Back from the Future? Brazil’s International Trade in the Early Twenty-first Century 1

The Future of Epic in Cinema

Epic Performances from the Middle Ages into the Twenty-First Century ◽

10.1093/oso/9780198804215.003.0009 ◽

2018 ◽

pp. 119-132

Author(s):

Pantelis Michelakis

Keyword(s):

Popular Culture ◽

Science Fiction ◽

Biological Evolution ◽

First Century ◽

Genre Criticism ◽

Early Twenty ◽

The Future ◽

Twenty First Century

This chapter explores the ways in which the generic label of ‘epic’ might be deemed relevant for Ridley Scott’s film Prometheus (2012), and more broadly for the ways in which a discussion about the meanings of epic in early twenty-first-century cinema might be undertaken outside the genre of ‘historical epic’. It argues for the need to explore how ‘epic science fiction’ operates in Scott’s Prometheus in ways that both relate and transcend common definitions of the term ‘epic’ in contemporary popular culture. It also focuses on the unorthodox models of biological evolution of the film’s narrative, suggesting ways in which they can help with genre criticism. When it comes to cinematic intertextuality, a discussion about generic taxonomies and transformations cannot be conducted at the beginning of the twenty-first century without reflecting on the tropes that cinema animates and the fears it enacts at the heart of our genetic imaginary.

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Introduction

10.1093/oxfordhb/9780199600489.013.24 ◽

2021 ◽

Author(s):

Matthew V. Novenson

Keyword(s):

First Century ◽

Recent History ◽

Field Of Study ◽

Current State ◽

Early Twenty ◽

The Future ◽

Pauline Studies ◽

Twenty First Century ◽

Ancient Texts

‘Reading Paul’ is not, and never has been, just one thing. It has always been a matter of the particular questions and interests that the reader brings to the corpus of ancient texts written by, about, or in the name of the apostle. En route to this conclusion, this introduction kicks off the volume by performing several essential tasks. It offers a justification for the contents of the volume, explaining what is meant by the label ‘Pauline studies’ and exploring why it constitutes a (sub-)field of study at all. It gives a brief sketch of the recent history and the current state of Pauline studies as of the early twenty-first century, and furthermore outlines the editor’s reasons for hope for the future of the field. Finally, it summarizes the contents of the volume according to their several main sections.

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Futures past

Architectural Research Quarterly ◽

10.1017/s1359135515000044 ◽

2014 ◽

Vol 18 (4) ◽

pp. 302-314

Author(s):

William Mann

Keyword(s):

Polluted Area ◽

First Century ◽

Spatial Strategy ◽

The Past ◽

Early Twenty ◽

The Future ◽

City District ◽

Twenty First Century ◽

New City ◽

The City

For the 2012 Olympics, London was announced to us in images and words which combined sophisticated rhetoric and crude simplification. Two related promises emerged from the compact between design and politics: to replace a fragmented, neglected and polluted area with a smooth, harmonious new city district; and to bequeath an enduring foundation, a ‘legacy’, to the future. The references to ecology and inequality can be identified with their early twenty-first century moment, but the spatial strategy of a city in a park was something of a throwback to the twentieth and nineteenth centuries: a techno-pastoral in which nature redeems the city from its fallen state. In short: a vision of the future inherited from the past.

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Continuing Visions

10.1093/oso/9780198813279.003.0011 ◽

2018 ◽

Author(s):

Linda Freedman

Keyword(s):

Social Activism ◽

William Blake ◽

First Century ◽

Ridley Scott ◽

American Novel ◽

Early Twenty ◽

Protest Group ◽

Late Twentieth ◽

Twenty First Century ◽

Dead Man

The questions that drove Blake’s American reception, from its earliest moments in the nineteenth century through to the explosion of Blakeanism in the mid-twentieth century, did not disappear. Visions of America continued to be part of Blake’s late twentieth- and early twenty-first century American legacy. This chapter begins with the 1982 film Blade Runner, which was directed by the British Ridley Scott but had an American-authored screenplay and was based on a 1968 American novel, Do Androids Dream of Electric Sheep? It moves to Jim Jarmusch’s 1995 film, Dead Man and Paul Chan’s twenty-first century social activism as part of a protest group called The Friends of William Blake, exploring common themes of democracy, freedom, limit, nationhood, and poetic shape.

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