Δυστοπικός Κιν/γράφος

[Gantenbein]

Children of Men (2006, Alfonso Cuarón)

[ΣΑΤΑΝΙΚΟΣ ΕΓΚΕΦΑΛΟΣ]

[Πηγαδισιος]

ωραιο θεμα

[Πηγαδισιος]

[Gantenbein]

Ο Φρέντρικ Τζέημσον, προσπαθώντας μάλλον να περιγράψει τον ιδιόρρυθμο συντηρητισμό μιας κοινωνίας χωρίς μεγάλες αφηγήσεις, είχε πει ότι είναι πιο εύκολο να φανταστεί κανείς το τέλος του κόσμου παρά την ανατροπή του status quo.

Είναι όμως η κρίσις της (ουτοπικής) φαντασίας σύμπτωμα ή μήπως λύση;

[Gantenbein]

...The Hunger Games gave us a neo-Depression dystopia where media-obsessed elites tormenting the starving lower classes. One of the hottest sci-fi shows on TV, The Expanse, is about class warfare in the asteroid belt. Indie director Boots Riley’s forthcoming movie Sorry to Bother You, which just debuted at Sundance, is about a telemarketer who sells people indentured servitude packages. Even if you flee into the world of superheroes, you’ll run into Black Panther grappling with trade policies.

Of course, fantasy and science fiction have tackled economics before. The original Blade Runner is a nightmare about endless recession, and Isaac Asimov’s celebrated 1950s Foundation series was partly about saving the galaxy with sound economic programs. The fear of automation, where humans are replaced by robot labor, goes back to the earliest roots of the genre: Karel Capek’s play R.U.R., which introduced the word robot to the world in 1921, was about a robot labor uprising.

But a new urgency infused the genre in the wake of the 2008–09 financial crisis. This crisis has become a powerful symbol for creators, almost the same way the atomic bomb was for science-fiction writers in the 1950s.

In 2008, the novelist Max Gladstone returned to the United States after working at nongovernmental organizations in China, and “it felt like the world’s value was evaporating. There was a kind of religious shock in the burning ruins of Lehman Brothers,” he told me. His first novel, Three Parts Dead, published in 2012, was a mythical reimagining of the financial crisis. In it, attorney-necromancers battle over how to carve up the body of a dying god whose every part has been used as a magical financial instrument to leverage his city’s failing economy. “You can’t tell a story like [the financial crisis] with realism,” said Gladstone. “You need fantasy to explain it.”...

https://slate.com/technology/2018/03/ho ... ystem.html

[Gantenbein]

Susan Watkins – Dystopia, Apocalypse and Contemporary Women’s Writing

[Gantenbein]

The Hunger Games (2012-5)

Αντικαπιταλισμός ή ελευθεριακή κριτική του κράτους και (συντηρητική κριτική) της επανάστασης/της πολιτικοποίησης;

[Von Mackensen]

[Von Mackensen]