Bibliografías temáticas / Science fiction films – Political aspects

Literatura académica sobre el tema "Science fiction films – Political aspects"

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Publicado: 4 de junio de 2021
Última modificación: 19 de febrero de 2022

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Artículos de revistas sobre el tema "Science fiction films – Political aspects"

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Belghazi, Taieb y Abelhay Moudden. "Visualizing the Painful Past". Middle East Journal of Culture and Communication 11, n.º 3 (23 de noviembre de 2018): 229–47. http://dx.doi.org/10.1163/18739865-01103001.

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Abstract Conventional social science studies of state violence privilege ‘instrumental’ approaches in which the main focus is on rational and calculated acts of state violence that operate as a means to achieve specific ends. In this paper, we use six Moroccan feature films on the subject of violence as an introduction to ‘expressive’ dimensions of state violence, the set of meanings it expresses and the affects it triggers. Fictive as they are, the films highlight key issues pertaining to the topic, issues that have remained insufficiently addressed by social scientists. These issues include the cultural meanings of retributive justice for state perpetrators, political betrayal, political innocence, the multiple aspects of activism and resistance and societal reconciliation. The films not only trigger pertinent intellectual dilemmas, they also offer a ‘fictional framing’ of political reconciliation in which the family operates as the ‘weapon of the weak’ and the locus for restoring a lost past order are shattered by state violence.
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Simoni, Marcella. ""Spara e prega!". Il cinema israeliano a trent'anni dalla guerra del Libano". PASSATO E PRESENTE, n.º 88 (febrero de 2013): 111–30. http://dx.doi.org/10.3280/pass2013-088006.

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The first decade of the new century has seen the appearance of numerous Israeli films by different directors, and at least one fiction book, who addressed various aspects of the Israeli involvement in Lebanon in some of its phases: the 1982 Lebanon War, the occupation of Beaufort and the evacuation from the so-called Security Zone (2000). Using these movies and the book as a sources - and framing them in the critical literature on the subject - this article discusses if such a cultural production gave rise to a public or political debate in Israel, or if they just responded to the individual needs of the directors who filmed them.
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Leonard, Karen. "Sandhya Shukla. India Abroad: Diasporic Cultures of Postwar America and England. Princeton, N.J.: Princeton University Press, 2003." Comparative Studies in Society and History 47, n.º 3 (julio de 2005): 670–72. http://dx.doi.org/10.1017/s001041750524029x.

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Sandhya Shukla has written a highly interdisciplinary comparison of Indian diasporic cultures in Britain and the United States. Specializing in Anthropology and Asian American Studies, she is particularly strong on historical and literary text analysis. She says, “The relational aspects of a range of texts and experiences, which include historical narratives, cultural organizations, autobiography and fiction, musical performance and films, are of paramount importance in this critical ethnography” (20). Contending that the Indian diaspora confronts “a simultaneous nationalism and internationalism,” she is celebratory about India and “formations of Indianness,” and uses phrases like “amazing force” and “wildly multicultural” (17). Her exploration shows “the tremendous impulse to multiple nationality that Indianness abroad has made visible” (14) and, “the amazing persistence of Indian cultures in so many places” (22).
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Hao, Tianhu. "Scientific Prometheanism and the Boundaries of Knowledge: Whither Goes AI?" European Review 26, n.º 2 (13 de febrero de 2018): 330–43. http://dx.doi.org/10.1017/s1062798717000710.

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This article discusses John Milton’sParadise Lost, Mary Shelley’sFrankenstein, and the contemporary filmEx Machinaas a coherent group concerning the boundaries of knowledge and the perils of scientific Prometheanism. The development of AI (Artificial Intelligence) should be delimited and contained, if not curtailed or banned, and scientists ought to proceed in a responsible and cautious manner. An obsessive or excessive pursuit of knowledge, aiming to equal God and create humanoid beings, constitutes the essential feature of scientific Prometheanism, which can end in catastrophic destruction. BothFrankensteinandEx Machinastringently critique scientific Prometheanism as one aspect of modernity, and expose the real dangers that AIs pose to the very existence of humanity and civilization. InParadise Lost, Milton provides the epistemological framework forFrankensteinandEx Machina. The article concludes that the union of science and arts in science fiction (films) can be very productive.
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Genovese, Michael A. "Politics and Science Fiction Films". News for Teachers of Political Science 46 (1985): 7–8. http://dx.doi.org/10.1017/s0197901900001793.

