Excavating the Future: Archaeology and Geopolitics in Contemporary North American Science Fiction Film and Television by Shawn Malley

2019 ◽  
Vol 46 (3) ◽  
pp. 646-648
Author(s):  
Hugh Elton
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.


2020 ◽  
Vol 39 (1) ◽  
pp. 29-43 ◽  
Author(s):  
Federico Italiano

The beginning of Space Age coincided with the global spread of a subterranean, post-apocalyptic imagination of the bunker. The coexistence of faith in technological progress and fear of a nuclear-caused self-annihilation created a tension between a claustrophilic and a claustrophobic relation to space that deeply shaped American spatial imagination. As I argue in this article, this spatial tension can be profitably illustrated by focusing on the cartographic imagination of science fiction produced in America between the 1950s and the 1980s. Drawing on David Seed and Fredric Jameson among others and focusing on both exemplary novels and films, this article shows to what extent Cold War American science fiction not only translates territorial anxieties into alternative universes or versions of the future, but spatially stages its inner conflict, the tension between a claustrophobic distress on the one hand and an unfulfilled claustrophilia on the other.


Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 60 ◽  
Author(s):  
Denis Taillandier

North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Gorō’s Venus City (Vīnasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on the intertextual dynamics that underlie the shaping of those texts to shed light on Japanese cyberpunk’s (dis)connections to techno-Orientalism as well as on the relationships between literary works, virtual worlds and reality.


2018 ◽  
Vol 10 (2) ◽  
pp. 226-245 ◽  
Author(s):  
Josefine Wälivaara

This article aims to contribute to an understanding of marginalized bodies in science fiction narratives by analyzing how physical disability and homosexuality/bisexuality have been depicted in popular science fiction film and television. Specifically, it analyzes what types of futures are evoked through the exclusion or inclusion of disability and homo/bisexuality. To investigate these futurescapes, in for example Star Trek and The Handmaid’s Tale, the paper uses film analysis guided by the theoretical approach of crip/queer temporality mainly in dialogue with disability/crip scholar Alison Kafer. Although narratives about the future in popular fiction occasionally imagines futures in which disability and homo/bisexuality exist the vast majority do not. This article argues that exclusion of characters with disabilities and homo/bisexual characters in imagined futures of science fiction perpetuate heteronormative and ableist normativity. It is important that fictional narratives of imagined futures do not limit portrayals to heterosexual and able-bodied people but, instead, take into account the ableist and heteronormative imaginaries that these narratives, and in extension contemporary society, are embedded in. Moreover, it is argued that in relation to notions of progression and social inclusion in imagined futurescapes portrayals of homo/bisexuality and disability has been used as narrative devices to emphasis “good” or “bad” futures. Furthermore, homo/bisexuality has increasingly been incorporated as a sign of social inclusion and progression while disability, partly due to the perseverance of a medical understanding of disability, instead is used as a sign of a failed future. However, the symbolic value ascribed to these bodies in stories are based on contemporary views and can thus change accordingly. To change the way the future is envisioned requires challenging how different types of bodies, desires, and notions of normativity are thought about. Sometimes imaginary futures can aid in rethinking and revaluating these taken-for-granted notions of normativity.


Author(s):  
Mark Storey

The final chapter moves to the future-oriented narratives of American science fiction, broadly conceived as a mode of representation committed to the imagination of alternative lifeworlds. The chapter opens with the Roman fragments of Michael Crichton’s Westworld and the remains of New York City in late nineteenth-century dystopian fiction in order to outline the paradoxical relationship between historical representation and the imagination of an imperial (or decolonized) future. The chapter then moves to its three key writers, Isaac Asimov, Edgar Rice Burroughs, and Samuel R. Delany. While each of them offer quite differently fantastical visions of antiquity’s place in the logics and aesthetics of the future, they all find connections through their employment of the ancient figure of the “barbarian” and its role in imperial philosophies and politics.


2009 ◽  
Vol 17 (4) ◽  
pp. 101-119 ◽  
Author(s):  
Andrew Milner

AbstractThis paper begins with the proposition that Fredric Jameson's Archaeologies of the Future (2005) is the most important theoretical contribution to utopian and science-fiction studies since Darko Suvin's Metamorphoses of Science Fiction (1979). It argues that Jameson's derivation of 'anti-anti-Utopianism' from Sartrean anti-anti-communism will provide 'the party of Utopia' with as good a slogan as it is likely to find in the foreseeable future. It takes issue with Jameson over two key issues: his overwhelming concentration on American science-fiction, which seems strangely parochial in such a distinguished comparativist; and his understanding of Orwell's Nineteen Eighty-Four as an 'anti-Utopia' rather than a dystopia. The paper argues that, for Nineteen Eighty-Four, as for any other science-fiction novel, the key question is that identified by Jameson: not 'did it get the future right?', but rather 'did it sufficiently shock its own present as to force a meditation on the impossible?'. It concludes that Jameson fails to understand how this process works for dystopia as well as utopia, for barbarism as well as socialism.


Sign in / Sign up

Export Citation Format

Share Document