{"title":"The evolution of the idea","authors":"J. Chambliss","doi":"10.3828/sfftv.2019.22","DOIUrl":"https://doi.org/10.3828/sfftv.2019.22","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"12 1","pages":"373 - 380"},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42142141","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":"Notes on the 'formulaic'","authors":"Michael C. Reiff","doi":"10.3828/sfftv.2019.23","DOIUrl":"https://doi.org/10.3828/sfftv.2019.23","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"12 1","pages":"381 - 389"},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45347052","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 essay examines The Omega Man (1971) as masculinist discourse that articulates racial anxiety and the possibility of a post-white, post-patriarchal future. The film exposes the usually invisible hegemonic reproduction of white masculine dominance through its figuration of Charlton Heston as the last man on Earth struggling against racialised mob violence. Through a consideration of this figure of an angry white man desperately attempting to maintain his dominant position in a society forever changed, I argue that this film reveals not only the danger of such men to others, but also some rationale for this rage.
{"title":"The end of the world as he knows it: Besieged white male authority and angry white masculinity in The Omega Man","authors":"Ezekiel Crago","doi":"10.3828/sfftv.2019.19","DOIUrl":"https://doi.org/10.3828/sfftv.2019.19","url":null,"abstract":"Abstract:This essay examines The Omega Man (1971) as masculinist discourse that articulates racial anxiety and the possibility of a post-white, post-patriarchal future. The film exposes the usually invisible hegemonic reproduction of white masculine dominance through its figuration of Charlton Heston as the last man on Earth struggling against racialised mob violence. Through a consideration of this figure of an angry white man desperately attempting to maintain his dominant position in a society forever changed, I argue that this film reveals not only the danger of such men to others, but also some rationale for this rage.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"12 1","pages":"323 - 342"},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42059185","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}
Débora Madrid-Brito, Natasha Parcei, Kevin Modestino, J. Cruz, Richard J. Leskosky
{"title":"DVD reviews","authors":"Débora Madrid-Brito, Natasha Parcei, Kevin Modestino, J. Cruz, Richard J. Leskosky","doi":"10.3828/sfftv.2019.25","DOIUrl":"https://doi.org/10.3828/sfftv.2019.25","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"13 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78851017","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":"Endless war or endless nostalgia?","authors":"S. Attebery","doi":"10.3828/sfftv.2019.21","DOIUrl":"https://doi.org/10.3828/sfftv.2019.21","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83671708","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 : 2019-07-12DOI: 10.1007/978-3-030-16178-1
D. Broderick
{"title":"The Time Machine Hypothesis","authors":"D. Broderick","doi":"10.1007/978-3-030-16178-1","DOIUrl":"https://doi.org/10.1007/978-3-030-16178-1","url":null,"abstract":"","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81040875","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:Susan Sontag, within 'The Imagination of Disaster', argued that sf films reflect worldwide anxieties (44), specifically those of nuclear threat. This article will investigate how contemporary sf cinema speaks to the twenty-first-century anxieties surrounding the Anthropocene. Through a comparative analysis of the Star Wars saga's various Death Stars, this paper will demonstrate environmentally informed representational changes in the film series' contemporary iterations. This will be followed by a theoretically informed analysis of After Earth (Shyamalan 2013), unveiling the means by which sf cinema's disaster imaginary in the twenty-first century can, and often does, shape itself around the ecocritical intricacies of the Anthropocene epoch. In the hitherto unlikely bringing together of Star Wars and After Earth this paper unveils sf cinema's relationship with the disaster imaginary of the Anthropocene.
