Over the last two decades, many philosophers have been increasingly inclined to consider science fiction films as philosophical exercises that center on the nature of human consciousness and existence. Albert Camus' philosophy of the absurd, however, has almost never been employed as a constructive perspective that can illumine unexplored aspects of these films. This is surprising, since science fiction films seem to be packed with visions and dialogues that echo the Sisyphean universe. Cosmos (...) and Camus endeavors to set foot on this uncharted terrain. Its first part aims to introduce the main components of Camus' absurdity in such a way that it can be easily applied to the analysis of the films later. Equipped with these Camusean essentials, it delves into an in-depth analysis of two first-encounter films (Contact and Arrival) and two AI films (A.I. and Her). These analyses yield more than an insightful reflection of the absurd contents in science-fiction film. Indeed, imaginative collisions with nonhumans seem to tell us a lot about the nature of the absurd in the human condition, as well as raising the question of whether absurdity is exclusively a human matter. Ultimately, the interpretation of the films illuminates the films themselves just as much as it illuminates, challenges, and expands Camus' concept of absurdity, thus contributing to our current understanding of what the absurd reality is and how we can either live with it or transcend it. (shrink)

This book explores contemporary existential science fiction media and their influence on society's conceptions of humanity. These media texts manifest abstract concepts in a genre that has historically focused on exploring new ideas and frontiers, creating powerful media that helps audiences contemplate their existence as human beings.

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about (...) the human self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from (...) Aliens, Personal Identity from Total Recall, The Mind-Body dilemma from Terminator, Free Will from Minority Report, Death and the Meaning of Life from Blade Runner, and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, René Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)

This book considers the significance of this confluence through an examination of myths in the writings of H. G. Wells, Arthur C. Clarke, Philip K. Dick and Frank Herbert. Presenting fresh insights into their works, the author brings to light the tendency of science fiction narratives to reaffirm spiritual myths.

_Philosophy Through Science Fiction_ offers a fun, challenging, and accessible way in to the issues of philosophy through the genre of science fiction. Tackling problems such as the possibility of time travel, or what makes someone the same person over time, the authors take a four-pronged approach to each issue, providing · a clear and concise introduction to each subject · a science fiction story that exemplifies a feature of the philosophical discussion · historical and (...) contemporary philosophical texts that investigate the issue with rigor, and · glossary, plot profiles of pertinent science fiction stories and films, and questions for further reflection. _Philosophy Through Science Fiction_ includes stories from contemporary science fiction writers including Greg Egan and Mike Resnick, as well as from classic authors like Philip K. Dick and Robert Heinlein. Philosophy readings include historical pieces by René Descartes and David Hume, and contemporary pieces by John Searle and Mary Midgley. (shrink)

At the heart of Heike Endter's 2009 dissertation, published in 2011 as Ökonomische Utopien und ihre Bilder in Science-Fiction-Filmen, lies the assumption that art history, as a field and with its unique methodology, can provide an insight into film studies that has not yet been discovered and made accessible. Interestingly, Endter seeks to argue this unique insight as a benefit of art history, a discipline threatened by neoliberal ideals of employability, by analyzing a field of interconnected (...) terms that directly address this threat: "utopias, the economy, the visual and science fiction film". She is driven by the idea of a "use value," both morally and economically... (shrink)

Using selections from writers like Margaret Atwood, Octavia Butler, Marion Zimmer Bradley, Karen Joy Fowler, Ursula K. Le Guin, James Tiptree jr., and many others, this collection shows how the imagined worlds of science fiction create hold experiments for testing feminist hypotheses and for interpreting philosophical questions about humanity, gender, equality and more. Four main themes: Part 1, 'Human nature and reality', concentrates on whether there is an intrinsic difference between males and females. Part 2, 'Dystopias: the worst (...) of all possible worlds', portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Part 3, 'Separatist utopias: worlds of difference', assembles stories that scrutinize both the virtues and vices of separatism. In Part 4, 'Androgynous utopias: worlds of equality', the authors create worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. (shrink)