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The movie theatre may seem like an odd place for politics, but almost all movies could be considered “political.” Even stranger is the notion that those spacemen, monsters and aliens we are so accustomed to seeing in science fiction films may be more than just entertaining us, they may be conveying a political message. In fact, most science fiction films make deeply political statements about the society from which they emerge.Science fiction films provide a unique opportunity for movie makers to comment on the implications of both human and “non-human” behavior. Through science fiction, one can look ahead to the way the world “might” look if the right wing, left wing, scientific rationalists, corporations, etc., take over and create their own “Brave New World.” It is an opportunity to play out the implications of various political philosophies for all to see and evaluate.
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Henebury, Anja. "Holocaust as Fiction: Bernhard Schlink's ‘Nazi’ Novels and Their Films". Journal of Contemporary European Studies 21, n.º 1 (marzo de 2013): 140–42. http://dx.doi.org/10.1080/14782804.2013.766456.

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Hladki, Janice. "Hazardous Futures and Damned Embodiments: Disability and White Masculinization in Science Fiction Film". Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4 14, n.º 4 (1 de octubre de 2020): 453–67. http://dx.doi.org/10.3828/jlcds.2020.30.

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Drawing on critical disability interrogations of the “human,” this article explores how frameworks of normalization shape conceptions of human qualification and disqualification in two science fiction films. It examines how representations of the contaminated, injured, unstable, and mutated body produce discourses of, and social anxieties about, abnormalization and monstrosity. The films The Thing (1982) and Deadpool (2016), both characterized by science fiction cult popularity, are linked through multiple concerns for human futurity, including the dangers of monstrous disability and the need to redeem damaged and infected bodies. Bringing disability together with gender and race, the article argues that white able-bodied masculinization in the films, including aspects of militarism and colonialism, focuses on human qualification and on securing a future made non-hazardous by a masculinity recuperated from vulnerability and disability.
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Mörth, Ingo. "Elements of Religious Meaning in Science-Fiction Literature". Social Compass 34, n.º 1 (febrero de 1987): 87–108. http://dx.doi.org/10.1177/003776868703400107.

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La science-fiction en tant que genre littéraire représente une sphère de significations sans doute marginale, encore qu'elle soit solidement associée à la vie quotidienne. En analysant son contenu, on perçoit qu'il existe des relations singulières et intenses entre la science-fiction et la religion. Elles concernent non seulement des éléments formels propres à la pen sée utopique, mais également les structures matérielles du monde dans ses dimensions temporelles, spatiales et sociales. Les thèmes de la science-fiction et de la religion ont des racines communes: les limites du monde vivant. Mais en permettant de surmonter les frontières de la vie quotidienne, de ses origines et de sa destinée, la science-fiction opère une sorte de désenchantement de la sphère du religieux en permettant de substituer une spéculation illimitée à l'affirmation divine traditionnelle et aux certitudes qu'elle contient. L'Auteur analyse ces aspects de la science-fiction à travers différents livres importants de science-fiction. Il utilise pour ce faire l'approche d'A. Schutz et de Th. Luckmann. La relation thé matique entre la science-fiction et la religion le conduit à établir en quoi la spéculation utopique de la science-fiction constitue un véritable « culte », notamment par l'observation du groupe social de ceux qui y croient et lui confèrent une plausibilité sociale. Des exemples de ceci sont empruntés aux cas de l'Eglise de Scientolo gie et de certains groupes centrés sur l'existence d'un inconscient collectif et de civilisations extra-terrestres.
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Longden, Kenneth. "China Whispers: The Symbolic, Economic, and Political Presence of China in Contemporary American Science Fiction Film". Open Cultural Studies 2, n.º 1 (1 de septiembre de 2018): 151–61. http://dx.doi.org/10.1515/culture-2018-0014.

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Abstract China has long been present in Western science fiction, but largely through notions of Orientalism and depictions as the 'Yellow Peril'. However, with China's new ascendancy and modernization over the last 15 years, along with its investment and collaboration with Hollywood in particular, contemporary film in general, and contemporary science fiction in particular, has embraced this new China in ways hitherto unseen before. This essay examines three contemporary western/American science fiction films which each represent and construct China in slightly different ways, and in ways which reveal the West, and Hollywood's reappraisal of the relationship with China and its emerging 'Soft Power.'.
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Ayhan, Kadir Jun. "Transferring Knowledge to Narrative Worlds: Applying Power Taxonomy to Science Fiction Films". International Studies Perspectives 21, n.º 3 (3 de diciembre de 2019): 258–74. http://dx.doi.org/10.1093/isp/ekz024.

