Science Fiction Film and Television最新文献_第2页

A very contemporary, very desperate battle between two visions of biological life on Earth: Sherryl Vint, Biopolitical Futures in Twenty-First-Century Speculative Fiction 这是一场非常现代，非常绝望的战争，发生在地球上两种生物生命的愿景之间:谢丽尔·文特，《21世纪投机小说中的生物政治未来》

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Science Fiction Film and Television Pub Date : 2023-06-29 DOI: 10.3828/sfftv.2023.11

Benjamin Schultz-Figueroa

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"Science fiction without gadgets" and the normalization of cognitive impairment: Reassessing Charly (1968) “没有小工具的科幻小说”与认知障碍的正常化：重新评估查理（1968）

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Science Fiction Film and Television Pub Date : 2022-06-01 DOI: 10.3828/sfftv.2022.13

G. Miller

{"title":"\"Science fiction without gadgets\" and the normalization of cognitive impairment: Reassessing Charly (1968)","authors":"G. Miller","doi":"10.3828/sfftv.2022.13","DOIUrl":"https://doi.org/10.3828/sfftv.2022.13","url":null,"abstract":"Abstract:The motion picture Charly (1968) stars Cliff Robertson as a cognitively impaired bakery worker who undergoes an experimental intelligence-enhancing neurosurgical procedure that temporarily grants him superhuman intelligence. Although Charly may seem merely to endorse the dominant sf trope of cure for disability, it offers a complex and equivocal engagement with the growing \"normalization\" agenda in the 1960s US, by which cognitively impaired persons were moved out of institutions in order to lead lives as close to culturally normative as possible. The movie partly affirms normalization and its social critique through the narrative continuity between Charly before and after his neurosurgery, and by the inclusion of cognitively impaired children within the cast. Robertson's performance also conveys Charly's deliberate performance as an object of ridicule within his workplace. However, Charly also gestures to ongoing anxieties about the sexuality of cognitively impaired persons, and it questions the normative valorization of intelligence in modern society. Although the movie's plural visual style was criticized by contemporary reviews, its aesthetic offers a dialogic model of the self, and resists the centripetal tendency to filmmaking within a single authoritative or neutral style.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"15 1","pages":"145 - 168"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43175212","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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Just Like Being There 就像在那里

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Science Fiction Film and Television Pub Date : 2022-01-01 DOI: 10.1007/978-3-030-91605-3

E. Choi

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Climate change, ‘Anthropocene unburials’ and agency on a thawing planet 气候变化、“人类世的灭绝”和地球融化的中介

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Science Fiction Film and Television Pub Date : 2021-10-01 DOI: 10.3828/sfftv.2021.26

Dawn Keetley

{"title":"Climate change, ‘Anthropocene unburials’ and agency on a thawing planet","authors":"Dawn Keetley","doi":"10.3828/sfftv.2021.26","DOIUrl":"https://doi.org/10.3828/sfftv.2021.26","url":null,"abstract":"Abstract:Three narratives from different historical moments – the US film The Beast from 20,000 Fathoms (1953), the US/Canadian film The Thaw (2009) and the first season of the British television series Fortitude (2015) – disclose shifts in the imagining of prehistoric creatures emerging from thawing ice, and all three thus intervene in evolving discourses surrounding climate change, nature and agency (both human and nonhuman). Beast was released at what many scientists have declared the very beginning of the ‘Anthropocene’ – that geological era marked by humans as primary shapers of planetary life. An iconic film of the Atomic Age, Beast features a thawed creature from Earth’s prehistory, and the fault-lines are sharply drawn between it and the humans who unknowingly unleashed it. Although the consequences of nuclear testing (along with the notion of the ‘Anthropocene’) were decades in the future, Beast imagines those consequences with startling and destructive clarity. In the twenty-first century, the long-term effects of nuclear energy, and industrial global capitalism more generally, have become strikingly evident. The thawed creatures of both Fortitude and The Thaw have neither the visibility nor the separateness of the ‘Beast’ from 1953, however. Tracing increasingly entangled notions of existence, culpability and responsibility in the Anthropocene era, these twenty-first-century creatures incubate within human hosts, becoming interwoven with the human, and thus complicate familiar notions of agency.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"14 1","pages":"375 - 393"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43299929","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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Godzilla (1998) as camp de-extinction narrative 哥斯拉(1998)作为反灭绝阵营的叙事

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Science Fiction Film and Television Pub Date : 2021-10-01 DOI: 10.3828/sfftv.2021.22

