{"title":"A symposium on the legacies ofBlade Runner: Cyberpunk’s masculinist legacy","authors":"G. Murphy","doi":"10.3828/sfftv.2020.6","DOIUrl":"https://doi.org/10.3828/sfftv.2020.6","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/sfftv.2020.6","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69946338","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":"‘Cells. Interlinked’","authors":"Keren Omry","doi":"10.3828/sfftv.2020.6a","DOIUrl":"https://doi.org/10.3828/sfftv.2020.6a","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"107-112"},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44188702","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":"Seven inquiries on the antediluvian labour market of cinematic 'sf auteurs' and Blade Runner 2049","authors":"Ida Yoshinaga","doi":"10.3828/sfftv.2020.6d","DOIUrl":"https://doi.org/10.3828/sfftv.2020.6d","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"128 - 134"},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69946345","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}
Abstract:This article surveys the existing scholarship that treats racial representation in the original Blade Runner (1982) in order to trace its continuation into Blade Runner 2049 (2017) as well as the three short film intertexts: Blade Runner: Black Out 2022 (directed by Shinichiro Watanabe), 2036: Nexus Dawn (Luke Scott) and 2048: Nowhere to Run (Luke Scott). While the shorts Black Out 2022 and 2036: Nexus Dawn feature black and Asian characters, the dominant racial logic of Hollywood continues the focus on whiteness in Blade Runner 2049. At the same time, the newer films seem to show a response–however muted–to criticisms of the original in relation to race with an attempt to at least show that black people do in fact exist in its future, and half-Filipino and Latina actors (Dave Bautista and Ana de Armas, respectively) are featured in Blade Runner 2049. Nevertheless, I argue that the overriding racial sentiment of the series thus far is the imagination of what Steven Gardiner identifies as a fear of 'demographic dystopia', a core logic of white supremacy; indeed, it is precisely the imagination of dystopia as whiteness being overwhelmed by non-whiteness that pervades the Blade Runner diegetic universe. My own argument about the Blade Runner series will focus on it as an exemplar of Hollywood's racial logic and its attempts to fit its vision of the future of race into both the fears and aspirations of racial multiculturalism in the US.
{"title":"Race in the Blade Runner cycle and demographic dystopia","authors":"E. K. Chan","doi":"10.3828/sfftv.2020.4","DOIUrl":"https://doi.org/10.3828/sfftv.2020.4","url":null,"abstract":"Abstract:This article surveys the existing scholarship that treats racial representation in the original Blade Runner (1982) in order to trace its continuation into Blade Runner 2049 (2017) as well as the three short film intertexts: Blade Runner: Black Out 2022 (directed by Shinichiro Watanabe), 2036: Nexus Dawn (Luke Scott) and 2048: Nowhere to Run (Luke Scott). While the shorts Black Out 2022 and 2036: Nexus Dawn feature black and Asian characters, the dominant racial logic of Hollywood continues the focus on whiteness in Blade Runner 2049. At the same time, the newer films seem to show a response–however muted–to criticisms of the original in relation to race with an attempt to at least show that black people do in fact exist in its future, and half-Filipino and Latina actors (Dave Bautista and Ana de Armas, respectively) are featured in Blade Runner 2049. Nevertheless, I argue that the overriding racial sentiment of the series thus far is the imagination of what Steven Gardiner identifies as a fear of 'demographic dystopia', a core logic of white supremacy; indeed, it is precisely the imagination of dystopia as whiteness being overwhelmed by non-whiteness that pervades the Blade Runner diegetic universe. My own argument about the Blade Runner series will focus on it as an exemplar of Hollywood's racial logic and its attempts to fit its vision of the future of race into both the fears and aspirations of racial multiculturalism in the US.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"59 - 76"},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/sfftv.2020.4","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43881967","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":"We, the people of Blade Runner 2049","authors":"Phillip E. Wegner","doi":"10.3828/sfftv.2020.6e","DOIUrl":"https://doi.org/10.3828/sfftv.2020.6e","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"135 - 142"},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/sfftv.2020.6e","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45519207","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}
Abstract:This article provides an analysis of how Blade Runner 2049 (Villeneuve US/UK/Canada/Hungary/Spain 2017) can be understood to occupy the position of a 'quality' Hollywood film through two main points of focus. First, the essay examines the textual basis on which the film can be seen to claim, and was accorded, a particular kind of 'quality' status, including examination of a number of bases on which notions of quality of this variety are articulated within prevailing hierarchies of cultural value. This includes what can be seen as 'serious' and 'substantial' thematic dimensions and aspects of style ranging from narrative structure and pacing to general audiovisual qualities and use or otherwise of elements such as action and the spectacular. Second, it considers what space is available in the contemporary corporate studio system for the production of works that depart from dominant norms to some degree in such ways. Rather than being taken as evidence of some kind of breakthrough or as an entirely one-off anomaly, Blade Runner 2049 is examined as evidence of an ongoing availability of a certain margin for the production of films that can accorded 'quality' status of this kind within Hollywood.