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Abstract Instructors of courses in international relations increasingly use films to facilitate students’ learning of abstract concepts and to deepen their understanding of theories. This paper introduces how the fictional universes presented in films can be utilized as platforms for students to learn about the application of analytical frameworks. This method aims to enhance students’ abilities to transfer learned knowledge to a different setting. Knowledge transfer requires skills that go beyond lower-order thinking. Higher-order thinking aids students’ retention of concepts, and enables them to apply what they have learned to new situations. This article illustrates an application of a power taxonomy in the narrative world of the non-historical science fiction films. This exercise can easily be transported to various political science, international relations, and other courses to help students learn various analytical concepts, frameworks, and theories.
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Tesis sobre el tema "Science fiction films – Political aspects"

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Roy, André 1963. "Une lecture politique de Star trek /". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61800.

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Dedman, Stephen. "Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation)". University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.

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Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.
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Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films". Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.

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African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute in the analysis of the representation of African leadership styles in Cinema. This article analyzes four fiction films representing four different political leaders in, respectively, South Africa, Uganda, Cameroon and Nigeria. A film content analysis will explore the different representation of leadership styles, the personality of each leader, the power struggles in each society and how this may suggest value judgments about African leadership to the films’ various target audiences.
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Fitting, Jessica. "Attack of the Fallen! Cinematic Portrayals of Fallen Angels in Post 9/11 Science Fiction Film". Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/pitzer_theses/2.

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Abstract: The science fiction films which feature the angel Gabriel (The Prophecy (1995), Van Helsing (2004), Constantine (2005), Gabriel (2007), and Legion (2010)) represent a trend in exploring specific socio-cultural issues of America. All of these films explore fears over the loss of faith in American culture in a post 9/11 society. They are comparable to the ways in which science fiction films of the 1950’s addressed fears of the Cold War. By utilizing the alien invasion plot structure from the 50’s, contemporary plots have a pre-defined structure and film language in which to explore the themes of a crisis of faith. The fallen angels featured in all these films have their textual basis in the apocalyptic Jewish text of 1 Enoch, which presents an alternate origin of evil tale to the one found in the Christian Bible, which attributes to wicked fallen angels and provides the religious archetypal themes, moral basis and story ark for the fallen angels of the films. Furthermore, the films evoke an “uncanny Other” through the use of the angel Gabriel, who is a familiar Christian figure but who is uncanny in his modern portrayals, allowing frightening fears of the loss of faith and Christian identity to be explored through a familiar figure. Finally, the fears of encountering a “Muslim Other” in a post 9/11 world, and the millennial fears of uncertainty, are the cultural factors that lead to this crisis of faith present in all of these films.
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Libros sobre el tema "Science fiction films – Political aspects"

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Science fiction experiences. Washington, D.C: New Academia Pub., 2011.

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Red stars: Political aspects of Soviet science fiction. Ann Arbor, Mich: UMI Research Press, 1985.

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The double vision of Star Trek: Half-humans, evil twins, and science fiction. Chicago: Cornerstone Press, 1998.

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Seibold, Alexander. Cinema metamythologica: Filmanalytische und theologische Bemerkungen zu "2001: a space odyssey" von Stanley Kubrick. Altenberge: Oros, 1997.

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Custveller, Bart S. The matrix reformed: Science fiction, technology, and Christian philosophy. Sioux Center, Iowa: Dordt College Press, 2011.

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Macht und Herrschaft in den Welten der Science Fiction: Die politische Seite der SF, eine inhaltsanalytische Bestandsaufnahme. Meitingen: Corian-Verlag, H. Wimmer, 1986.

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Shadows on the past: Studies in the historical fiction film. Philadelphia: Temple University Press, 1994.

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Spelar kön någon roll när man räddar världen?: Kvinnor, kvinnligheter och messiasmyter i SF-film. Åbo: Åbo akademis förlag, 2007.

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The fiction of a thinkable world: Body, meaning, and the culture of capitalism. New York: Monthly Review Press, 2005.

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Social and virtual space: Science fiction, transnationalism, and the American new right. Cranbury, NJ: Associated University Presses, 2005.