Perhaps nowhere in the broad expanse of types of film is the old “quarrel between philosophy and poetry” more evident—and also more vitally relevant—than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations—and effects—of mimetic art, including fiction film. This book affords a prismatic perspective on documentary cinema, inviting the dynamism (...) and diversity of the arts, humanities, social sciences, and even natural sciences together into a shared conversation. (shrink)

A timely book that uses science fiction to provoke reflection and discussion on philosophical issues From the nature of mind to the ethics of AI and neural enhancement, science fiction thought experiments fire the philosophical imagination, encouraging us to think outside of the box about classic philosophical problems and even to envision new ones. Science Fiction and Philosophy explores puzzles about virtual reality, transhumanism, whether time travel is possible, the nature of artificial intelligence, and (...) topics in neuroethics, among other timely issues. This thought-provoking volume is suitable for students and general readers but also examines new and more advanced topics of interest to seasoned philosophers and scientists. Susan Schneider is Assistant Professor in the department of philosophy at the University of Pennsylvania and an Affiliated Faculty Member at the Institutes for Research in Cognitive Science and Center for Cognitive Neuroscience. (shrink)

Provides a comprehensive introduction to ethical frameworks and of many of the modern issues arising in technology ethics including computing, privacy, artificial intelligence, and more.

Immortality is a subject which has long been explored and imagined by science fiction writers. In his intriguing new study, Stephen R.L.Clark argues that the genre of science fiction writing allows investigation of philosophical questions about immortality without the constraints of academic philosophy. He reveals how fantasy accounts of issues such as resurrection, disembodied survival, reincarnation and devices or drugs for preserving life can be used as an important resource for philosophical inquiry and examines how a (...) society of immortals might function through a reading of the vampire myth. _How to Live Forever_ is a compelling study which introduces students and professional philosophers to the possibilities of using science fiction in their work. It includes extensive suggestions for further reading, both fictional and philosophical, and examines the work of such major science fiction authors as _Arthur C. Clarke, Frank Herbert, Larry Niven, William Gibson_, and _Colin Wilson_. (shrink)

Robert E. Myers has assembled a collection of essays which explore aspects of the relationship between science fiction and philosophy. Contributing authors focus on significant issues, questions, and ideas that penetrate to the center of our individual and social conceptions of human existence, and affect the ways in which we attempt to comprehend our world, ourselves, and others. The authors bring to this study the insights of diverse disciplines: philosophy, social science, poetry, linguistics, future studies, medical humanities, (...) and literature. Dealing exclusively with topics relating to science fiction and philosophy they offer an initial exploration of the philosophical problems within science fiction and their implications. (shrink)

A threat to humanity portending the end of our species lurks in the cold recesses of space. Our only hope is an eleven-year-old boy. Celebrating the long-awaited release of the movie adaptation of Orson Scott Card’s novel about highly trained child geniuses fighting a race of invading aliens, this collection of original essays probes key philosophical questions raised in the narrative, including the ethics of child soldiers, politics on the internet, and the morality of war and genocide. Original essays dissect (...) the diverse philosophical questions raised in Card’s best-selling sci-fi classic, winner of the Nebula and Hugo Awards and which has been translated in 29 languages Publication coincides with planned release of major motion picture adaptation of _Ender’s Game_ starring Asa Butterfield and Harrison Ford Treats a wealth of core contemporary issues in morality and ethics, including child soldiers, the best kind of education and the use and misuse of global communications for political purposes A stand-out addition to the Blackwell Philosophy and Pop Culture series. (shrink)

This book begins at the intersection of Dracula and War of the Worlds, both published in 1897 London, and describes the settings of Transylvania, Mars, and London as worlds linked by the body of the vampire. It explores the "vampire from another world" in all its various forms, as a manifestation of not just our anxieties around alien others, but also our alien selves. Unsurprisingly, many of the tropes these novels generated and particularly the themes they have in common have (...) been used and adapted by vampire narratives that followed. From Nosferatu to Alien, Interstellar, Stranger Things, and many others, this book examines how these narratives have evolved since the end of the nineteenth century. Bringing together texts and films from across the 19th, 20th, and 21st centuries, from the far reaches of outer space and the distant future, it concludes that the unexpected and the unknown are not always to be feared, and that humanity does have the power to write its own future. (shrink)