{"title":"Blade Runner 2049 and the 'quality' Hollywood film","authors":"G. King","doi":"10.3828/sfftv.2020.5","DOIUrl":"https://doi.org/10.3828/sfftv.2020.5","url":null,"abstract":"Abstract:This article provides an analysis of how Blade Runner 2049 (Villeneuve US/UK/Canada/Hungary/Spain 2017) can be understood to occupy the position of a 'quality' Hollywood film through two main points of focus. First, the essay examines the textual basis on which the film can be seen to claim, and was accorded, a particular kind of 'quality' status, including examination of a number of bases on which notions of quality of this variety are articulated within prevailing hierarchies of cultural value. This includes what can be seen as 'serious' and 'substantial' thematic dimensions and aspects of style ranging from narrative structure and pacing to general audiovisual qualities and use or otherwise of elements such as action and the spectacular. Second, it considers what space is available in the contemporary corporate studio system for the production of works that depart from dominant norms to some degree in such ways. Rather than being taken as evidence of some kind of breakthrough or as an entirely one-off anomaly, Blade Runner 2049 is examined as evidence of an ongoing availability of a certain margin for the production of films that can accorded 'quality' status of this kind within Hollywood.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"77 - 96"},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/sfftv.2020.5","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49212471","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":"Blade Runner 2049’s incongruous couplings","authors":"Sarah Hamblin, H. O’Connell","doi":"10.3828/sfftv.2020.3","DOIUrl":"https://doi.org/10.3828/sfftv.2020.3","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"37-58"},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/sfftv.2020.3","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47010441","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}
B. Robertson, C. L. Pyle, D. Kelly, Marta F. Suarez
{"title":"DVD reviews","authors":"B. Robertson, C. L. Pyle, D. Kelly, Marta F. Suarez","doi":"10.3828/sfftv.2020.8","DOIUrl":"https://doi.org/10.3828/sfftv.2020.8","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":" 459","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72378536","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}
Abstract:This article traces the connections between Denis Villeneuve's Blade Runner 2049 (2017) and the increasingly aggressive reach of contemporary biocapitalism, which seeks to turn even the basic building blocks of life itself into engines of profit. The film's preoccupation with the reproductive capacity of its replicants registers and allegorises collective anxiety about this vampiric tendency in contemporary capitalism, while the posthuman subjectivity of the chief protagonist, K (Ryan Gosling) offers the possibility of a revolutionary line of flight away from the dead-ends of liberal humanism and its self-defeating focus on heteronormative family construction.
{"title":"Vitality and reproduction in Blade Runner 2049","authors":"S. Vint","doi":"10.3828/sfftv.2020.2","DOIUrl":"https://doi.org/10.3828/sfftv.2020.2","url":null,"abstract":"Abstract:This article traces the connections between Denis Villeneuve's Blade Runner 2049 (2017) and the increasingly aggressive reach of contemporary biocapitalism, which seeks to turn even the basic building blocks of life itself into engines of profit. The film's preoccupation with the reproductive capacity of its replicants registers and allegorises collective anxiety about this vampiric tendency in contemporary capitalism, while the posthuman subjectivity of the chief protagonist, K (Ryan Gosling) offers the possibility of a revolutionary line of flight away from the dead-ends of liberal humanism and its self-defeating focus on heteronormative family construction.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"15 - 35"},"PeriodicalIF":0.2,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/sfftv.2020.2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46047716","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":"After monster theory?","authors":"Roger Luckhurst","doi":"10.3828/sfftv.2020.14","DOIUrl":"https://doi.org/10.3828/sfftv.2020.14","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":"269-290"},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69946324","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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