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Capítulos de libros sobre el tema "Science fiction films – Political aspects"

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Dobrenko, Evgeny. "Gesamtwissenschaftswerk". En Late Stalinism, 292–348. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300198478.003.0007.

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This chapter examines the aspects of political romanticism. It focuses on the 1948 campaign centered on the biological theories of Lysenko, Ol'ga Lepeshinskaia, Gevorg Bosh'ian, and others that were revealed in science fiction novels, plays, films, and popular science literature. The chapter explores romanticism as a component from the very beginning of Socialist Realism, which proclaimed “life in its revolutionary development” as its object. It explains how Socialist Realism absorbed revolutionary romanticism and transformed it into state romanticism, which assumed its definitive shape in the late-Stalinist era. It also highlights the materialization of Socialist Realism into phantasms and agronomic miracles produced by the magical science of the “people's academician,” Trofi m Lysenko.
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Nette, Andrew. "Towards Rollerball". En Rollerball, 21–36. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325666.003.0002.

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This chapter discusses the origins of Rollerball (1975) in the context of science-fiction cinema in the late 1960s and the first half of the 1970s, when the genre began a move to the centre of the commercial film business. It also took a distinctly dark turn as the impact of the Vietnam War, economic recession, the OPEC oil crisis, debates about overpopulation, environmental destruction, and, in the US, urban decay, and the political corruption revealed by the Watergate scandal worked their way into public consciousness. These concerns were all reflected in 1970s science fiction, and particularly percolated up in the decade's dystopian offerings. They also gave rise to the paranoia cycle of Hollywood thrillers that appeared in the late 1960s and early 1970s, in the context of which aspects of Rollerball can be viewed. The chapter then outlines some of the broader cultural debates William Harrison and Norman Jewison found themselves part of during the same period, principally concerns over increasing violence in professional American sport and society more generally, technological change, and growing corporate power.
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Frelik, Paweł. "Jacek Dukaj’s Science Fiction as Philosophy". En Lingua Cosmica, 22–38. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0002.

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This chapter focuses on Jacek Dukaj, arguably the most interesting voice in contemporary Polish science fiction: the author of six long novels, four long novellas/short novels, and a number of shorts stories, he is also a ten-time nominee and six-time winner of the Janusz Zajdel Award, as well as a recipient of the 2008 European Union Prize for Literature. Dukaj is not only a true heir to Stanisław Lem but, arguably, overshadows the Polish master in terms of narrative complexity and intellectual density. Characterized by narrative, philosophical, and aesthetic complexity, Dukaj’s prose lends itself to a number of readings and approaches, but three aspects of his writing make him unique, both domestically and in a broader context: the genre-bending versatility of his fiction; the unusual dynamic between the practice of worldbuilding and narrative plotting; and the degree to which the author uses science fiction to engage a number of political, social, and cultural aspects of Polish society. In all three spheres, he combines cutting-edge artistry with a critical attitude towards the science-fiction tradition at large and specific scientific, intellectual, and political discourses.
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Thiess, Derek J. "Sport, Institution, and the Devil". En Sport and Monstrosity in Science Fiction, 140–61. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942227.003.0008.

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This chapter continues the discussion of individuality in sport, but also places the athlete in direct discussion with the institutions that organize and manage sports. Criticism of sport institutions such as the NCAA, NFL, and Olympic Committee are very popular, particularly within sociological constructivism. This chapter places this criticism in a historical context, suggesting it bears a relationship with a longer history of denigrating the athlete as idolatrous. Engaging stories and films that highlight the interaction of athletes with political, religious, and financial institutions the monstrous athlete emerges as a worthy victim caught in a kind of culture war between those who denigrate them and those who exploit them, sometimes one and the same.
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Telotte, J. P. "Cover Stories". En Movies, Modernism, and the Science Fiction Pulps, 103–28. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949655.003.0005.

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Abstract: One of the most famous aspects of early pulps such as Amazing, Astounding, and Wonder Stories was their visually arresting covers, drawn by popular artists like Frank R. Paul, Howard V. Brown, and Hans Wesso. This chapter examines how those covers, as well as the magazines’ interior illustrations, drew on a kind of cinematic logic, with their style recalling that of movie posters, their images evoking the practices of movie-viewing, their subjects often including elements of film technology, and, late in the period, their designs even imitating specific films or film images. Like the movies, these illustrations drew readers out of their everyday experience, while starkly visualizing the ability of both the SF and cinematic imaginations to let us see other worlds, other beings, and other technologies.
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Hantke, Steffen. "A Bright New Future, With Monsters". En Monsters in the Machine. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805652.003.0001.

