Brian E.Crim. Planet Auschwitz: Holocaust Representation in Science Fiction and Horror Film and Television. Rutgers UP, 2020. 280 pp. $37.50 paper.

2021 ◽  
Vol 54 (4) ◽  
pp. 898-900
Author(s):  
Bailey Compton
Author(s):  
Shawn Malley

Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.


IDEA JOURNAL ◽  
2017 ◽  
pp. 62-73
Author(s):  
Alexandra Brown ◽  
Kirsty Volz

  Exploring the interactions between liquid surfaces and their relationship to the figure of the fille fatale in dark genres of film and television, this paper suggests that the liquid surface not only disrupts our understanding of architecture as a static structural envelope, but also acts to destabilise the image of the innocent girl in science fiction and horror films and television. The discussion focuses on three relatively recent depictions of young girls who confront (or are forced to confront) the liquid surface: Mitsuko’s submersion in the water vessels of an apartment building in Dark Water (2002), Ofelia and the muddy interior of the tree in Pan’s Labyrinth (2006), and the watery floor of Eleven’s psychic state in Stranger Things (2016). Working with Jill Stoner’s understanding of minor architectures and their ability to deterritorialise both physical structures and structures of power, the paper asks to what extent the liquid surface encounters of Ofelia, Mitsuko and Eleven exist as reflections of each character’s experiences, or as currents of agency through which the fille fatale reshapes her world. In doing so the research considers the ways in which fictional liquid surfaces operate as a visual minor architecture that elicits a questioning of social and physical norms.


Sign in / Sign up

Export Citation Format

Share Document