摘要:苏珊·桑塔格(Susan Sontag)在《灾难的想象》(The Imagination of Disaster)一书中认为，科幻电影反映了世界范围内的焦虑(44)，特别是对核威胁的焦虑。本文将探讨当代科幻电影如何回应围绕人类世的21世纪焦虑。通过对《星球大战》系列中各种死星的比较分析，本文将展示该系列电影当代迭代中环境信息的代表性变化。接下来是对《重返地球》(shayamalan 2013)的理论分析，揭示了科幻电影在21世纪的灾难想象可以，而且经常围绕人类世时代的生态批评的复杂性来塑造自己的方式。《星球大战》和《重返地球》迄今不太可能结合在一起，本文揭示了科幻电影与人类世灾难想象的关系。
{"title":"Different Death Stars and devastated Earths: Contemporary sf cinema's imagination of disaster in the Anthropocene","authors":"Toby Neilson","doi":"10.3828/SFFTV.2019.14","DOIUrl":"https://doi.org/10.3828/SFFTV.2019.14","url":null,"abstract":"Abstract:Susan Sontag, within 'The Imagination of Disaster', argued that sf films reflect worldwide anxieties (44), specifically those of nuclear threat. This article will investigate how contemporary sf cinema speaks to the twenty-first-century anxieties surrounding the Anthropocene. Through a comparative analysis of the Star Wars saga's various Death Stars, this paper will demonstrate environmentally informed representational changes in the film series' contemporary iterations. This will be followed by a theoretically informed analysis of After Earth (Shyamalan 2013), unveiling the means by which sf cinema's disaster imaginary in the twenty-first century can, and often does, shape itself around the ecocritical intricacies of the Anthropocene epoch. In the hitherto unlikely bringing together of Star Wars and After Earth this paper unveils sf cinema's relationship with the disaster imaginary of the Anthropocene.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"12 1","pages":"241 - 258"},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/SFFTV.2019.14","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47812350","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 is concerned with questions of history, memory and meaning, and with the construction of Afrofuturism as both an archive and a living tradition. It will begin by outlining the origins of the term, and consider how its naming and initial explication in a popular article by Mark Sinker, interviews by Mark Dery and a film by John Akomfrah functioned as preliminary archivings, which in turn became parts of the archive they inaugurated. It will then turn to two recent Afrofuturist films which deal with history, temporality, semiosis and transformation in intriguing ways: Kibwe Tavares's six-minute short, Robots of Brixton (UK 2011), and Miguel Llansó's short feature, Crumbs (Ethiopia/Spain/Finland 2015).
{"title":"Afrofuturism and the archive: Robots of Brixton and Crumbs","authors":"M. Bould","doi":"10.3828/SFFTV.2019.11","DOIUrl":"https://doi.org/10.3828/SFFTV.2019.11","url":null,"abstract":"Abstract:This article is concerned with questions of history, memory and meaning, and with the construction of Afrofuturism as both an archive and a living tradition. It will begin by outlining the origins of the term, and consider how its naming and initial explication in a popular article by Mark Sinker, interviews by Mark Dery and a film by John Akomfrah functioned as preliminary archivings, which in turn became parts of the archive they inaugurated. It will then turn to two recent Afrofuturist films which deal with history, temporality, semiosis and transformation in intriguing ways: Kibwe Tavares's six-minute short, Robots of Brixton (UK 2011), and Miguel Llansó's short feature, Crumbs (Ethiopia/Spain/Finland 2015).","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"12 1","pages":"171 - 193"},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3828/SFFTV.2019.11","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41647223","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}
C. L. Pyle, Justice Hagan, Kristen Shaw, J. Jenner, Aaron Long, Timothy S. Murphy, Margaret Boyce, Sanglim Yoo, J. P. Telotte
Abstract:This article examines the Netflix series Russian Doll (2019) to consider the narrative and ideological positioning of its nonhuman characters. The series formulates a sort of game whose successful completion requires the protagonists to resist their solipsistic instincts and embrace intersubjectivity and interdependence. Appearances by Russian Doll’s nonhuman characters are fleeting; however, they serve an important function, both as symbols for the protagonists’ development as social beings, and as obstacles that the protagonists must overcome in over to fully actualise as such. In so doing, the series prioritises inter-personal relationships by reinforcing anthropocentric narrative conventions. With its resolution, however, the show promotes a form of compassion that is not contingent on the promise of reciprocity, thereby presenting a model that can be extended to conceptualising a more ethical human-nonhuman sociality.
