Jak wywołać grozę? Analiza porównawcza powieści i serialu „Terror”

The polar expedition commanded by Sir John Franklin, which disappeared in the Arctic archipelago between 1845 and 1847, is still one of the most mysterious disasters in the history of the Royal Navy and the British Empire. Scientists are still not sure what happened to the 129 sailors. The events have become a basis for a horror story Terror written by Dan Simmons and adapted as a TV series by Ridley Scott. Both of them are interesting cases of genre mixtures. But the clue of the article is to analyze the tools both the book and the TV series use to induce fear among the audience. Firstly, the author focused on historical background which allows introducing a storytelling strategy known as faction. Secondly, the article indicates stylistic means of communication that were used to evoke the atmosphere of horror, sometimes different in the case of literature and audio-visual arts.

Alien and Storytelling in the Anthropocene: Evolutionism, Creationism and Pseudoarchaeology in Science Fiction

This paper analyses the change in the metanarrative of the Alien franchise initiated by the movie Alien (1979), directed by Ridley Scott, and continued with a series of three sequels. The franchise was revived in 2012 with the prequel Prometheus. The story of the first four movies is set at the end of the anthropocene, and it deals with the horror of alien life forms, offering an evolutionist approach to the development of the human species. However, the revival of the franchise with the movie Prometheus changed the metanarrative from evolutionism to a creationist and pseudo-archaeological metanarrative with Biblical motifs. This paper points to the dangers of popularizing creationist and pseudo-archaeological narratives in science fiction. Responsibility for life on Earth and in outer space, lacking evidence to the contrary, remains in the hands of humans collectively and not alien Others.

El camino de las heroínas en tiempos de ciencia ficción

El 2020 no fue nuestro mejor año. Nunca habíamos vivido en estado de cuarentena global, nunca habíamos visto a los países más ricos tan vulnerables, nunca habíamos temido de modo tan acuciante por nuestros seres queridos. Nos enfrentamos –continuamos en esa batalla– al COVID-19: el “enemigo invisible”. De la noche a la mañana naufragamos en un escenario propio de la ciencia ficción. El cariz premonitorio de Virus (Sung-su Kim, 2013), Contagion (Steven Soderbergh, 2011) y Epidemia (Wolfgang Petersen, 1995) se hizo carne. El miedo a la muerte y a la enfermedad escapó de la “silver screen” y el mundo cambió para siempre. Fue la ciencia ficción –independizada del relato fantástico– la que a lo largo de la historia se nutrió del pánico a la invasión, la hambruna, el contagio, las consecuencias de la actividad nuclear, los bombardeos, las catástrofes inesperadas. Todos relatos donde la muerte ya no espera “al final de la vida sino que se precipita por proximidad” (Rodríguez Alzueta, 2020, p.81). Al igual que otros géneros y subgéneros cinematográficos encontró su origen en la literatura, y vale subrayar que la primera obra reconocida como tal es Frankenstein, novela escrita por una mujer (Aldiss, 1973). Con el advenimiento del cine, el enamoramiento fue inmediato. Desde Le Voyage dans la Lune (Georges Méliès, 1902) la ciencia ficción se ha establecido en la pantalla grande –y chica– y no deja de expandirse y diversificarse. Sin embargo, también hay que decir que la representación de la práctica científica no ha sido una de las más mimadas por el cine. El tratamiento de la tecnociencia “parece dotar a guionistas y directores de cierta patente de corso para presentar, a menudo, una imagen de la ciencia que nada se corresponde con la realidad” (Moreno Lupiáñez, 2007, p.1). Y ahí desfilan los estereotipos del “alquimista aprendiz de brujo”, el “genio despistado”, o el “científico loco, malo y peligroso” (Haynes, 2003). Si esta es la imagen recurrente del hombre dedicado a la ciencia, ¿qué quedará para la mujer en un género donde “lo masculino” ha mantenido un lugar de privilegio? Cineastas y películas de todas las épocas, empezando por Fritz Lang y su autómata en Metrópolis (1927), pasando por The Stepford wives (Frank Oz, 2004), incluso Blade Runner (Ridley Scott, 1982) y muchos ejemplos más, se han fascinado por presentar a la mujer como creación científica, “fantasía propia de una sociedad patriarcal que sueña con someter a la mujer al dictado de los hombres” (Dos, 2010, p.32). Difícil búsqueda será la de eruditas investigadoras, precisas y objetivas con un rol protagónico, donde los descubrimientos se dan a partir de su intelecto, como estandartes de soluciones matemáticas, físicas, médicas. Mujeres como sujeto simbólico y no como objeto. “Durante el siglo XX el cine se constituyó en un medio que masificó valores, comportamientos, ideologías y relatos sobre la sociedad urbana y la modernización de las culturas, con la capacidad de incidir en la configuración del sentir y pensar” (Acosta Jiménez, 2018, p.52). Con esta premisa presente y comprendiendo el cine como documento, lugar de la memoria y del imaginario colectivo, trataremos de acercarnos a los diferentes “fines del mundo” que nos ofreció el séptimo arte para dimensionar el lugar de la heroína de la ciencia ficción. Porque después de todo, el coronavirus también “nos arroja al gran ruedo en el cual importan sobre todo los grandes debates societales; cómo pensar la sociedad de aquí en más” (Svampa, 2020, p.18).

