too irrational to abide by the rules of the game.
Star wars, sciencefiction, NMD
Don’t Worry, It’s Only ScienceFiction. (Franklin 1988, 131)
The intimate correlation between popular culture and the textual practices of US foreign policy has been attended to by a number of IR
scholars with a particular focus on fiction in film. Much of it stems from
the notion, as Prince (1992, xv) aptly puts it, that ‘movies are vehicles
National missile defence and the politics of US identity
Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.
Imperial fictions: Doctor Who, post-racial slavery and other liberal humanist fantasies
Whiteness, normativity and the ongoing
racial Other: imperial fictions: Doctor Who,
post-racial slavery and other liberal humanist
Sciencefiction often talks about race by not talking about race, makes real
aliens, has hidden race dialogues. Even though it is a literature that talks
a lot about underclasses or oppressed classes, it does so from a privileged
if somewhat generic white space. (Isiah Lavender III, Race in American
In Framing Monsters: Fantasy Film and Social Alienation, Joshua Bellin
claims that fantasy
aims to address that lack, utilising a selection of sciencefiction
case studies from the world of BBC television drama to investigate how small screen performance and its various determinants have altered since the days of live production. Television
sciencefiction provides a particularly useful starting point, this
being a genre that is almost as old as the medium itself, and –
as will be demonstrated –one that is arguably less inflected
by genre-specific performance tropes than other styles such as
crime drama or period adaptation. While a multi
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry
F ORBIDDEN P LANET (W ILCOX 1956), MGM’s big-budget entry into the 1950s ‘golden age’ of cinema sciencefiction, has long been considered the best science-fiction film from the decade, only surpassed by Kubrick’s 2001: A Space Odyssey some twelve years later. Beyond its spectacular special effects and memorable robot, Robby, Forbidden Planet ’s story has had the added prestige of being considered a thoughtful adaptation of Shakespeare’s The Tempest , with Morbius as Prospero, Robby as Ariel, Altaira as Miranda, Commander Adams as
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
‘Of course it’s weird,’ said
Don. ‘That’s why we love it, right Paul?
It’s from another dimension, it’s
fucking weird, it’s sciencefiction.’ (Lethem, 2002 : 94)
What do you get if you cross
detection and sciencefiction? What happens when you stage a sci
-the-less presented as a talent fighting for his (admittedly delicious) voice to be heard, but, rather than struggling against the vulgarity of a medium and organisations indifferent to his artistry, he seeks an accommodation with capital, eventually taking his script to another network.
As I have argued elsewhere (Bould 2003 ), visual sciencefiction provides a privileged site for observing the conflict between premodern and modern forms. For example, the towering skyscrapers and abstract machinery of Metropolis (1926) suggest the triumph of reason but there also is an
In search of Manly Banister, an excerpt from an unpublishable memoir
suppose it's unlikely that
I will ever know much more, and I'm not sure that I would
care to. In my imagination, the man has assumed a mythic stature
proportionate to his name.
Banister had a wide-ranging career as a writer,
driven by an amateur's interest in art, sciencefiction, and
mechanical tinkering. He had been a fireman, a Marine on Okinawa
If even senior defense officials with responsibility for autonomous weapons programs fail to understand the core issues, then we cannot expect the general public and their elected representatives to make appropriate decisions. 1
Slaughterbots , a video that went viral on YouTube shortly after its release in November 2017, may be one of the most influential drone imaginaries to date. 2 Within a few days it had received more than two million views, even though it was not a Hollywood sciencefiction trailer but a science communication by arms control