Over the last two decades, many philosophers have been increasingly inclined to consider science fiction films as philosophical exercises that center on the nature of human consciousness and existence. Albert Camus' philosophy of the absurd, however, has almost never been employed as a constructive perspective that can illumine unexplored aspects of these films. This is surprising, since science fiction films seem to be packed with visions and dialogues that echo the Sisyphean universe. Cosmos (...) and Camus endeavors to set foot on this uncharted terrain. Its first part aims to introduce the main components of Camus' absurdity in such a way that it can be easily applied to the analysis of the films later. Equipped with these Camusean essentials, it delves into an in-depth analysis of two first-encounter films (Contact and Arrival) and two AI films (A.I. and Her). These analyses yield more than an insightful reflection of the absurd contents in science-fiction film. Indeed, imaginative collisions with nonhumans seem to tell us a lot about the nature of the absurd in the human condition, as well as raising the question of whether absurdity is exclusively a human matter. Ultimately, the interpretation of the films illuminates the films themselves just as much as it illuminates, challenges, and expands Camus' concept of absurdity, thus contributing to our current understanding of what the absurd reality is and how we can either live with it or transcend it. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology (...) I will consider has a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from (...) Aliens, Personal Identity from Total Recall, The Mind-Body dilemma from Terminator, Free Will from Minority Report, Death and the Meaning of Life from Blade Runner, and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, René Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)

The Abolition of Man, C. S. Lewis's masterpiece in ethics and the philosophy of science,warns of the danger of combining modern moral skepticism with the technological pursuit of human desires. The end result is the final destruction of human nature. From Brave New World to Star Trek, from Steampunk to starships, science fiction film has considered from nearly every conceivable angle the same nexus of morality, technology, and humanity of which C. S. Lewis wrote. As a result, (...) class='Hi'>science fiction film has unintentionally given us stunning depictions of Lewis's terrifying vision of the future. In Science Fiction and the Abolition of Man: Finding C. S. Lewis in Sci-Fi Film and Television, scholars of religion, philosophy, literature, and film explore the connections between sci-fi film and the three parts of Lewis's book:how sci-fi portrays "Men Without Chests" incapable of responding properly to moral good, how it teaches the Tao or "The Way," and how it portrays "The Abolition of Man.". (shrink)

Vivian Sobchack _Screening Space: The American Science Fiction Film_ New Brunswick, New Jersey: Rutgers University Press, 1987 ISBN 0-8135-2492-X 345 pp.

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, (...) cinematographic works were dominated by optimism and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (shrink)

At the heart of Heike Endter's 2009 dissertation, published in 2011 as Ökonomische Utopien und ihre Bilder in Science-Fiction-Filmen, lies the assumption that art history, as a field and with its unique methodology, can provide an insight into film studies that has not yet been discovered and made accessible. Interestingly, Endter seeks to argue this unique insight as a benefit of art history, a discipline threatened by neoliberal ideals of employability, by analyzing a field of interconnected terms that (...) directly address this threat: "utopias, the economy, the visual and science fiction film". She is driven by the idea of a "use value," both morally and economically... (shrink)

This article explores some innovations in the concept of identity in contemporary science fiction film. Using a narrative-semiotic method of analysis, the article discusses an emerging trend in science fiction that questions mainstream cultural beliefs regarding motivations for action and definitions of individual agency. Focusing on Alex Proyas's Dark City and Andrew Niccol's Gattaca, the article traces the ways in which this trend rearranges elements in narrative positioning to bring to light relational possibilities that challenge privileged (...) attitudes toward who we are and why we act the way we do. The selected films deal creatively with questions concerning the causal eects of past events, origins, or heritage, and give innovative answers to complex philosophical issues about the nature of reality. At the same time, they retain a popular aesthetic and a classical narrative structure. Their common characteristic is a narrative program composed of signs of resistance to notions of a fixed identity 'caused' by biography or genetic inheritance. These signs, furthermore, form the basis of unconventional interpretations of self and action that serve as catalysts in dismantling outmoded definitions of identity. The article explores these issues following a content-based approach that focuses on how agents and acts are constructed on the story level. (shrink)