In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Indian Science Fiction: Patterns, History and Hybridity by Suparno BanerjeeBarnita BagchiSuparno Banerjee. Indian Science Fiction: Patterns, History and Hybridity. Cardiff: University of Wales Press, 2020. xiii + 256 pp. E-book, ISBN 9781786836670.Suparno Banerjee’s monograph examines science fiction (henceforth SF) from India, a country that has a rich and fascinating tradition of SF. This is a book that will be of (...) interest and value to scholars and students in higher education of utopia, dystopia, and speculative fiction, and to readers across disciplines interested in SF as a mode. It is quite clear today that Darko Suvin’s canonical definition of SF as cognitive estrangement, an interplay between the familiar and the strange, and its emphasis on the novum that is created in SF, has been enriched with further attention to context, including postcolonial contexts. Whose familiarity in cognition are we speaking about, and what happens when contexts are not necessarily hegemonic Anglo-American or Western ones? Indeed, even in Western contexts, science is not a given, but an element that always has political, historical, and ideological overtones. The novum, too, as with the term utopia, is moored in the contexts of the text.Banerjee’s book is one among several excellent monographs on Indian SF that have been published in the 2020s: Sami Ahmad Khan’s Star Warriors of the Modern Raj: Materiality, Mythology and Technology of Indian Science Fiction (2021) and Upamanyu Pablo Mukherjee’s Final Frontiers: Science Fiction and Techno-Science in Non-Aligned India (2020) come to mind. Khan adopts a refreshing fan’s guide to Indian SF register in his monograph, discussing mythology, materiality, ideology, and technology, and he coins the abbreviation TransMIT to capture his approach. Mukherjee’s book examines how Indian SF syncs with or questions the technological and scientific paradigms of India under Nehru and the Non-Aligned Movement; arguing that Indian SF needs to be seen as semiperipheral, the book also applies concepts from energy humanities [End Page 586] to Indian SF in an arresting way. Suparno Banerjee’s monograph is a solidly grounded work in its clearly explained choice of corpus, and a methodology that elicits particularly generative insights in a number of areas, including the epistemological status of science in Indian SF, the importance of SF written in bhasha or non-English Indian languages, the interplay between past and future in Indian SF, analysis of how Indian SF imaginatively represents the Other, and attention to Indian women writers of SF.Banerjee offers a lucid and useful chronology of Indian SF in four historical periods: 1835–1905, 1905–47, 1947–95, and 1995–2019. The period from 1835 to 1905 offers the first specimens of Indian SF, primarily in the form of future histories that question colonialism, in the utopian mode, and adventure tales and stories with scientific and technological elements. The establishment of a British education system, starting in the 1820s, gave an impetus to the birth of Indian SF. Rokeya Sakhawat Hossain’s “Sultana’s Dream” was published in 1905, a year that heralds the second period lasting until Indian independence. In this period, SF starts appearing not just in the English, Bengali, and Hindi languages, as in the first period, but also in a number of other Indian languages, such as Assamese, Marathi, and Tamil. Children’s and youth magazines develop from the 1920s, spaces where science writing and SF both appear. Nationalist, anticolonial stances emerge, challenging western hegemony, in the 1940s. In the early post-Independence period, the nationalistic elements become even stronger, and SF interacts quite strongly with older forms of fantastic writing such as myths, fairytales, and ghost stories. This third period, Banerjee argues, is the golden age of bhasha SF. From the 1990s English-language SF again becomes very prominent in India and its diaspora, though SF in bhashas continues to flourish.Banerjee examines fiction not just from post-Independence India, but also from colonial British India, and diasporic Indian writing. SF written primarily in Bengali, English, Hindi, and Marathi is examined and, when possible, the book also brings into its ambit of analysis SF written in the languages Assamese, Tamil, Telugu, and Kannada. Reflexivity about the corpus of... (shrink)

