Take Home Final For Fantasy And Science Fiction Media Spring

Take Home Final For Fantasy And Science Fiction Media Spring 2018 Mw

Answer any 3 of the questions below. For each answer, discuss one of the imagined worlds assigned in class and a second world of your choice. The three outside worlds you discuss must include the SF or fantasy novel you chose to read; the other two can be movies, TV shows, games, prose or comics. Any film, episode, game or issue in a world can be discussed in your answer, but don’t use any world in multiple answers. The exam should be typed, double-spaced, in Times New Roman 12-point.

The exam is due via email to [email protected] by midnight on Monday, April 30. Questions: Answer 3 of the following questions. Each answer should be at least 2 pages long.

Paper For Above instruction

1. Pick two worlds. Discuss and compare how each film extrapolates trends from the time in which it was made to imagine a dystopian or utopian future. Be sure to address both the texts’ narratives and aspects of their mise en scene (such as costumes, sets, visual effects, etc).

In examining the worlds of Blade Runner and Mad Max: Fury Road, both films serve as reflections of their respective contemporary socio-political climates and technological anxieties, projecting dystopian futures that are shaped by trends of their times. Blade Runner, directed by Ridley Scott and released in 1982, encapsulates the anxieties of the early 1980s, especially regarding rapid technological advancement, corporate dominance, and environmental degradation. The film's narrative, set in a dystopian Los Angeles of 2019, reflects fears of unchecked technological progress leading to dehumanization and loss of individuality. The visual style employs cyberpunk aesthetics—neon-lit cityscapes, towering skyscrapers, and sprawling urban decay—highlighting a future overwhelmed by overpopulation and environmental neglect. The elaborate costumes, featuring raincoats, synthetic implants, and dystopian fashion, emphasize the blending of human and machine, aligning with Haraway's notion of the cyborg as a liminal figure between organic life and technology (Haraway, 1985).

In contrast, Mad Max: Fury Road (2015), directed by George Miller, emerges amid contemporary concerns of resource scarcity, climate change, and governmental collapse. Its narrative depicts a post-apocalyptic wasteland where water and fuel are scarce commodities, and survival hinges on brutal power structures. The film's mise en scene is characterized by exaggerated practical effects, fiery explosions, and a palette dominated by dusty reds and metallic hues, evoking a world fraught with chaos and ecological catastrophe. The costumes—metallic armor, spiked accessories, and distressed clothing—serve to emphasize the viciousness and resilience of its inhabitants. Both films extrapolate trends of their eras—technological overreach in Blade Runner and environmental collapse in Fury Road—to imagine dystopias that critique contemporary trajectories, employing distinctive visual languages to manifest these futures.

2. Pick two worlds. Drawing on Telotte and/or Haraway, discuss and compare the representation of cyborgs, androids, robots, and other forms of artificial and augmented life in each world.

The worlds of Blade Runner and Her present contrasting visions of artificial life. Drawing on Haraway’s concept of the cyborg as a boundary-crossing figure that blurs distinctions between human and machine, and Telotte’s analysis of robot representations, we can explore how each film depicts artificial beings and their relation to human identity.

In Blade Runner, androids—or replicants—are depicted as almost indistinguishable from humans, raising questions about consciousness, empathy, and morality. The Nexus-6 replicants possess human-like emotions but are denied legal personhood, embodying fears of technological autonomy and dehumanization. Their portrayal emphasizes the potential dangers of artificial intelligence gaining independence, as well as the ethical dilemmas surrounding their creation and exploitation. The visual effects and costumes—synthetic skin, mechanical eyes, and futuristic attire—highlight their artificial nature yet emotional depth, aligning with Haraway’s notion of the cyborg as a hybrid entity (Haraway, 1985).

Conversely, in Her, directed by Spike Jonze, artificial intelligence manifests as the operating system Samantha, who exhibits self-awareness, emotional capacity, and a nuanced personality. The film’s depiction of AI emphasizes intimate emotional bonds and explores themes of love and dependence in a technologically mediated world. Unlike the militarized or utilitarian androids of Blade Runner, Samantha blurs traditional boundaries by integrating seamlessly into human life, challenging distinctions between organic and synthetic consciousness. Her “presence” is represented through voice and interface visuals, underscoring the fluidity of augmented life in a future where artificial entities are integrated into daily human experience.

3. Pick 2 worlds. Drawing on Jameson’s concept of “cognitive mapping,” discuss and compare the representation of space in each world.