The ethics of human enhancement has been a hotly debated topic in the last 15 years. In this debate, some advocate examining science fiction stories to elucidate the ethical issues regarding the current phenomenon of human enhancement. Stories from science fiction seem well suited to analyze biomedical advances, providing some possible case studies. Of particular interest is the work of screenwriter Andrew Niccol (Gattaca, S1m0ne, In Time, and Good Kill), which often focuses on ethical questions raised (...) by the use of new technologies. Examining the movie In Time (2011), the aim of this paper is to show how science fiction can contribute to the ethical debate of human enhancement. In Time provides an interesting case study to explore what could be some of the consequences of radical life-extension technologies. In this paper, we will show how arguments regarding radical life-extension portrayed in this particular movie differ from what is found in the scientific literature. We will see how In Time gives flesh to arguments defending or rejecting radical life-extension. It articulates feelings of unease, alienation and boredom associated with this possibility. Finally, this article will conclude that science fiction movies in general, and In Time in particular, are a valuable resource for a broad and comprehensive debate about our coming future. (shrink)

Utopia can be conceived as a possibility – a space within language, a set of principles, or the product of technological development – but it cannot be separated from questions of place, or more accurately, questions of “no place.” 1 In between the theoretically imaginable utopia and its realisation in a particular time and place, there is a space of critique, which is exploited in anti-Utopian and critical dystopian narratives. 2 In Science Fiction narratives of this kind, technology (...) is responsible for the transformation of the utopian impulse into a set of principles that are precisely stated and rigidly enforced. The critique focuses on the impossibility, due to the reductive force of instrumental reason, of any systematic realisation of a eutopia where the positive qualities of freedom, individualism and creativity are nurtured. The films Minority Report, directed by Steven Spielberg , and Gattaca, written and directed by Andrew Niccol , both examine utopian claims through speculation on the possible future use of current technologies, the tools of crime investigation and the genome project respectively. However, an examination of the plot cannot attend sufficiently to the particular properties of film and how it, as a medium, constructs utopia as a place. This article aims to address this issue by examining how technologically derived images of utopia are realised in the visual space of film, that is, on the level of the mise en scène. These images are often dystopian but the distinction between dystopia and eutopia is not crucial to the argument, because the aim is not to return utopian ism to its place at the vanguard of progressive politics, nor to reject utopianism on the basis that it is unrealisable, but rather to examine how technology and utopianism can combine in the visual language of film. My concern here is to investigate how utopia is conceived according to the specific features of the medium rather than to present an overarching narrative judgement as to the value of utopian principles. In Gattaca, the utopianism of a genetically determined future is reproduced in the mise en scène as a set of aesthetic principles, whereas in Minority Report the utopian technology itself resembles the apparatus of film. This involves two quite different approaches to the visualisation of utopia: 4 in Gattaca, utopia is embodied in a society in which there can be “no other place,” realised through the subtraction or reduction of visual difference; in Minority Report, utopia is an expression of a panoptic regime that can incorporate all visual and cultural difference such that the visible is “every place.”. (shrink)

Synthetic biology has emerged as one of the newest and promising areas of bio-technology. Issues typically associated to SB, notably in the media, like the idea of artificial life creation and “real” engineering of life also appear in many popular films. Drawing upon the analysis of 48 films, the article discusses how scientists applying technologies that can be related to SB are represented in these movies. It hereby discusses that traditional clichés of scientists in general tend to be (...) sublated by new stereotypical characterizations. These reflect real trends in bio-technological research such as SB, especially the increased relationship between science and industry. Frankenstein 2.0. looks less like the old, genius yet mad scientist, and follows a more entrepreneurial than academic spirit. (shrink)

This book explores contemporary existential science fiction media and their influence on society's conceptions of humanity. These media texts manifest abstract concepts in a genre that has historically focused on exploring new ideas and frontiers, creating powerful media that helps audiences contemplate their existence as human beings.

