scholarly journals Through a (First) Contact Lens Darkly: Arrival, Unreal Time and Chthulucinema

2018 ◽  
Vol 22 (3) ◽  
pp. 340-363 ◽  
Author(s):  
David H. Fleming ◽  
William Brown
Keyword(s):  
Science Fiction ◽  
Contact Lens ◽  
Gilles Deleuze ◽  
Contemporary Science ◽  
The Future ◽  
Nature Of Time ◽  
Science Fiction Films ◽  
First Contact

Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival (2016) is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a “third synthesis” of time, and that which J. M. E. McTaggart named the a-temporal “C series” of “unreal” time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have dominated the planet, to the “chthulucene,” in which humans no longer exist on the planet at all.

Epilogue Imagining future cities

2020 ◽  
pp. 115-124
Author(s):  
Carl Abbott
Keyword(s):  
Big Data ◽  
Science Fiction ◽  
The Future ◽  
Technological Developments ◽  
Science Fiction Films ◽  
The Ideal ◽  
Future Visions ◽  
City Planners

“Imagining future cities” contrasts the idea of the human city with the robot city, an idea that is never far away from the cities of the future we see in science fiction films. As some of these future visions demonstrate, the ideal city contains elements of both the human and robot city and is powered by big data and technological developments, as well as human connections and recognizable hubs like the bar, bazaar, and branch library. As well as function and commerce, city planners of the future will need to remember the roles of community and interaction in keeping cities alive.

scholarly journals Postcards from the future

2013 ◽  
Vol 3 (4) ◽  
pp. 12-26 ◽  
Author(s):  
Kristin Miller
Keyword(s):  
Los Angeles ◽  
Science Fiction ◽  
Southern California ◽  
Northern California ◽  
Bay Area ◽  
The Future ◽  
Science Fiction Films ◽  
Photo Essay ◽  
The Way

This article contemplates the way Northern and Southern California have been used in science fiction films since the 1970s. Continuing a trend the author traces to the 1940s novels Earth Abides and Ape and Essence, Northern California represents possible utopian futures while Southern California represents dystopia. The article includes a photo essay featuring science fiction film stills held up against their filming locations in Los Angeles and the Bay Area.

scholarly journals Robotic surgery: the future is now

2008 ◽  
Vol 90 (9) ◽  
pp. 296-298
Author(s):  
Elaine Towell
Keyword(s):  
Robotic Surgery ◽  
Minimally Invasive ◽  
Science Fiction ◽  
Cost Effective ◽  
The Future ◽  
Operating Theatres ◽  
Science Fiction Films ◽  
Minimally Invasive Robotic Surgery

Once the stuff of science fiction films, the era of robotic surgery is finally upon us and experts predict it is set to revolutionise treatment for patients having surgery. Enthusiastic doctors and engineers have been collaborating since the mid-80s but only now are we seeing the fruit of their labour as cost-effective, safe, minimally invasive robotic surgery finally arrives in our operating theatres.

scholarly journals From Anti-Oedipus to Anti-Hype: A Critique of Hyperstition

2020 ◽  
Vol 31 (5) ◽  
pp. 23-36
Keyword(s):  
Science Fiction ◽  
Human Behavior ◽  
Critical Analysis ◽  
Gilles Deleuze ◽  
Felix Guattari ◽  
Distinct Form ◽  
Left Wing ◽  
The Past ◽  
Current State ◽  
The Future