MULHER-MÁQUINA-ANDROIDE-PUTA: FIGURAS FEMININAS NO UNIVERSO BLADE RUNNER

Este artigo pretende analisar as personagens femininas do universo Blade Runner: a novela Androides sonham com ovelhas elétricas? (Do Androids Dream of Electric Sheep?, 1968), de Philip K Dick quanto os longas-metragens Blade Runner, o caçador de androides (Blade Runner, 1982), de Ridley Scott e Blade Runner 2049 (2017), de Denis Villeneuve. Para isso, serão utilizadas as teorias de Teresa de Lauretis, que pensa a construção social de gênero como fruto de uma tecnologia, e Donna J. Haraway, que nega as dicotomias entre mente e animal e humano, orgânico e máquina, público e privado, natureza e cultura, homem e mulher e, no lugar delas, defende o hibridismo representado pelo corpo ciborgue. Assim, percorremos a ficção científica e a teoria feminista contemporânea para perceber como feminismo e tecnologia possuem, mais do que pontos de contato, afinidades constitutivas.

“GLADYATÖR” FİLMİNİN ARKEOLOJİK AÇIDAN İNCELENMESİ A REVIEW OF “GLADIATOR” FROM THE ARCHEOLOGICAL POINT OF VIEW

Epic Films, which is an important genre in cinema, have always won the appreciation of the audience and have been most popular in the 1950s and 60s with their samples that depict the “Antique Age”. The samples of this genre, that educate while entertain are still being made today. After the 2000 movie "Gladiator", many Epics have being produced. One of the best Epic Films, director Ridley Scott's 2000 film "Gladiator" is successful not only in terms of cinematic point of view but also in terms of its reflecting archaeological facts correctly. The film successfully transferred history to the pellicule in terms of venues, art design, accessories and the story line. In "Gladiator", director Ridley Scott gathered all the elements of Gladiator Films, -a subgenre of Peplas made in Italy in the 1960s- and reflected them in one film only. “Gladiator”, combines the themes of Peplas, such as Rome, gladiators, arenas, slaves and cruel rulers in a single work. The starting point of the movie is the competitions held in the Arena in the Ancient Age. Arenas are a platform not only individuals show themselves, but also the rulers to prove their power. In our study, starting from the formation of Amphitheaters, we examine the Arena Phenomenon, Gladiator Films and the place of "Gladiator" in between the similar works, respectively.

Of gods and men: Monsters in Mary Shelley’s Frankenstein and Ridley Scott’s Prometheus

This article is a comparison between Mary Shelley’s Frankenstein and the 2012 Ridley Scott movie Prometheus focusing on the destructive consequences of the conflict between the creators and the created each deeming the other as monstrous. Both the novel and the movie are about finding answers to fundamental questions as to one’s nature of existence motivated by a human curiosity and desire for immortality leading to a conflict with one’s creator. The main concern here is to lay bare the blurriness of the lines allegedly separating the monsters from their creators, elucidating the monstrosity of the creators themselves as a product of hubris which eventually leads to a transgression of the boundaries between God/man, man/monster, good/evil and so forth.