A timely volume that uses science fiction as a springboard to meaningful philosophical discussions, especially at points of contact between science fiction and new scientific developments. Raises questions and examines timely themes concerning the nature of the mind, time travel, artificial intelligence, neural enhancement, free will, the nature of persons, transhumanism, virtual reality, and neuroethics Draws on a broad range of books, films and television series, including _The Matrix, Star Trek, Blade Runner, Frankenstein, Brave New (...) World, The Time Machine,_ and _Back to the Future_ Considers the classic philosophical puzzles that appeal to the general reader, while also exploring new topics of interest to the more seasoned academic. (shrink)

This paper aims to call attention to the potential of using film in engineering ethics education, which has not been thoroughly discussed as a pedagogical method in this field. A review of current approaches to teaching engineering ethics reveals that there are both learning outcomes that need more attention as well as additional pedagogical methods that could be adopted. Scholarship on teaching with film indicates that film can produce ethical experiences that go beyond those produced by both conventional methods of (...) teaching engineering ethics and more arts-based methods such as fiction, as well as connect ethics learning outcomes and issues to the lifeworld of a person. The paper further illustrates the potential of using Miyazaki Hayao’s film The Wind Rises for highlighting a range of ethical issues pertaining to engineering. It also discusses the important role educators play in how film can be used effectively in the classroom. Synthesizing a range of sources from film theory to the use of film in business and medical education, the paper makes the case for using film in engineering ethics education and calls for more research on the use of this method. (shrink)

This collection was inspired by the observation that film remakes offer us the opportunity to revisit important issues, stories, themes, and topics in a manner that is especially relevant and meaningful to contemporary audiences. Like mythic stories that are told again and again in differing ways, film remakes present us with updated perspectives on timeless ideas. While some remakes succeed and others fail aesthetically, they always say something about the culture in which_and for which_they are produced. Contributors explore the ways (...) in which the fears of death, loss of self, and bodily violence have been expressed and then reinterpreted in such films and remakes as Invasion of the Body Snatchers, Night of the Living Dead, and Dawn of the Dead. Films such as Rollerball, The Ring, The Grudge, The Great Yokai Wars, and Insomnia are discussed as well because of their ability to give voice to collective anxieties concerning cultural change, nihilism, and globalization. While opening on a note that emphasizes the compulsion of filmmakers to revisit issues concerning fear and anxiety, this collection ends by using films like Solaris, King Kong, Star Trek, Doom, and Van Helsing to suggest that repeated confrontation with these issues allows the opportunity for creative and positive transformation. (shrink)

Animals and Science Fiction is the first edited collection to be published focusing on the intersection of animal studies and science fiction studies. It offers a broad range of theoretical approaches and primary source texts—including novels, short stories, poetry, film and TV, photography, erotica, video games, and urban planning documents—that explore the ways works of science fiction can transform how we see and interact with nonhuman others. With an eye toward more just multispecies futures, (...) it argues that speculative imaginaries can be pivotal in changing attitudes toward and understandings of nonhuman animals in our world today. Chapters appeal to those interested in biopolitics, posthumanism, new materialism, ecocriticism and the environmental humanities, ocean humanities, postcolonial studies, critical race studies, Indigenous studies, global sf studies, film studies, and food studies. Taken together, the collection works to showcase a diverse and growing field of scholarly inquiry into animals and science fiction. (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about (...) the human self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