The article describes the current state of left-wing post-Deleuzian philosophy, which is going through a period of obsession with the production of fictions. The authors argue that science fiction is today often mobilized as a tool for imagining a future that is incommensurable with the current late capitalist order. However, when trying to imagine a post-capitalist future, contemporary left-wing philosophers tend to look to the past for inspiration, a maneuver which only exacerbates the “exhaustion of the future,” that has retrofuturism as its cultural correlate. Based on this, the authors suggest that philosophical instrumentalization of science fiction may result in a distinct form of intellectual escapism. The article argues that in this context, special attention should be paid to the concept of hyperstition, which has arisen under the influence of science fiction narratives and is embedded in current popular rhetoric about hacking the future. The authors point out that the way hyperstition functions has a resemblance to marketing mechanisms, and they suggest that it corresponds to what Gilles Deleuze and Felix Guattari called an unconscious representation or fake image. The article subjects hyperstition to a critical analysis in which the authors show that the genealogy of hyperstition as a practice of programming reality through fictions stems from the ideas of William S. Burroughs. Burroughs set out to develop new ways of linguistic infection and modeling human behavior by means of his cutup technique. This approach blurs the distinction between reality and fiction. Some members of the CCRU transplanted Burroughs’ ideas to the theoretical soil that Deleuze and Guattari had tilled. Hyperstition has been reborn in the CCRU’s legacy project of left-wing accelerationism, which redirects the idea of self-fulfilling fiction toward developing a non-deterministic concept of progress. Pointing to the ineffectiveness of hyperstition as a tool for socio-political change, the authors propose abandoning Anti-Oedipus in favor of Anti-Hype.

Beyond Eden

2020 ◽  
pp. 95-100
Author(s):  
Jonathan R. Eller
Keyword(s):  
Science Fiction ◽  
Space Shuttle ◽  
Human Growth ◽  
Special Effects ◽  
The Future ◽  
Gene Roddenberry ◽  
Science Fiction Films ◽  
Space Age ◽  
New Generation ◽  
Interplanetary Flight

Chapter 13 opens with commentary on Bradbury’s 1980 Omni magazine article “Beyond Eden,” an essay commissioned to support the projected Space Shuttle program. In this essay, Bradbury defined his Space-Age Trinity—God, humanity, and the machines of interplanetary flight. The chapter goes on to document Bradbury’s April 1980 interviews with friends who had achieved prominence in the new generation of science fiction films: producers Gary Kurtz and Gene Roddenberry, director Irvin Kershner, and special effects artist John Dykstra. Bradbury never completed the article on the future of science fiction films that these interviews were intended to support, but he did articulate a maturing sense of Toynbee’s “challenge and response” as a way to focus the kind of human growth required to reach other worlds.

Convenções na direção de arte cinematográfica: um olhar sobre a ficção científica

2021 ◽  
Author(s):  
Felipe Muanis ◽  
Mariana Schwartz
Keyword(s):  
Science Fiction ◽  
Feature Film ◽  
Blade Runner ◽  
The Future ◽  
Science Fiction Films ◽  
Spike Jonze ◽  
Stephen Neale

The elements of cinematographic language can be used in many ways to portray a story. It appears that, over the years, many conventions have been established in different areas of cinematographic making. In this article, we aim to highlight the conventions of the science fiction genre, with a focus on the art direction of movies that portray the future. For this, films such as Ex_Machina (Alex Garland, 2014), Equals (Drake Doremus, 2015) and Blade Runner 2049 (Denis Villeneuve, 2017) are analyzed. Also noteworthy, is the feature film Her (Spike Jonze, 2013) as a work that goes against the others, which presents an approach to the future that stands out among so many other movies with scenarios and costumes similar to each other. As a basis for the research, the study of conventions by sociologist Howard Becker is used, in addition to the work by theorists David Bordwell, Rick Altman, Stephen Neale, Marcel Martin, Vincent Lobrutto, among others. Directors and their artistic departments use colors, shapes, materials, textures, and elements that have become conventions in science fiction films and few are those who dare to produce something aesthetically different.

scholarly journals China Whispers: The Symbolic, Economic, and Political Presence of China in Contemporary American Science Fiction Film

2018 ◽  
Vol 2 (1) ◽  
pp. 151-161
Author(s):  
Kenneth Longden
Keyword(s):  
Science Fiction ◽  
Soft Power ◽  
Western Science ◽  
The West ◽  
Yellow Peril ◽  
American Science ◽  
Contemporary Science ◽  
Science Fiction Films ◽  
Contemporary Film ◽  
The Relationship

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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