Introduction

This special issue on “Queer Sinofuturisms” aims to explore how artists and writers working across various media in Sinophone contexts use science to envision — and indeed to fabulate — non-normative gender and erotic expressions in relation to the corporeal future of humanity. By investigating visions of the future that incorporate queerness and creative applications of computer and biotechnology, “Queer Sinofuturisms” aims to counter pervasive techno-Orientalist discourses, such as those discourses in the Blade Runner movies (Ridley Scott, 1982; and Denis Villeneuve, 2017) that frame “Asian” futures as strictly dystopian—and heteronormative by default. What happens, this issue of Screen Bodies asks, if we simultaneously destabilize techno-Orientalist narratives of the future while queering assumptions about the heteronormativity so often inscribed upon that future in mainstream iterations and embodiments? What kinds of fabulous fabulations might emerge?

Kingdom of Heaven: The One State Solution and Western Military Intervention in the Holy Land

In this article I argue that in Kingdom of Heaven Ridley Scott creates historical analogies between Saladin's taking of Jerusalem and the Third Crusade, on the one hand, and the Israeli-Palestinian question and American-led ‘War on Terror’, on the other hand. I maintain that Scott pictures the one-state solution in which both the Israelis and the Palestinians can coexist peacefully as a feasible settlement. By presenting the idea of a shared Jerusalem under the Crusaders' rule in the past, Scott wittingly promotes through a contrived historical analogy to contemporary Western interventionism in the Middle East. Crucially, Scott goes beyond Samuel Huntington's essentialist views of Muslims. He provides variable representations of Muslim characters, fluctuating between characters that are superstitious, on the one hand, and characters that are capable of rational thinking, on the other hand. Nevertheless, Scott seems to be highly convinced about the myth of religious violence, as suggested by William Cavanaugh. This myth suggests that secular violence is rational and useful whereas religious violence is irrational and dangerous. Moreover, Scott proves to be swayed by the idea of the ‘just war’ according to which the use of force can be legitimate. In Kingdom of Heaven, Scott pictures the ongoing ‘War on Terror’ as an incarnation of earlier centuries' European (colonial) ‘civilising missions’ towards the ‘less-civilised’ nations.

Incorporating Robots into Human Law - An Analysis of Robot Prototyping in Ridley Scott’s Blade Runner and Alex Proyas’ I, Robot.

Science fiction narratives have not only influenced the way the majority of people imagine the future, but they have also shaped the general expectations for the technological development. This phenomenon has been called “science fiction prototyping” by Brian David Johnson. The prototype of a robot is created by science fiction works. Robots as artificially created entities are often presented as potential “members” of future society. Therefore, their legal status in imaginary reality is worth considering. The analysis of Blade Runner (1982) by Ridley Scott and I, Robot (2004) by Alex Proyas juxtaposes features that, according to the legal tradition, are most often attributed to moral subjects of legal protection with human-like features of robots. The interdisciplinary approach adopted in this study involves applying legal reasoning to the study of science fiction.