Science fiction has served the film industry like a dreamy stepchild. It gets only scant accolades from its master but must do heavy lifting: that is, make money. While science-fiction films often emphasize spectacle and action, they also inspire philosophical contemplation. Why? Science fiction, dating back to Shelley and Verne, came into existence speculating about humanity's social and physical worlds. Many books and articles over the past several years discuss the philosophical issues that (...) films raise. One fairly new school of thought, "posthumanism," explicitly deriving from postmodernism, with touches of critical theory, has seized on science-fiction movies as support for its theorizing. This volume and its 42 authors from film theory, science and technology studies, literary criticism, media studies, and philosophy, offer an array of posthumanist scholarship. (shrink)

While most scholarship in religious studies focuses on the past and present, the study of what the future may hold in store for religion deserves attention. Studying the treatment of religious themes and characters in science fiction provides one way of accomplishing this objective. From the possibility of time travel to key events in the history of religion, to the possibility of acquiring godlike attributes by technological or other futuristic means, science fiction regularly touches on (...) topics such as the nature and universality of truth or the nature of personhood and of divinity in ways that can be deeply theological, even if the authors of the tales are not theologians or even religiously inclined. In stories about contact with extraterrestrial sentient life forms, sci-fi tales can explore questions about diversity in the values and ideas we hold, but on a much larger scale than that provided by our own planet. Yet these stories reflect the convictions and concerns human beings currently have about our ability to understand one another and our sometimes seemingly incommensurable commitments. Such stories provide natural conversation partners for present-day religious communities. The study of such literature and film provides insight into how major conceptual and ethical questions are being explored and wrestled with even today. (shrink)

Indeed, this is the first serious book-length study of the subject by a philosopher of science.

What might become of anthropology if it were to suspend its sometime claims to be a social science? What if it were to turn instead to exploring its affinities with art and literature as a mode of engaged creative practice carried forward in a world heterogeneously composed of humans and other than humans? Stuart McLean claims that anthropology stands to learn most from art and literature not as "evidence" to support explanations based on an appeal to social context or (...) history but as modes of engagement with the materiality of expressive media--including language--that always retain the capacity to disrupt or exceed the human projects enacted through them. At once comparative in scope and ethnographically informed, Fictionalizing Anthropology draws on an eclectic range of sources, including ancient Mesopotamian myth, Norse saga literature, Hesiod, Lucretius, Joyce, Artaud, and Lispector, as well as film, multimedia, and performance art, along with the concept of "fabulation" (the making of fictions capable of intervening in and transforming reality) developed in the writings of Bergson and Deleuze. Sharing with proponents of anthropology's recent "ontological turn," McLean insists that experiments with language and form are a performative means of exploring alternative possibilities of collective existence, new ways of being human and other than human, and that such experiments must therefore be indispensable to anthropology's engagement with the contemporary world. (shrink)

This study explores how in science fiction’s novels myths are intimately linked to their ideological dimension and criticism. It begins with a mythocritical analysis that leads to a mythoanalysis in order to understand how those myths and the big issues of the accelerating technoscientific progress in the 20th and 21th centuries are linked. My approach is based on the restricted example of Dan Simmons’ science fiction novels: by studying the myths he rewrites, I will show (...) that those myths are representing how technoscience can have an influence on history, on the development of humanity and on the issue of ethics. (shrink)

Medicine and Ethics in Black Women's Speculative Fiction engages the complex nexus of black women's health, the fraught history of medicine as it relates to black women, and the problems with the inconsistent application of medical ethics that should concern us all through the lens of black women's literary speculation.