In this dissertation, I explain the psychological impact of narrative fiction films and some of their effects on social and moral life. This puts my project at one of the intersections between aesthetics and moral psychology. In the first half of the dissertation, which focuses on moral psychology, I develop an account of empathy that specifies its essential characteristics and distinguishes it from several closely related phenomena that are often confused with it. I define empathy as a complex (...) psychological process during which we imaginatively inhabit the perspective of another individual, while at the same time preserving a clearly differentiated sense of self. After defining empathy, I consider its role in social and moral life. The second half of the dissertation concerns the question of how we engage characters in narrative fiction films. I argue that we typically empathize with one or more characters, though this is only one dimension of our film viewing experience. To characterize this process and its effects on social and moral life, I utilize the account of empathy developed in the first half of the dissertation. My project is primarily descriptive and draws from several areas of philosophy, psychology, cognitive science, and cultural studies. (shrink)

_Philosophy Through Science Fiction_ offers a fun, challenging, and accessible way in to the issues of philosophy through the genre of science fiction. Tackling problems such as the possibility of time travel, or what makes someone the same person over time, the authors take a four-pronged approach to each issue, providing · a clear and concise introduction to each subject · a science fiction story that exemplifies a feature of the philosophical discussion · historical and (...) contemporary philosophical texts that investigate the issue with rigor, and · glossary, plot profiles of pertinent science fiction stories and films, and questions for further reflection. _Philosophy Through Science Fiction_ includes stories from contemporary science fiction writers including Greg Egan and Mike Resnick, as well as from classic authors like Philip K. Dick and Robert Heinlein. Philosophy readings include historical pieces by René Descartes and David Hume, and contemporary pieces by John Searle and Mary Midgley. (shrink)

The article explores the construction of boundaries, alterity and otherness in modern science-fiction films. Boundaries, understood as real state borders, territoriality and sovereignty, as well as the construction of the other beyond an imagined border and delimited space, have a significant meaning in the dystopian settings of SF. Even though SF topics are not bound to the contemporary environment, be it of a historical, technical or ethical nature, they do relate to the present-day world and transcend our (...) well-known problems. Therefore, SF offers a pronounced discourse about current social challenges under extreme conditions such as future technological leaps, encounters with the alien other or the end of the world. At the same time the genre enables us to play through future challenges that might really happen. Films like Equilibrium, Code 46, Children of Men and District 9 show that in freely constructed cinematic settings we are not only unable to escape from our border conflicts, but quite the contrary, we take them everywhere with us, even to an alternative present or into the future, where new precarious situations of otherness are constructed. (shrink)

This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity (...) as a key mechanism for the enactment of “humanness”. The reading of Ex Machina will explore the aesthetics of film's mise-en-scène with its plurality of textured and reflective surfaces. It will trace the performative constructions of gender and humanness that intersect across the film, before finally focussing on the ending as a way of addressing key issues at stake in the conceptualisation of surface readings. (shrink)

This paper demonstrates an empirical analysis of the visual order of membership categories in a way consistent with both an early ethnomethodological research interest and recent arguments in membership categorization analysis. Early ethnomethodological studies have highlighted that we can infer and understand the membership categories of observed people about whom we have no information in advance, even without talking to them. Recent membership categorization analysts have argued the methodological importance of using video data. Given this, fictional films serve as (...) video data to advance the investigation into the visual order of membership categories since audiences do not know the fictional characters’ information in advance and cannot talk to them. We analyze how potential audiences understand fictional characters’ membership categories and how production crew members organize the visual and conversational order of membership categories. The analysis illustrates that our practical inferences of fictional characters’ membership categories are based on conversations among characters and visually available information. Such visually available information includes environments and lighting, as well as characters’ clothes, body orientations, facial expressions, and physical distance from each other. In other words, production crew members of fictional films design the visual and conversational order for remote audiences by arranging visually available information and fictional characters’ conversations. The findings provide insights into the “possible correctness” and “defeasibility” of membership categorization practices. Particularly regarding fictional characters’ membership categories, production crew members can employ the “possible correctness” and “defeasibility” of categorization practices to mislead audiences. (shrink)

