Science Fiction Film and Television最新文献

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The evolution of the idea 理念的演变
IF 0.2
Science Fiction Film and Television Pub Date : 2019-10-01 DOI: 10.3828/sfftv.2019.22
J. Chambliss
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引用次数: 0
Notes on the 'formulaic' 关于“公式化”的注记
IF 0.2
Science Fiction Film and Television Pub Date : 2019-10-01 DOI: 10.3828/sfftv.2019.23
Michael C. Reiff
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引用次数: 1
The end of the world as he knows it: Besieged white male authority and angry white masculinity in The Omega Man 他所知道的世界末日:《欧米茄人》中被围困的白人男性权威和愤怒的白人男子气概
IF 0.2
Science Fiction Film and Television Pub Date : 2019-10-01 DOI: 10.3828/sfftv.2019.19
Ezekiel Crago
{"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}
引用次数: 0
DVD reviews DVD的评论
IF 0.2
Science Fiction Film and Television Pub Date : 2019-10-01 DOI: 10.3828/sfftv.2019.25
Débora Madrid-Brito, Natasha Parcei, Kevin Modestino, J. Cruz, Richard J. Leskosky
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引用次数: 0
Endless war or endless nostalgia? 无尽的战争还是无尽的怀旧?
IF 0.2
Science Fiction Film and Television Pub Date : 2019-10-01 DOI: 10.3828/sfftv.2019.21
S. Attebery
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引用次数: 0
The Time Machine Hypothesis 时间机器假说
IF 0.2
Science Fiction Film and Television Pub Date : 2019-07-12 DOI: 10.1007/978-3-030-16178-1
D. Broderick
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引用次数: 0
Different Death Stars and devastated Earths: Contemporary sf cinema's imagination of disaster in the Anthropocene 不同的死星和毁灭的地球:当代科幻电影对人类世灾难的想象
IF 0.2
Science Fiction Film and Television Pub Date : 2019-06-01 DOI: 10.3828/SFFTV.2019.14
Toby Neilson
{"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}
引用次数: 0
Afrofuturism and the archive: Robots of Brixton and Crumbs 非洲旅游主义与档案:Brixton和Crumbs的机器人
IF 0.2
Science Fiction Film and Television Pub Date : 2019-06-01 DOI: 10.3828/SFFTV.2019.11
M. Bould
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引用次数: 3
About the contributors 关于贡献者
IF 0.2
Science Fiction Film and Television Pub Date : 2019-06-01 DOI: 10.3828/sfftv.2019.17
C. L. Pyle, Justice Hagan, Kristen Shaw, J. Jenner, Aaron Long, Timothy S. Murphy, Margaret Boyce, Sanglim Yoo, J. P. Telotte
{"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}
引用次数: 0
Seeing around the next corner: The politics of time travel surveillance cinema 展望未来:时间旅行监视电影的政治
IF 0.2
Science Fiction Film and Television Pub Date : 2019-06-01 DOI: 10.3828/SFFTV.2019.12
David Wittenberg
{"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}
引用次数: 1
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