{"title":"About the contributors","authors":"C. L. Pyle, Justice Hagan, Kristen Shaw, J. Jenner, Aaron Long, Timothy S. Murphy, Margaret Boyce, Sanglim Yoo, J. P. Telotte","doi":"10.3828/sfftv.2019.17","DOIUrl":"https://doi.org/10.3828/sfftv.2019.17","url":null,"abstract":"Abstract:This article examines the Netflix series Russian Doll (2019) to consider the narrative and ideological positioning of its nonhuman characters. The series formulates a sort of game whose successful completion requires the protagonists to resist their solipsistic instincts and embrace intersubjectivity and interdependence. Appearances by Russian Doll’s nonhuman characters are fleeting; however, they serve an important function, both as symbols for the protagonists’ development as social beings, and as obstacles that the protagonists must overcome in over to fully actualise as such. In so doing, the series prioritises inter-personal relationships by reinforcing anthropocentric narrative conventions. With its resolution, however, the show promotes a form of compassion that is not contingent on the promise of reciprocity, thereby presenting a model that can be extended to conceptualising a more ethical human-nonhuman sociality.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"14 1","pages":"1 - 101 - 103 - 104 - 108 - 109 - 110 - 19 - 21 - 43 - 45 - 69 - 71 - 81 - 83 - 91 - 93 - 95 - 95 -"},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46745943","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:Themes of surveillance in popular cinema raise critical questions about the apparatus of spectatorship and the overlap between film technology and real governmental and corporate spying. This paper argues that, since about 1998, what critics have called 'surveillance cinema' evolves a new type of 'hypernarrative' viewpoint that alters the political significance of surveillance in film, displacing the 'metanarrative' suture between a viewer's position and the spying camera. Science-fictional or fantastical camera movements and actions – 'impossible' in earlier surveillance cinema because they contravene the realism through which spying is connected to actual-world politics – are now themselves naturalised and made 'realistic'. A capacity to roam freely over space and time, as well as to surveil both factual and counterfactual 'lines' of plot, becomes standard in the spectator's repertoire – surveillance is something we freely do rather than problematically observe. In what I call 'time travel surveillance cinema', the politics of surveillance is thus displaced and devalued but not altogether abolished. Politics resurfaces, in line with general tendencies of genre cinema, through anodyne individual reactions to 'time travel surveillance', especially in the guise of inapt happy endings.
{"title":"Seeing around the next corner: The politics of time travel surveillance cinema","authors":"David Wittenberg","doi":"10.3828/SFFTV.2019.12","DOIUrl":"https://doi.org/10.3828/SFFTV.2019.12","url":null,"abstract":"Abstract:Themes of surveillance in popular cinema raise critical questions about the apparatus of spectatorship and the overlap between film technology and real governmental and corporate spying. This paper argues that, since about 1998, what critics have called 'surveillance cinema' evolves a new type of 'hypernarrative' viewpoint that alters the political significance of surveillance in film, displacing the 'metanarrative' suture between a viewer's position and the spying camera. Science-fictional or fantastical camera movements and actions – 'impossible' in earlier surveillance cinema because they contravene the realism through which spying is connected to actual-world politics – are now themselves naturalised and made 'realistic'. A capacity to roam freely over space and time, as well as to surveil both factual and counterfactual 'lines' of plot, becomes standard in the spectator's repertoire – surveillance is something we freely do rather than problematically observe. In what I call 'time travel surveillance cinema', the politics of surveillance is thus displaced and devalued but not altogether abolished. Politics resurfaces, in line with general tendencies of genre cinema, through anodyne individual reactions to 'time travel surveillance', especially in the guise of inapt happy endings.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"12 1","pages":"195 - 223"},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44546078","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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