This book addresses the topic of personhood—who is a “person” or “human,” and what rights or dignities does that include—as it has been addressed through the lens of science fiction. Chapters include discussions of consciousness and the soul, artificial intelligence, dehumanization and othering, and free will. Classic and modern sci-fi texts are engaged, as well as film and television. This book argues that science fiction allows us to examine the profound question of personhood through its speculative (...) and imaginative nature, highlighting issues that are already visible in our present world. (shrink)

While most scholarship in religious studies focuses on the past and present, the study of what the future may hold in store for religion deserves attention. Studying the treatment of religious themes and characters in science fiction provides one way of accomplishing this objective. From the possibility of time travel to key events in the history of religion, to the possibility of acquiring godlike attributes by technological or other futuristic means, science fiction regularly touches on topics (...) such as the nature and universality of truth or the nature of personhood and of divinity in ways that can be deeply theological, even if the authors of the tales are not theologians or even religiously inclined. In stories about contact with extraterrestrial sentient life forms, sci-fi tales can explore questions about diversity in the values and ideas we hold, but on a much larger scale than that provided by our own planet. Yet these stories reflect the convictions and concerns human beings currently have about our ability to understand one another and our sometimes seemingly incommensurable commitments. Such stories provide natural conversation partners for present-day religious communities. The study of such literature and film provides insight into how major conceptual and ethical questions are being explored and wrestled with even today. (shrink)

The science fiction films of Andrei Tarkovsky, Solaris (1973) and Stalker (1979), are complex responses to the repressive atmosphere of Brezhnev’s rule, after the 7-year delay in seeing Andrei Rublev (1971) released publicly. By using science fiction—a genre that Tarkovsky openly maligned—he was able to fly beneath the radar of State censorship, and develop a nuanced response to the application of Marxist theory of religion in the Soviet experience. Arguing in these films (and in (...) others in his oeuvre) that humans still need the affective dimension of religion (though not the hierarchical, institutional elements of it that Marx had identified with sedation), Tarkovsky hid within his science fiction films a thoroughgoing critique of the Soviet application of Marx. This article uses the concept of “war machine” from the philosophy of Gilles Deleuze and Félix Guattari to analyze how Tarkovsky did this, and demonstrates that Tarkovsky’s engagement with Marx’s philosophy in these two films shares much in common with Deleuze and Guattari’s way of understanding human meaning making. (shrink)

Depictions of children in British science fiction and horror films in the early 1960s introduced a new but dominant trope: the ‘extraordinary’ child. Extraordinary children, I suggest, are disturbing because they violate expected developmental norms, drawing on discourses from both the ‘psy’ sciences and early neuroscience. This post-war trope has been considered by film and literature scholars in the past five years, but this existing work tends to present the extraordinary child as an American phenomenon, and links (...) these depictions to adults’ psychoanalytical anxieties about parenthood and the family. This article, considering Village of the Damned (1960), Children of the Damned (1963), The Damned (1963), and Lord of the Flies (1963), will contend that the extraordinary child was British before it was American, and tapped as much into nuclear anxieties generated by the early Cold War as fears about the ‘permissive society’, especially given that many of these films preceded the peak of the ‘Swinging Sixties’ and were based on British science fiction of the 1950s. The ‘psy science’ that was dominant in these films was developmental psychology, not psychoanalysis. Moreover, adolescents as well as adults were key audiences for these films. Drawing on self-narrative essays written by English adolescents aged 14 to 16 between 1962 and 1966, I will demonstrate that this age group employed their own fears of nuclear war and their knowledge of psychological language to challenge adult authority, presenting a counter-narrative to adult conceptions of the abnormal and irresponsible ‘rising generation’. (shrink)