Depictions of children in British science fiction and horror films in the early 1960s introduced a new but dominant trope: the ‘extraordinary’ child. Extraordinary children, I suggest, are disturbing because they violate expected developmental norms, drawing on discourses from both the ‘psy’ sciences and early neuroscience. This post-war trope has been considered by film and literature scholars in the past five years, but this existing work tends to present the extraordinary child as an American phenomenon, and links (...) these depictions to adults’ psychoanalytical anxieties about parenthood and the family. This article, considering Village of the Damned (1960), Children of the Damned (1963), The Damned (1963), and Lord of the Flies (1963), will contend that the extraordinary child was British before it was American, and tapped as much into nuclear anxieties generated by the early Cold War as fears about the ‘permissive society’, especially given that many of these films preceded the peak of the ‘Swinging Sixties’ and were based on British science fiction of the 1950s. The ‘psy science’ that was dominant in these films was developmental psychology, not psychoanalysis. Moreover, adolescents as well as adults were key audiences for these films. Drawing on self-narrative essays written by English adolescents aged 14 to 16 between 1962 and 1966, I will demonstrate that this age group employed their own fears of nuclear war and their knowledge of psychological language to challenge adult authority, presenting a counter-narrative to adult conceptions of the abnormal and irresponsible ‘rising generation’. (shrink)

The Abolition of Man, C. S. Lewis's masterpiece in ethics and the philosophy of science,warns of the danger of combining modern moral skepticism with the technological pursuit of human desires. The end result is the final destruction of human nature. From Brave New World to Star Trek, from Steampunk to starships, science fiction film has considered from nearly every conceivable angle the same nexus of morality, technology, and humanity of which C. S. Lewis wrote. As a result, (...) class='Hi'>science fiction film has unintentionally given us stunning depictions of Lewis's terrifying vision of the future. In Science Fiction and the Abolition of Man: Finding C. S. Lewis in Sci-Fi Film and Television, scholars of religion, philosophy, literature, and film explore the connections between sci-fi film and the three parts of Lewis's book:how sci-fi portrays "Men Without Chests" incapable of responding properly to moral good, how it teaches the Tao or "The Way," and how it portrays "The Abolition of Man.". (shrink)

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, (...) cinematographic works were dominated by optimism and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (shrink)

The ethics of human enhancement has been a hotly debated topic in the last 15 years. In this debate, some advocate examining science fiction stories to elucidate the ethical issues regarding the current phenomenon of human enhancement. Stories from science fiction seem well suited to analyze biomedical advances, providing some possible case studies. Of particular interest is the work of screenwriter Andrew Niccol (Gattaca, S1m0ne, In Time, and Good Kill), which often focuses on ethical questions raised (...) by the use of new technologies. Examining the movie In Time (2011), the aim of this paper is to show how science fiction can contribute to the ethical debate of human enhancement. In Time provides an interesting case study to explore what could be some of the consequences of radical life-extension technologies. In this paper, we will show how arguments regarding radical life-extension portrayed in this particular movie differ from what is found in the scientific literature. We will see how In Time gives flesh to arguments defending or rejecting radical life-extension. It articulates feelings of unease, alienation and boredom associated with this possibility. Finally, this article will conclude that science fiction movies in general, and In Time in particular, are a valuable resource for a broad and comprehensive debate about our coming future. (shrink)

Synthetic biology has emerged as one of the newest and promising areas of bio-technology. Issues typically associated to SB, notably in the media, like the idea of artificial life creation and “real” engineering of life also appear in many popular films. Drawing upon the analysis of 48 films, the article discusses how scientists applying technologies that can be related to SB are represented in these movies. It hereby discusses that traditional clichés of scientists in general tend to be (...) sublated by new stereotypical characterizations. These reflect real trends in bio-technological research such as SB, especially the increased relationship between science and industry. Frankenstein 2.0. looks less like the old, genius yet mad scientist, and follows a more entrepreneurial than academic spirit. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology (...) I will consider has a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

This article explores some innovations in the concept of identity in contemporary science fiction film. Using a narrative-semiotic method of analysis, the article discusses an emerging trend in science fiction that questions mainstream cultural beliefs regarding motivations for action and definitions of individual agency. Focusing on Alex Proyas's Dark City and Andrew Niccol's Gattaca, the article traces the ways in which this trend rearranges elements in narrative positioning to bring to light relational possibilities that challenge privileged (...) attitudes toward who we are and why we act the way we do. The selected films deal creatively with questions concerning the causal eects of past events, origins, or heritage, and give innovative answers to complex philosophical issues about the nature of reality. At the same time, they retain a popular aesthetic and a classical narrative structure. Their common characteristic is a narrative program composed of signs of resistance to notions of a fixed identity 'caused' by biography or genetic inheritance. These signs, furthermore, form the basis of unconventional interpretations of self and action that serve as catalysts in dismantling outmoded definitions of identity. The article explores these issues following a content-based approach that focuses on how agents and acts are constructed on the story level. (shrink)