TRIÂNGULO AMOROSO: UMA VARIAÇÃO DO AMOR NA CONTEMPO-RANEIDADE

Os vínculos amorosos passaram por uma intensa reestruturação ao longo dos séculos. Essas reestruturações fizeram com que, segundo Matos (2000), os vínculos amorosos contemporâneos ganhassem novas configurações, incluindo abertura nos relacionamentos, que pode significar desde a mobilidade de papéis para provedor e cuidador do lar, passando por casamentos em que os parceiros vivem em casas separadas até a concepção do poliamor — que quebra o paradigma do casal e insere outras formas (triângulo, quadrilha etc) nas uniões afetivas. Tentando ler essas novas estruturas, este recorte analisa os triângulos amorosos presentes no conto O corpo, de Clarice Lispector, Triângulo em cravo e flauta doce de Caio Fernando Abreu e no filme Os sonhadores , do diretor Bernardo Bertolucci. A partir da leitura e análise bibliográfica de referências como Engels (1984), Matos (2000) e Lins (2012), é possível estabelecer um panorama geral sobre os relacionamentos e o que conhecemos hoje como pacto de abertura nos enlaces amorosos. Busca-se, também, compreender o destino trágico que encerra as narrativas que abordam uniões diferentes, tendo em vista a noção de poliamor que desponta na paisagem contemporânea dos afetos como uma possibilidade. Pretende-se, assim, contribuir na disseminação das pesquisas científicas relacionadas ao estudo de relações amorosas, fomentando as discussões acerca das mudanças dos pactos afetivos. ABREU, Caio Fernando. O ovo apunhalado. São Paulo: Siciliano, 1975.________. Ovelhas negras. Porto Alegre: Sulinas, 1995.BAUMAN, Zygmunt. Amor líquido: sobre a fragilidade dos laços humanos. Rio de Janeiro: Jorge Zahar Editor, 2004.BRANCO, Lucia Castello. Eros travestido: um estudo do erotismo no realismo burguês. Belo Horizonte: UFMG, 1985.CAMARGO, Flávio Pereira. Novas configurações familiares na Literatura Brasileira infantil e juvenil: leitura de Meus dois pais, de Walcyr Carrasco, e de Olívia tem dois papais, de Márcia Leite. Via Atlântica, n. 24. São Paulo: USP. 2013, p. 83-100.ENGELS, Friedrich. A origem da família, da propriedade privada e do Estado. Rio de Janeiro: Editora Civilização Brasileira S.A, 1984.FERRARI, M.; KALOUSTIAN, S. M. A importância da família. In: KALOUSTIAN, S. M. (Org.). Família brasileira: a base de tudo. 5. ed. São Paulo: Cortez: Brasília, DF: UNICEF, 2002.INSTITUTO BLAISE PASCAL: Tecnologia e Educação. Blaise Pascal. Disponível em: http://www.institutopascal.org.br/visao/institucional/blaisepascal.php Acesso em: 06 de dez. 2019.JESUS, André Luiz Gomes de. As representações da morte e do morrer na obra de Caio Fernando Abreu. 2010. 185 f. Dissertação (mestrado) – Universidade Estadual Paulista, Instituto de Biociências, Letras e Ciências Exatas, 2010.LINS, Regina Navarro. O livro do amor: do Iluminismo à atualidade. Rio de Janeiro: Best Seller, 2012.LISPECTOR, Clarice. A via crucis do corpo. Rio de Janeiro: Rocco, 1974.MATOS, Marlise. Reinvenções do vínculo amoroso: cultura e identidade de gênero na modernidade tardia. Belo Horizonte: UFMG, 2000.OS sonhadores. Direção: Bernardo Bertolucci. Produção: Gilbert Adair. Roteiro: Jeremy Thomas. Interpretes: Anna Karina, Eva Green, Greta Garbo, Louis Garrel, Michael Pitt, Robin Renucci e outros. [FRA/UK]: Fox Film, 2003. 130min.PORTO, Luana Teixeira. Ovelhas negras: transgressão, violência e sofrimento. In: Revista Literatura em debate. v. 7. n. 12. Universidade Regional Integrada (URI), 2012. p. 247- 262.RUFFATO, Luiz. Revistas literárias da década de 70. Jornal Rascunho, ed. 111. Disponível em: http://rascunho.com.br/revistas-literarias-da-decada-de-1970-5/. Acesso em: 21 abr. 2020.STERNBERG, R. J. Construct validation of a triangular love scale. European Journal of Social Psychology, 1997, p. 313-335._______. Triangulating love. In: R. J. Sternberg & M. L. Barnes (Eds.). The psychology of Love. New York: Yale University, 1988, p. 119-138.THELMA e Louise. Direção: Ridley Scott. Produção: Ridley Scott, Callie Khouri e Dean O’Brien. Roteiro: Callie Khouri. Interpretes: Susan Sarandon, Geena Davis, Harvey Keitel e outros. [USA]: Fox Films do Brasil, 1991. 2h30m.