Da ficção científica para a ficção religiosa: ideias para pensar o cinema de ficção científica como o culto da religião vivida (From Science Fiction to Religious Fiction: ideas to think on Science Fiction cinema as the cult of lived religion). DOI - 10.5752/P.2175-5841.2012v10n26p552 Este artigo tem como objetivo refletir sobre a chamada religião vivida como uma forma de repensar o papel da teologia e das ciências da religião na contemporaneidade. O estudo da religião vivida será (...) investigado na relação entre o cinema de ficção científica e a religião, propondo que, nesta relação, há uma forma de religião vivida intensa e viva. Sugere-se, assim, que o cinema seja hoje uma forma de culto e ritual, cumprindo parte do papel que os mitos e ritos sagrados desempenham na vida das pessoas, ao longo dos tempos. O artigo contém quatro partes: introdução sobre a religião vivida; religião vivida no caso específico do cinema; o cinema de ficção científica como uma forma de religião; aplicação da teoria no filme “Contato” (Robert Zemeckis, USA 1997); conclusões sobre a vivência religiosa em forma de mito e rito nos filmes de ficção científica e as consequências disso para a teologia e as ciências da religião. Palavras-chave : Cinema de ficção científica. Religião. Culto e rito. Religião vivida.: This article aims at reflecting about the so-called lived religion as a way of rethinking the role of theology and religion in contemporary society. The study of the lived religion will investigate the relationship between the cinema of science fiction and religion, suggesting that, in this relation, there is particular and intensive form of lived religion. The present article suggests that cinema today is a form of cult and ritual which performs part of the role that sacred rites play in the lives of people along the time. The article contains four parts: introduction about the lived religion; lived religion in the specific case of cinema; the cinema of science fiction as a form of religion; the application of theory in the movie “Contact” (Robert Zemeckis, USA 1997); conclusions on the religious experience in the form of myth and rite in science fiction movies as well as the consequences for theology and religious studies. Keywords : Science fiction cinema. Religion. Cult and rite. Lived religion. (shrink)

In 2009, the United States Air Force aired a series of science fiction-themed recruitment commercials on network television and their official YouTube channel. In these advertisements, the superimposition of science fiction imagery over depictions of Air Force operations frames these missions as near-future sci-fi adventure, ironically summarized by the tagline: “It’s not science fiction. It’s what we do every day.” Focusing on an early advertisement for the Air Force’s Reaper unmanned aerial vehicle, this essay (...) explores how themes essential to the science fiction genre play a role in influencing contemporary attitudes about autonomous and semi-autonomous robotic weapons, as well as the way in which the aesthetic and functional qualities of these advanced technologies are used to frame moral arguments about their use. As a reconfiguration of the near-future battleground in the guise of science fiction, the “Reaper” ad reveals the way in which science fiction has come to serve as a functional-aesthetic benchmark and cultural sounding board, against which “every day” technologies can be measured and claims about their value, ethos, and social appeal are made. This essay explores the ethical entanglements between science fiction film and video games, and military technology, and the complex role science fiction plays in influencing public attitudes towards military technologies. (shrink)

Des effondrements, la science-fiction en recèle de nombreuses formes et pour une large variété de mondes. Considérer ces immenses productions de romans et de nouvelles, de films, de séries télévisées ou de jeux vidéo comme une simple manifestation d’anxiété ou de désespoir face à notre avenir serait très réducteur. Elles nous familiarisent avec l’éventualité du pire, dans la tradition des « dystopies » ou utopies négatives, mais elles nous permettent surtout d’accorder une visibilité aux conditions d’organisation de (...) collectifs, aux dilemmes moraux pouvant résulter de certaines situations d’effondrement. Le genre SF propose des prototypes et prototopes du futur – de l’ordre de l’exercice de pensée, du dispositif expérimental nous plongeant, via des personnages, décors et situations inventées, dans les si humaines complexités de mondes potentiels de notre « à venir ». (shrink)

