 1960s student protests, particularly the occupation of the University of Tokyo in 1968-9, and 1980s cyberpunk film in Japan. I argue that these films, while critical of the student movement, aim to reclaim and transform the utopian spirit that motivated them. Using the global 1960s framework, I situate Japanese cyberpunk film within the wider debates of this decade, particularly those concerning personal liberation and affluence. Using Tom Moylan’s concept of the critical dystopia, I demonstrate that utopian thinking does not disappear after 1968 in Japan but undergoes metamorphosis in these films.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"10 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79732474","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 focuses on documentary and narrative films as modes of utopian expression in the Middle East and North Africa (MENA) following the ‘Arab Spring’ of 2010-12. To talk about the Arab Spring in terms of utopia is to negotiate between the desires of people on the ground in the MENA for a better life now, the desire of Western governments for what the region should come to be, and the reality of the political situation in the MENA. This article examines the films that emerged from the MENA in the past decade to argue that the utopian impulse is crucial to the artistic output of the region and has responded through both narrative and documentary forms to craft complex responses to the successes and failures of revolutions local and national.
{"title":"Arab utopian futures","authors":"J. Donica","doi":"10.3828/SFFTV.2020.22","DOIUrl":"https://doi.org/10.3828/SFFTV.2020.22","url":null,"abstract":"\u0000This article focuses on documentary and narrative films as modes of utopian expression in the Middle East and North Africa (MENA) following the ‘Arab Spring’ of 2010-12. To talk about the Arab Spring in terms of utopia is to negotiate between the desires of people on the ground in the MENA for a better life now, the desire of Western governments for what the region should come to be, and the reality of the political situation in the MENA. This article examines the films that emerged from the MENA in the past decade to argue that the utopian impulse is crucial to the artistic output of the region and has responded through both narrative and documentary forms to craft complex responses to the successes and failures of revolutions local and national.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"387-404"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49436697","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 Mézga Family is an animated television series that ran for three seasons in Hungary between 1970 and 1980 (produced between 1968 and 1978). In the first season, the twentieth-century Hungarian family establishes contact with their descendant from the thirtieth century who sends them futuristic gadgets whose use results in various adventures. In the second season, the family’s youngest member goes out on missions to other planets in a spaceship built by himself. In the third season, the family goes on vacation during which several calamities befall them. The irony directed at facile utopian desires allowed the series to subtly express deeper-penetrating concerns but simultaneously remain light-hearted. This article introduces the term ‘cynical utopia’ to explain how the season generates multi-layered meanings and critical commentary. By using the conventions of utopia, sf and fairy tales, the series could discuss social and even political issues in a period when state control over media content was strict in Hungary and the production of a clearly dystopian work on national television would have been unimaginable.
{"title":"‘Mystic and a little utopistic’","authors":"Dániel Panka","doi":"10.3828/SFFTV.2020.20","DOIUrl":"https://doi.org/10.3828/SFFTV.2020.20","url":null,"abstract":"\u0000The Mézga Family is an animated television series that ran for three seasons in Hungary between 1970 and 1980 (produced between 1968 and 1978). In the first season, the twentieth-century Hungarian family establishes contact with their descendant from the thirtieth century who sends them futuristic gadgets whose use results in various adventures. In the second season, the family’s youngest member goes out on missions to other planets in a spaceship built by himself. In the third season, the family goes on vacation during which several calamities befall them. The irony directed at facile utopian desires allowed the series to subtly express deeper-penetrating concerns but simultaneously remain light-hearted. This article introduces the term ‘cynical utopia’ to explain how the season generates multi-layered meanings and critical commentary. By using the conventions of utopia, sf and fairy tales, the series could discuss social and even political issues in a period when state control over media content was strict in Hungary and the production of a clearly dystopian work on national television would have been unimaginable.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"341-362"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42968337","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 examines how a Native Hawaiian activist’s inventive self-representational tactics, deployed within corporate mass media, have enriched North American pop-culture discourses on the Kanaka Maoli independence movement. Analysis focuses on the convergent (that is, transmedial or purposefully cross-medial) self-representational efforts of Dennis ‘Bumpy’ Pu‘uhonua Kanahele, who rose to fame as one of several notable organisers in the Hawaiian sovereignty movement during the 1990s. Several film and television texts became targets of Kanahele’s indigenous media interventions into commercial cinematic genre storytelling across different narrative platforms beginning in the 2010s. Applying a utopian reading that brings out Kanahele’s Indigenous Futurist interventions, this article offers readings of the theatrical feature film Aloha (2015) and a 2017 episode of Hawaii Five-o. Both texts visually focalise Pu‘uhonua o Waimānalo, the land base of Kanahele’s sovereignty movement known as the Nation of Hawai‘i, which gets positioned within these narratives as a Kanaka Maoli utopia providing refuge for indigenous Hawaiians away from the predation of both rampant capitalism and Western empire.