Carter Soles

{"title":"Godzilla (1998) as camp de-extinction narrative","authors":"Carter Soles","doi":"10.3828/sfftv.2021.22","DOIUrl":"https://doi.org/10.3828/sfftv.2021.22","url":null,"abstract":"Abstract:Godzilla is one of the most famous de-extinct monsters in global popular cinema. Fan loyalty to the original Toho Studios conception of the creature as a super-powered, dinosaur-like creature helps explain the negative response to Roland Emmerich’s 1998 Hollywood version, which re-imagines Godzilla as a giant, irradiated twentieth-century iguana. Emmerich’s film is plotted around the monster’s attempt to use subterranean New York City as a spawning ground. The creature lays eggs that later hatch into baby Godzillas that look suspiciously like Jurassic Park-style velociraptors. Indeed, the movie plays like an expanded version of the last twenty minutes of The Lost World: Jurassic Park (1997): a dinosaur-like creature runs amok in a major American city and is eventually defeated by a plan involving its offspring. Emmerich’s Godzilla is famous for being ‘Godzilla in name only’, yet its extensive intertextuality with The Lost World foregrounds de-extinction themes and imagery. Furthermore, Godzilla (1998) emphasises human action – in this case, 1950s French nuclear tests in French Polynesia – as the cause of the mutant creature’s emergence. Humans causing de-extinction is a key feature of the entire Godzilla franchise and of similar creature features from the 1950s to the present. Akin to its 1950s predecessors, Godzilla’s light, intentionally (and sometimes unintentionally) comedic tone open it to camp readings of the kind analysed by Bridgitte Barclay, who writes that the narrative and aesthetic shortcomings of schlocky sf B movies ‘disengage the audience from the filmic world and expose the mechanics of storytelling, making the master narrative a story and thereby resisting it by showing it as such’. Godzilla does just that, deflating its own anthropocentrism and rampant pro-militarism via its blatantly derivative story, shoddy digital effects and ham-handed dialogue.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"14 1","pages":"297 - 314"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42319610","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}

引用次数: 0

How sf is embodied in level structures sf如何体现在层次结构中

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Science Fiction Film and Television Pub Date : 2021-06-01 DOI: 10.3828/SFFTV.2021.14

M. Bonner

{"title":"How sf is embodied in level structures","authors":"M. Bonner","doi":"10.3828/SFFTV.2021.14","DOIUrl":"https://doi.org/10.3828/SFFTV.2021.14","url":null,"abstract":"\u0000The experience of game intrinsic space is an architectural mode of perception more congruent to actual experiences of physically real architecture than to filmic space. This paper thus centres on the aesthetics of production, concerning the game worlds’ geometry, level structures and game mechanics, within the broader context of how sf and computer games are inextricably merged. This is to investigate how game intrinsic spaces communicate properties of sf or a media-specific ‘science fiction-ness’ through their aesthetics and digital condition. By first building a foundation on the topic of singular space and its liminality, I will then proceed with a few remarks on sf theory, sf imagery and the staging of (im)possible worlds in relation to the concept of ontological possibility space. For this purpose, I refer to two authors of sf theory: Vivian Sobchack and Simon Spiegel. Based on these two sections, I will give an introductory overview on game intrinsic space, its non-linear properties and the incorporation of the player. Here, differences between filmic and game intrinsic space will also be emphasised through a brief discussion. Thus, sf theory and film theory are interwoven with spatial theory and game studies in order to analyse the ontological possibility space that goes beyond the player-character’s everyday experience in actuality. Several examples clarify the theoretical groundwork while Portal 2 (2011) and Echo (2017) function as case studies.","PeriodicalId":42550,"journal":{"name":"Science Fiction Film and Television","volume":"14 1","pages":"209-234"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45143718","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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Fictional games and utopia 虚构游戏与乌托邦

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Science Fiction Film and Television Pub Date : 2021-06-01 DOI: 10.3828/SFFTV.2021.13

S. Gualeni

引用次数: 1

Science Fiction Film & Television: Volume 14, Issue 2 科幻影视:第14卷第2期

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Science Fiction Film and Television Pub Date : 2021-06-01 DOI: 10.3828/sfftv.2021.14.issue-2

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‘Allowing ourselves to be more diverse’ “让我们变得更加多样化”

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Science Fiction Film and Television Pub Date : 2021-06-01 DOI: 10.3828/SFFTV.2021.15

Cameron Kunzelman, Darshana Jayemanne

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‘Retellings and reversions’ '重新测试和恢复'

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Science Fiction Film and Television Pub Date : 2021-06-01 DOI: 10.3828/SFFTV.2021.17

Darshana Jayemanne, Cameron Kunzelman

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