Primarily a thought experiment, this essay explores how cinematic cyborgs and anthropological approaches to personhood and subjectivity might be theorized together. The 1980s and 1990s showed considerable investment by media producers, and strong reception by audiences and culture critics, to science fiction (SF) film and television franchises that brought new attention to the imagined cyborg subject in the popular imagination of the time. Outside of Hollywood, this same period was marked by biomedical and technological advancements that raised profound (...) implications for Western conceptions of personhood. While SF has enjoyed a long-standing position in the social sciences, primarily with sociologists and feminist theorists, SF’s preoccupation with what it means to be human calls for anthropological engagement as well. Yet if Donna Haraway envisioned cyborgs as celebrated sites of gender de/reconstruction and open possibility, why is it that cinematic cyborgs desire so strongly to become subjects of mothers, lovers, government, and God? While primary attention is given here to film texts and academic articles that drove discussions of science and technology in popular culture during the decades preceding the millennium, with remakes, reboots, and sequels to popular franchises underway, a renewed interest in the anthropological questions these films and series provoke is evident. (shrink)

In 2009, the United States Air Force aired a series of science fiction-themed recruitment commercials on network television and their official YouTube channel. In these advertisements, the superimposition of science fiction imagery over depictions of Air Force operations frames these missions as near-future sci-fi adventure, ironically summarized by the tagline: “It’s not science fiction. It’s what we do every day.” Focusing on an early advertisement for the Air Force’s Reaper unmanned aerial vehicle, this essay (...) explores how themes essential to the science fiction genre play a role in influencing contemporary attitudes about autonomous and semi-autonomous robotic weapons, as well as the way in which the aesthetic and functional qualities of these advanced technologies are used to frame moral arguments about their use. As a reconfiguration of the near-future battleground in the guise of science fiction, the “Reaper” ad reveals the way in which science fiction has come to serve as a functional-aesthetic benchmark and cultural sounding board, against which “every day” technologies can be measured and claims about their value, ethos, and social appeal are made. This essay explores the ethical entanglements between science fiction film and video games, and military technology, and the complex role science fiction plays in influencing public attitudes towards military technologies. (shrink)

Geoff King and Tanya Krzywinska _Science Fiction Cinema: From Outer Space to Cyberspace_ London: Wallflower Press, 2000 ISBN 1903364035 128 pp.

_Aliens R Us: The Other in Science Fiction Cinema_ Edited by Ziauddin Sardar and Sean Cubitt London: Pluto Press, 2002 ISBN 0-7453-1544-5 (hb) 0-7453-1539-9 (pbk) 208 pp.

Caring science that has a foundation in ‘lived experience’ may be viewed as a ‘patient science’, in other words nursing has its starting point in the patient’s perspective. To support in learning caring science, the learning situation has to embrace the students’ lived experience in relation to the substance of caring science. One of the challenges in education involves making theoretical meanings vivid in the absence of actual patients. Written patient narratives and fiction like novels (...) in combination with scientific literature are often used in order to obtain lived experiences as the foundation for teaching. Questions concerning how film can be used in this context to support the learning of caring science have recently emerged. The aim of this study is to describe how film as learning-support may boost reflection when learning caring science. The data was collected through audio-taped seminars, written reflections and group-interviews with students on basic, advanced, and doctoral levels. The analysis is based on the Reflective Lifeworld Research (RLR) approach which is founded in phenomenology. The results show how film as a learning-support enhances the understanding of the caring science theory, and provides a deeper understanding of the subject. Film can be very touching and provides support for the students’ embodied reflections. Hence, it is important that the students are encouraged to watch films from a caring science perspective. This requires a structure for learning-support related to the film, such as having a focus and purpose for watching the film, as well as support for follow-ups. The film itself does not create such support and guidance; instead, it must be combined with well-considered pedagogic thoughts on what learning is and how learning can be supported. The results are highlighted with the help of Maurice Merleau-Ponty’s philosophy of ‘the lived body’, and ‘the flesh of the world’. Indo-Pacific Journal of Phenomenology , Volume 12, Special Edition July 2012. (shrink)