This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity (...) as a key mechanism for the enactment of “humanness”. The reading of Ex Machina will explore the aesthetics of film's mise-en-scène with its plurality of textured and reflective surfaces. It will trace the performative constructions of gender and humanness that intersect across the film, before finally focussing on the ending as a way of addressing key issues at stake in the conceptualisation of surface readings. (shrink)

This book rethinks the discussion of sport as a cinematic subject. Arguing for the vitality of the sports film as distinctively 'modern' genre, the book looks at its innovative potential to capture twentieth- and twenty-first-century sport in all its complexity. Written in an accessible style and illustrated throughout, the book integrates work and ideas from film studies with thinking from sports psychology, philosophy, data theory and ecocriticism. In its detailed analyses of a wide-ranging group of films, the book shows (...) how film, from fictional works to biopics to experimental documentaries, can illuminate individual sporting experience, as well as sport's wider place in modern life. (shrink)

Utopia can be conceived as a possibility – a space within language, a set of principles, or the product of technological development – but it cannot be separated from questions of place, or more accurately, questions of “no place.” 1 In between the theoretically imaginable utopia and its realisation in a particular time and place, there is a space of critique, which is exploited in anti-Utopian and critical dystopian narratives. 2 In Science Fiction narratives of this kind, technology (...) is responsible for the transformation of the utopian impulse into a set of principles that are precisely stated and rigidly enforced. The critique focuses on the impossibility, due to the reductive force of instrumental reason, of any systematic realisation of a eutopia where the positive qualities of freedom, individualism and creativity are nurtured. The films Minority Report, directed by Steven Spielberg , and Gattaca, written and directed by Andrew Niccol , both examine utopian claims through speculation on the possible future use of current technologies, the tools of crime investigation and the genome project respectively. However, an examination of the plot cannot attend sufficiently to the particular properties of film and how it, as a medium, constructs utopia as a place. This article aims to address this issue by examining how technologically derived images of utopia are realised in the visual space of film, that is, on the level of the mise en scène. These images are often dystopian but the distinction between dystopia and eutopia is not crucial to the argument, because the aim is not to return utopian ism to its place at the vanguard of progressive politics, nor to reject utopianism on the basis that it is unrealisable, but rather to examine how technology and utopianism can combine in the visual language of film. My concern here is to investigate how utopia is conceived according to the specific features of the medium rather than to present an overarching narrative judgement as to the value of utopian principles. In Gattaca, the utopianism of a genetically determined future is reproduced in the mise en scène as a set of aesthetic principles, whereas in Minority Report the utopian technology itself resembles the apparatus of film. This involves two quite different approaches to the visualisation of utopia: 4 in Gattaca, utopia is embodied in a society in which there can be “no other place,” realised through the subtraction or reduction of visual difference; in Minority Report, utopia is an expression of a panoptic regime that can incorporate all visual and cultural difference such that the visible is “every place.”. (shrink)

ArgumentI argue through an analysis of spectacle that the relationship between wildlife documentary films’ entertainment and educational mandates is complex and co-constitutive. Accuracy-based criticism of wildlife films reveals assumptions of a deficit model of science communication and positions spectacle as an external commercial pressure influencing the genre. Using thePlanet Earth series as a case study, I describe spectacle's prominence within the recent blue-chip renaissance in wildlife film, resulting from technological innovations and twenty-first-century consumer and broadcast market (...) contexts. I connect spectacle in contemporary wildlife films to its relevant precursors within natural history, situating spectacle as a central feature of natural history display designed to inspire awe and wonder in audiences. I show that contemporary documentary spectacle is best understood as an opportunity for affective knowing rather than a constraint on accuracy; as a result, spectacle contributes to the virtuous inter-reinforcement of entertainment and education at work in blue-chip wildlife films. (shrink)