本文探讨了一位夏威夷原住民活动家在企业大众媒体中运用的创造性自我代表策略，如何丰富了北美流行文化对卡纳卡毛利独立运动的论述。分析的重点是Dennis‘Bumpy’Pu'uonua Kanahele的趋同（即跨表盘或有意跨媒体）自我表征努力，他在20世纪90年代作为夏威夷主权运动的几位著名组织者之一而声名鹊起。从2010年代开始，几部电影和电视文本成为Kanahele本土媒体干预不同叙事平台商业电影类型故事的目标。本文运用了一种乌托邦式的阅读方式，引出了卡纳赫勒的土著未来主义干预，阅读了戏剧长片《阿罗哈》（2015）和2017年的《夏威夷五人组》。这两部文本都在视觉上聚焦于Pu'uonua o Waimānalo，这是卡纳赫勒主权运动的土地基地，被称为夏威夷民族，在这些叙事中，夏威夷民族被定位为卡纳卡毛里乌托邦，为夏威夷土著人提供庇护，远离猖獗的资本主义和西方帝国的掠夺。
{"title":"Productive narratologies of convergent sf","authors":"Ida Yoshinaga","doi":"10.3828/SFFTV.2020.23","DOIUrl":"https://doi.org/10.3828/SFFTV.2020.23","url":null,"abstract":"\u0000This article examines how a Native Hawaiian activist’s inventive self-representational tactics, deployed within corporate mass media, have enriched North American pop-culture discourses on the Kanaka Maoli independence movement. Analysis focuses on the convergent (that is, transmedial or purposefully cross-medial) self-representational efforts of Dennis ‘Bumpy’ Pu‘uhonua Kanahele, who rose to fame as one of several notable organisers in the Hawaiian sovereignty movement during the 1990s. Several film and television texts became targets of Kanahele’s indigenous media interventions into commercial cinematic genre storytelling across different narrative platforms beginning in the 2010s. Applying a utopian reading that brings out Kanahele’s Indigenous Futurist interventions, this article offers readings of the theatrical feature film Aloha (2015) and a 2017 episode of Hawaii Five-o. Both texts visually focalise Pu‘uhonua o Waimānalo, the land base of Kanahele’s sovereignty movement known as the Nation of Hawai‘i, which gets positioned within these narratives as a Kanaka Maoli utopia providing refuge for indigenous Hawaiians away from the predation of both rampant capitalism and Western empire.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"405-426"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42748039","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":"DVD reviews","authors":"M. Pitts, Ross P. Garner","doi":"10.3828/sfftv.2020.25","DOIUrl":"https://doi.org/10.3828/sfftv.2020.25","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"65 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75692148","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":"‘Screening utopia in dystopian times’","authors":"L. Garcia-Siino, Sean A. Guynes","doi":"10.3828/SFFTV.2020.18","DOIUrl":"https://doi.org/10.3828/SFFTV.2020.18","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"317-321"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48312964","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}
Three films imagining post-apocalyptic dystopias - Smog (Petersen Germany 1973), Operation Ganymed (Erler Germany 1977) and Die Hamburger Krankheit (Fleischmann Germany 1979) - concretise and dramatise environmental, political and social stresses on the West German national imaginary during the 1970s. Articulating cultural motifs hitherto associated with national success within the conventions of the disaster film, the films would exacerbate cultural stress throughout the decade by gradually uncoupling it from its historically specific sources and rendering it as a diffuse yet inescapable national mood. Taken together and read in sequence, the three films show how dystopian thinking takes hold while its specific causes grow less clear and obvious, expressing fundamental doubts about ‘post-war’ utopian aspirations.
{"title":"From stressed utopias to pervasive anxiety","authors":"Steffen H. Hantke","doi":"10.3828/SFFTV.2020.19","DOIUrl":"https://doi.org/10.3828/SFFTV.2020.19","url":null,"abstract":"\u0000Three films imagining post-apocalyptic dystopias - Smog (Petersen Germany 1973), Operation Ganymed (Erler Germany 1977) and Die Hamburger Krankheit (Fleischmann Germany 1979) - concretise and dramatise environmental, political and social stresses on the West German national imaginary during the 1970s. Articulating cultural motifs hitherto associated with national success within the conventions of the disaster film, the films would exacerbate cultural stress throughout the decade by gradually uncoupling it from its historically specific sources and rendering it as a diffuse yet inescapable national mood. Taken together and read in sequence, the three films show how dystopian thinking takes hold while its specific causes grow less clear and obvious, expressing fundamental doubts about ‘post-war’ utopian aspirations.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"323-339"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46080451","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 : 2020-10-01DOI: 10.3828/sfftv.2020.13.issue-3
{"title":"Science Fiction Film & Television: Volume 13, Issue 3","authors":"","doi":"10.3828/sfftv.2020.13.issue-3","DOIUrl":"https://doi.org/10.3828/sfftv.2020.13.issue-3","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"44 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85151476","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 : 2020-07-03DOI: 10.1007/978-3-030-40109-2
M. Tolan, J. Stolze
{"title":"Shaken, Not Stirred!","authors":"M. Tolan, J. Stolze","doi":"10.1007/978-3-030-40109-2","DOIUrl":"https://doi.org/10.1007/978-3-030-40109-2","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"53 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81446312","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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