Sci-Fi Fandoms in the Digital Age

This chapter discusses the evolution of the Doctor Who, Star Wars, and Star Trek fandoms from their beginnings to their current releases. These brief histories highlight how fans communicated with each other before social media and how those communications changed with the advent of the internet and social media. The dynamics of online groups, individual behavior in online groups, and the life cycle of a group are all discussed before moving onto trolling and the spectrum of online incivility. Overall, most of the trolling that occurs in sci-fi fandoms comes from devotion to the franchise rather than from the desire to be divisive or negative. However, some online incivility is solely guided by sexism, racism, and the desire to sow social discord. Two examples of sexist and racist fan behavior from Star Wars: The Last Jedi illustrates the different motivations of fandom trolls as well as ways to respond. Although every fandom is different, group behavior is predictable thus insights from these iconic sci-fi fandoms can be applied to many different fandoms.

Imagining 9/11: Blockbuster Hollywood Cinema as Cultural Violence from 1996-2003

<p>This thesis explores the relationship between blockbuster cinematic violence and its historical context in the period surrounding the events of September 11, 2001. It charts the trajectory of violence by showing that screen violence in successful blockbuster cinema responds to historical developments. Violence in this thesis is defined according to the tripartite definition of violence articulated by peace studies theorist Johan Galtung. In order to analyse the historical positioning of the violence in the blockbusters being analysed, tripartite violence has been fused with the diagnostic critique of cultural theorist Douglas Kellner, which “uses history to read texts and texts to read history” (Media 116). By synthesising the two theoretical frameworks in this way, the diagnostic critique becomes violence-calibrated, and can be readily deployed to discern the ways in which blockbuster screen violence engages with the historical context of the text. The texts analysed represent the top grossing film from each year from 1996 to 2003, a period selected for its political relationship to 9/11. The eight films analysed are: Independence Day, Titanic, Saving Private Ryan, Star Wars: Episode I – The Phantom Menace, Dr. Seuss’ How the Grinch Stole Christmas, Harry Potter and the Sorcerer’s Stone, Spider-Man, and The Lord of the Rings: Return of the King. This thesis shows that the films from the pre-9/11 period articulate a clear “dream” of a world that is defined in binary terms with a good Self in opposition to an evil Other that is always external. The trends found in the violent dreams begin to shift with The Grinch as the relationship between the Self and Other changes, but the transformation does not fully manifest itself until the post-9/11 period when the films are marked by paranoia stemming from the repeated appearance of an Other than can pass as the Self, and ultimately a Self that behaves like the Other. While the violence that is found in the pre-9/11 films “dreams” of the Bush response to 9/11, the post-9/11 films ultimate envision a future that the War on Terror could not deliver. In the end, this thesis will develop a methodology that can be used to explore blockbuster cinematic violence in terms of the nuances that exist between the three types of violence Galtung articulates: direct, structural, and cultural.</p>

Imagining 9/11: Blockbuster Hollywood Cinema as Cultural Violence from 1996-2003

<p>This thesis explores the relationship between blockbuster cinematic violence and its historical context in the period surrounding the events of September 11, 2001. It charts the trajectory of violence by showing that screen violence in successful blockbuster cinema responds to historical developments. Violence in this thesis is defined according to the tripartite definition of violence articulated by peace studies theorist Johan Galtung. In order to analyse the historical positioning of the violence in the blockbusters being analysed, tripartite violence has been fused with the diagnostic critique of cultural theorist Douglas Kellner, which “uses history to read texts and texts to read history” (Media 116). By synthesising the two theoretical frameworks in this way, the diagnostic critique becomes violence-calibrated, and can be readily deployed to discern the ways in which blockbuster screen violence engages with the historical context of the text. The texts analysed represent the top grossing film from each year from 1996 to 2003, a period selected for its political relationship to 9/11. The eight films analysed are: Independence Day, Titanic, Saving Private Ryan, Star Wars: Episode I – The Phantom Menace, Dr. Seuss’ How the Grinch Stole Christmas, Harry Potter and the Sorcerer’s Stone, Spider-Man, and The Lord of the Rings: Return of the King. This thesis shows that the films from the pre-9/11 period articulate a clear “dream” of a world that is defined in binary terms with a good Self in opposition to an evil Other that is always external. The trends found in the violent dreams begin to shift with The Grinch as the relationship between the Self and Other changes, but the transformation does not fully manifest itself until the post-9/11 period when the films are marked by paranoia stemming from the repeated appearance of an Other than can pass as the Self, and ultimately a Self that behaves like the Other. While the violence that is found in the pre-9/11 films “dreams” of the Bush response to 9/11, the post-9/11 films ultimate envision a future that the War on Terror could not deliver. In the end, this thesis will develop a methodology that can be used to explore blockbuster cinematic violence in terms of the nuances that exist between the three types of violence Galtung articulates: direct, structural, and cultural.</p>

Do Androids Dream of Electric Shocks? Utilitarian Machine Ethics

<p>Consider Lt. Commander Data from Star Trek: The Next Generation, the droid C3PO from Star Wars, or the Replicants that appear in Bladerunner: They can use language (or many languages), they are rational, they form relationships, they use language that suggests that they have a concept of self, and even language that suggests that they have “feelings” or emotional experience. In the films and TV shows that they appear, they are depicted as having frequent social interaction with human beings; but would we have any moral obligations to such a being if they really existed? What would we be permitted to do or not to do to them? On the one hand, a robot like Data has many of the attributes that we currently associate with a person. On the other hand, he has many of the attributes of the machines that we currently use as tools. He (and other science-fiction machines like him) closely resembles one of the things we value the most (a person), and at the same time, one of the things we value the least (an artefact), leading to an apparent ethical paradox. What is its solution?</p>

Do Androids Dream of Electric Shocks? Utilitarian Machine Ethics

<p>Consider Lt. Commander Data from Star Trek: The Next Generation, the droid C3PO from Star Wars, or the Replicants that appear in Bladerunner: They can use language (or many languages), they are rational, they form relationships, they use language that suggests that they have a concept of self, and even language that suggests that they have “feelings” or emotional experience. In the films and TV shows that they appear, they are depicted as having frequent social interaction with human beings; but would we have any moral obligations to such a being if they really existed? What would we be permitted to do or not to do to them? On the one hand, a robot like Data has many of the attributes that we currently associate with a person. On the other hand, he has many of the attributes of the machines that we currently use as tools. He (and other science-fiction machines like him) closely resembles one of the things we value the most (a person), and at the same time, one of the things we value the least (an artefact), leading to an apparent ethical paradox. What is its solution?</p>

Representações Religiosas e Teológicas na Saga Literária de Star Wars

Este artigo trata sobre as representações religiosas e teológicas que a ficção literária de Star Wars possui, destacando-se a figura icônica dos Jedis e Siths, concernente a utilização da Força. Devido a extensibilidade literária que a saga possui, os pressupostos de Daniel Wallace, conhecidos como o Caminho Jedi e o livro do Sith delimitaram a temática doravante abordada, suscitando as possíveis representações de caráter religioso e teológico que essa literatura possui. Dos resultados esperados, constatasse que a epistêmia que se figura nessa saga literária, por seus agentes, Jedis e Siths, suas ações denotam relações estritamente ligadas ao universo dicotômico das religiões, e que apresentam diferentes representações do campo religioso e consequentemente teológico.