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This introductory chapter provides an overview of the book's key themes. This book focuses on American science fiction films of the 1950s, many of which are fondly remembered, yet critically dismissed. It argues that it is through the intersection of past and present, of unresolved trauma superimposed upon present anxieties, that 1950s science fiction films acquire topical relevance within their historical context. Science fiction films from the 1950s are a belated response to the national trauma of World War II and the Korean War projected onto the unsettling experience of the Cold War. With much of the critical work on the Cold War aspects of the films already delivered by other scholars, this book will weigh in on the side of the argument that has, as yet, remained critically neglected—the side of past trauma: on World War II and the Korean War, and their troubling legacy in the first decade of the American Century.
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Ahmed, Omar. "The Legacy of RoboCop". En RoboCop, 97–106. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325253.003.0006.

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This chapter explores the legacy of Paul Verhoeven's RoboCop in terms of the original critical reception, the film's relationship with its two sequels, and the marketing of the film. Released in the summer season of 1987, RoboCop was an unexpected commercial success, leading to the creation of the RoboCop universe, extending into television, video games, animation, and numerous sequels. The chapter then considers Verhoeven's work in the Hollywood science-fiction genre. The success of RoboCop led to an interest in science-fiction cinema that would lead Verhoeven to direct three more science-fiction films: Total Recall (1990), Starship Troopers (1997), and Hollow Man (2000). None of the films are pure science fiction but hybrids, fusing conventions from a broad range of genres including war movie, horror, and the political thriller.
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Selisker, Scott. "Uniquely American Symptoms". En Human Programming. University of Minnesota Press, 2016. http://dx.doi.org/10.5749/minnesota/9780816699872.003.0002.

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The first chapter explores how 1940s and 1950s ideas about totalitarianism and brainwashing established a way of talking about free American selves as opposed to unfree, totalitarian others in political science, propaganda, fiction, and films like The Manchurian Candidate (1962). The chapter analyses representations of totalitarianism, brainwashing, and the military. It explores these in discourse around the Korean War, communist China, and African American prisoners of war.
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Hantke, Steffen. "Decolonization". En Monsters in the Machine. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805652.003.0005.

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This chapter examines the issue of Cold War decolonization in films that chose the global sphere as their setting. Films like Richard Fleischer's 20,000 Leagues Under the Sea (1954), Irwin Allen's The Lost World (1960), and Ib Melchior's The Time Travelers (1964) testify to the science fiction film's interest in placing American travelers in postcolonial locations. Starting in the late 1950s and gaining momentum in the early 1960s, this trend was infused with new eagerness by the Kennedy administration's foreign initiatives (from the space program to the Peace Corps). Superficially, these films demonstrate that US intervention in the Third World is called for and legitimate whenever Soviet influence appears as a rival or counterforce to American attempts to gain allies or secure markets. However, upon closer inspection, some of these films also make room for an alternative reading of Cold War history. They acknowledge that the US must sometimes confront a danger more insidious than Soviet communism—political non-alignment driven by “economic nationalism.”
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Lothian, Alexis. "Queer Deviations from the Future on Screen". En Old Futures, 175–212. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479811748.003.0008.

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As part 3 (It’s the Future, but It Looks like the Present: Queer Speculations on Media Time) turns to the cultural and technological reproduction of speculative futures imagined in audiovisual form, chapter 5 focuses on two speculative films whose genealogy in queer screen history is secure yet which rarely appear in canons of science fiction media: Derek Jarman’s 1978 punk dystopia Jubilee and Lizzie Borden’s 1983 lesbian political fantasy Born in Flames. It argues that that the construction of science fiction film as a heteronormative, capitalist genre defined by spectacular special effects obscures the work done by queer speculative independent film. Alternatively, Jarman and Borden project politicized futures into the people and locations of a present whose shifting temporal location refuses progressive teleologies. The films share an intense focus on media and communication even as they offer contrasting strategies for building futures out of a present moment saturated with representations of the end of the world. Jubilee brings the present to light as a dystopian future whose polite public face hides deep-seated violence; Born in Flames shows us how the politics of revolutionary transformation replicate the problems of the untransformed world through the failure to reckon with them.
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