Cinematic Reflections on Post-human : Focused on Steven Spielberg"s science fiction films since 2000

2020 ◽  
Vol 64 ◽  
pp. 179-205
Author(s):  
Lak-Kil Chung
Author(s):  
Patrycja Rojek

The article reflects on how characters with the features of the mythological Cassandra function in science fiction films. Such references are part of the rich tradition of building fictional depictions of the near or distant future on the foundation of mythical stories. The study aimed to examine the considerable and complex meaning which Cassandra conveys through the ages and to determine its usefulness in constructing pop culture ideas about the current condition of humanity. In contemporary fiction, Cassandra is brought to the fore more often than in ancient sources, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.


2020 ◽  
Vol 12 (3) ◽  
pp. 70-87
Author(s):  
Attila Imre

AbstractThe amazing science fiction setting and plot depicted by Ernest Cline in his Ready Player One may constitute a real challenge to translators and subtitlers alike as his book was also turned into a movie by Steven Spielberg. We have collected hundreds of terms from the original book (2011), its Hungarian translation (2012), the Hungarian dubbed version (March 2018), the most popular Hungarian fansub (2018), and the professional subtitle (July 2018, from the same person who translated the script for the dubbing). Having classified the collected terms into various categories, we have managed to identify successful Hungarian renditions of cultural allusions from the 1980s (movies, books, videogames, shows, songs, characters, objects, vehicles, etc.).


Author(s):  
Paul Bullock

‘Constellations: Jurassic Park’ explores how Steven Spielberg used the film to investigate several key themes that have been important to him across his career. These themes are: nature and humankind’s relationship with it, the importance of cinematic fantasy and how it shapes our view of the world, and the impact of toxic masculinity on both men and women. The book also looks at how Spielberg blends genres across his career as a whole and Jurassic Park specifically. This is particularly true of the science fiction and horror genres, which are used in Jurassic Park to create a film that is both cathartically scary and thematically satisfying. These points are contextualised within the wider scope of Spielberg’s life and career to understand how Jurassic Park acted as bridging point between the light entertainments he had been known for up to that point (Close Encounters of the Third Kind and E.T. the Extra-Terrestrial, for example) and the more serious filmmaking he focused on after its release (Saving Private Ryan and Lincoln).


Author(s):  
Steffen Hantke

This chapter focuses on the recruitment of the audience into the “military metaphysics” that C. Wright Mills decries as a symptom of America's Cold War mentality. More specifically, it reads attempts at recruitment made by science fiction films of the period through the use of military stock footage. Pilfering the public domain for footage to be inserted into one's own film was a standard device of inexpensive filmmaking that found one of its most extreme expressions in Alfred E. Green's Invasion U.S.A. (1952). Generally dismissed as a hack job and mercilessly lampooned by Mystery Science Theater 3000, Invasion U.S.A. is a prime example of a politically engaged film using one of the common stylistic devices of 1950s low-budget filmmaking.


Author(s):  
Jon Towlson

This chapter discusses the genre and context of Steven Spielberg's Close Encounters of the Third Kind (1977). It begins by tracing the emergence of science fiction in literature and in cinema. The chapter then looks at how film serials popularised pulp science-fiction cinema in the form of rocketships, ray guns, alien invaders, evil intergalactic emperors, and damsels in distress. One can see them as the inspiration for the likes of Star Wars and the myriad superhero blockbuster movies that continue to dominate Hollywood today. In 1968, Stanley Kubrick's 2001: A Space Odyssey returned science fiction to its origins in Greek mythology. It is perhaps the first example of ‘transcendent’ science-fiction cinema, exploring the human need to place trust in a force larger than ourselves. In the early 1970s, science-fiction films were more overtly concerned with identity and environment, and how both were increasingly shaped or misshapen by technology. Meanwhile, post-9/11 has seen a move towards intelligent science fiction as a bankable commodity within Hollywood. Part of the genre's continuing appeal is, of course, the showcasing of state-of-the-art cinema technology within the sci-fi narrative. Special-effects technology has evolved in line with cinema's own development.


The Fly ◽  
2018 ◽  
pp. 87-96
Author(s):  
Emma Westwood

This chapter describes the scenes of Act Two of David Cronenberg's The Fly (1986). In Act Two, Seth Brundle makes the transition from amiable and reclusive scientist to predatory and misogynistic Brundlefly — a seamless character transition that creeps up on the audience through Cronenberg's screenplay and direction, and Jeff Goldblum's subtle yet defined performance. As the Brundlefly persona comes to the fore, the audience still sympathises with the overtly animalistic, egregious person he has become. They know this is not the real Seth; it is the corruption of Seth at a cellular level. Cronenberg's patented brand of body horror is coming into its own right here with Seth finally admitting to himself that something is wrong. He questions whether he is dying, and if this is what dying is like, which directly references Cronenberg's own explanation of the film: that it is an allegory for our mortality as human beings and the natural processes that lead to old age and death. It is by way of the computer that he discovers his DNA has fused with a fly — the vital ‘reveal’ — in a cinematic moment common to many great science-fiction films where pivotal information of emotional resonance is not communicated between human beings but between human and machine.


Author(s):  
Tony Hallam

When the subject of extinctions in the geological past comes up, nearly everyone’s thoughts turn to dinosaurs. It may well be true that these long-extinct beasts mean more to most children than the vast majority of living creatures. One could even go so far as to paraphrase Voltaire and maintain that if dinosaurs had never existed it would have been necessary to invent them, if only as a metaphor for obsolescence. To refer to a particular machine as a dinosaur would certainly do nothing for its market value. The irony is that the metaphor is now itself obsolete. The modern scientific view of dinosaurs differs immensely from the old one of lumbering, inefficient creatures tottering to their final decline. Their success as dominant land vertebrates through 165 million years of the Earth’s history is, indeed, now mainly regarded with wonder and even admiration. If, as is generally thought, the dinosaurs were killed off by an asteroid at the end of the Cretaceous, that is something for which no organism could possibly have been prepared by normal Darwinian natural selection. The final demise of the dinosaurs would then have been the result, not of bad genes, but of bad luck, to use the laconic words of Dave Raup. In contemplating the history of the dinosaurs it is necessary to rectify one widespread misconception. Outside scientific circles the view is widely held that the dinosaurs lived for a huge slice of geological time little disturbed by their environment until the final apocalypse. This is a serious misconception. The dinosaurs suffered quite a high evolutionary turnover rate, and this implies a high rate of extinction throughout their history. Jurassic dinosaurs, dominated by giant sauropods, stegosaurs, and the top carnivore Allosaurus, are quite different from those of the Cretaceous period, which are characterized by diverse hadrosaurs, ceratopsians, and Tyrannosaurus. Michael Crichton’s science-fiction novel Jurassic Park, made famous by the Steven Spielberg movies, features dinosaurs that are mainly from the Cretaceous, probably because velociraptors and Tyrannosaurus could provide more drama.


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