Evidentialism is the doctrine that rational belief should be proportioned to one’s evidence. By “one’s evidence,” I mean evidence that we possess and know that we possess. I specifically exclude from “evidence” the following: information of which we are unaware that our brain might rely on in constructing experience or in the formation of beliefs. My initial interest is with the doctrine of Evidentialism as it applies to a quandary that arises in the Sci-Fi movie Contact, the “Contact Paradox” as (...) I will call it. In this movie one of the main characters, Ellie, is a cosmologist working in a radio-telescope research facility searching for signals from intelligent life in the cosmos. The entity whose epistemological status is at issue in her quandary is her deceased father but there is an obvious parallel between the quandary of a rational believer in God and Ellie’s quandary, a parallel extensively explored in the movie itself. My first thesis is that in Ellie’s case Evidentialism is false: in certain cases, it is rational to believe in the existence of an entity in spite of the fact that the empirical evidence overall is contrary, and the Contact Paradox is one such case. Later in the paper I turn attention to the issue of Evidentialism regarding beliefs in the existence of God. My second thesis is that Evidentialism is false there as well. (shrink)

In this significantly expanded new edition of his acclaimed exploration of the four Alien movies, Stephen Mulhall adds several new chapters on Steven Spielberg’s Mission: Impossible trilogy and Minority Report . The first part of the book discusses the four Alien movies. Mulhall argues that the sexual significance of the aliens themselves, and of Ripley’s resistance to them, takes us deep into the question of what it is to be human. At the heart of the book is a highly original (...) and controversial argument that films themselves can philosophize. Mulhall then applies his interpretative model to another sequence of contemporary Hollywood movies: the Mission: Impossible series. A brand new chapter is devoted to each of the three films in the series, and to other films by the relevant directors that cast light on their individual contribution to it. In this discussion, the nature of television becomes as central a concern as the nature of cinema; and the shift in generic focus from science fiction to thriller also makes room for a detailed reading of Spielberg’s Minority Report . On Film, Second Edition is essential reading for anyone interested in philosophy, film theory and cultural studies, and in the way philosophy can enrich our understanding of cinema. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how (...) they can come together. (shrink)

Our goal is to show how science fiction films have dealt with the augmentation of bodily and cognitive faculties. These cinematographic imaginaries allow us to question the interest of such innovations. They depict a world in which the artificialization and mechanization of many activities leads to a loss of control over them. This would mean that we would run the risk, in the long term, of being deprived of our human qualities. However, we will show that these (...) films do not question the viability of this type of society. Indeed, these fictions do not insist on the constraints that these transformations nevertheless impose on the environment. Faced with the ecological crisis, the hold of technological innovations on all societies, far from appearing as the solution, risks on the contrary being identified as part of the problem. (shrink)

Each month brings new scientific findings that demonstrate the ways in which human activities, from resource extraction to carbon emissions, are doing unprecedented, perhaps irreparable damage to our world. As we hear these climate change reports and their predictions for the future of Earth, many of us feel a sickening sense of _déjà vu_, as though we have already seen the sad outcome to this story. Drawing from recent scholarship that analyzes climate change as a form of “slow violence” that (...) humans are inflicting on the environment, _Climate Trauma_ theorizes that such violence is accompanied by its own psychological condition, what its author terms “Pretraumatic Stress Disorder.” Examining a variety of films that imagine a dystopian future, renowned media scholar E. Ann Kaplan considers how the increasing ubiquity of these works has exacerbated our sense of impending dread. But she also explores ways these films might help us productively engage with our anxieties, giving us a seemingly prophetic glimpse of the terrifying future selves we might still work to avoid becoming. Examining dystopian classics like _Soylent Green _alongside more recent examples like _The Book of Eli_, _Climate Trauma_ also stretches the limits of the genre to include features such as _Blindness_, _The Happening_, _Take Shelter_, and a number of documentaries on climate change. These eclectic texts allow Kaplan to outline the typical blind-spots of the genre, which rarely depicts climate catastrophe from the vantage point of women or minorities. Lucidly synthesizing cutting-edge research in media studies, psychoanalytic theory, and environmental science, _Climate Trauma _provides us with the tools we need to extract something useful from our nightmares of a catastrophic future. (shrink)