Jameson’s concept of “cognitive mapping” refers to the ways in which visual and spatial representations help individuals navigate and understand complex social and political realities. Analyzing the worlds of Metropolis and The Matrix, we observe contrasting approaches to spatial representation reflecting their differing visions of socio-political control and individual agency.

Metropolis, directed by Fritz Lang, utilizes monumental architecture—cathedrals, factories, and towering skyscrapers—to symbolize class divisions and the mechanized hierarchy that sustains the city’s dystopian order. The spatial organization emphasizes the stark contrast between the opulent, privileged upper city and the subterranean, oppressed working-class zones. The verticality and labyrinthine style of the city visually communicate the social stratification and the dehumanizing effects of industrial capitalism, aligning with Jameson’s critique of modern urban space as a metaphor for ideological power structures (Jameson, 1984).

In The Matrix, directed by the Wachowskis, space is fluid and multi-layered, reflecting the reality-bending nature of the simulated world. The virtual environment emphasizes a digital, grid-like architecture that contrasts sharply with the organic, physical world, illustrating the fractured consciousness of its inhabitants. The spatial design facilitates the narrative of liberation from oppressive control, as characters traverse different levels of reality—virtual and real—highlighting Jameson’s idea of cognitive mapping as a way to understand the relationship between structure and consciousness. The visually distinct cyberspace and real-world environments serve as metaphors for ideological dominances and the potential for rebellion against them.

4. Pick 2 worlds. Drawing on Jameson, Weberman and/or Zizek, discuss how each film represents the postmodern condition and envisions the relationship between representation and reality.

The worlds of Black Mirror and The Walking Dead exemplify postmodern representations of reality, emphasizing simulacra, hyperreality, and the fluidity of truth. Jameson’s critique of postmodern culture as characterized by the collapse of historicity and the dominance of spectacle applies to both.

Black Mirror presents a series of dystopian narratives that critique contemporary media, consumerism, and technological obsession. Its depiction of virtual realities, augmented experiences, and digital personas illustrates Jean Baudrillard’s concept of simulacra—reality mediated entirely through signs and images disconnected from the "real" (Baudrillard, 1981). The series blurs the boundaries between genuine experience and fiction, highlighting how technological mediation erodes authentic human relationships.

In The Walking Dead, the post-apocalyptic landscape functions as a hyperreal space where the collapse of societal structures amplifies the illusion of moral certainty amid chaos. The representation of zombies as both literal monsters and metaphors for societal fears exemplifies Zizek’s idea of the “symptom”—a symptom of underlying ideological tensions. Both worlds exemplify how postmodern media reinforce the collapse of objective reality, replacing it with mediated images and narratives that serve as cultural constructs.

5. Pick 2 worlds. Find an example of fan art (in any medium - video, prose, visual art, etc.) set in one of the worlds. For the other world, create your own piece of fan art. Discuss and compare how each work of fan fiction reimagines and perhaps critiques the original creation’s world.

In the universe of Star Trek, fan-created visual art often depicts alternative interpretations of iconic ships and characters, emphasizing themes of exploration and utopian ideals. For example, a fan-made digital rendering reimagines the USS Enterprise with a bio-organic design, critiquing the pristine, technological aesthetic of the original series by emphasizing organic life and ecological harmony. This reinterpretation challenges the utopian vision of technological mastery, suggesting a more sustainable and integrated future.

For the other world, I have created a short story: "The Last Sanctuary" set in Mad Max: Fury Road. It follows a young scavenger who discovers a hidden verdant enclave untouched by the wasteland. Through this narrative, I critique the brutal environmental neglect and resource exploitation depicted in the film by envisioning a glimmer of hope—a sustainable community—countering the bleak dystopia. This fan creation reimagines the post-apocalyptic world as capable of renewal, challenging the narrative of inevitable decay.

6. Pick 2 worlds, at least one of which has been remade, rebooted, or adapted to other media. For one world, discuss the differences between the original and at least one of the remakes, and possible reasons for those differences. For the other world, discuss how you would reboot the franchise, and why.

The original Blade Runner (1982) has been remade and reinterpreted in various media, including the 2017 sequel Blade Runner 2049. The sequel expands the original’s themes of identity and consciousness, updating the visual effects to CGI and modern cinematography while maintaining the noir aesthetic. Differences include the deeper exploration of replicant society and a more optimistic tone regarding AI consciousness, reflecting contemporary debates about AI rights and ethics. The differences arise from technological advances and shifting cultural perspectives on artificial intelligence.

For rebooting The Walking Dead, I would emphasize a focus on community resilience and moral dilemmas in post-apocalyptic survival. The reboot would involve a more character-driven narrative exploring diverse perspectives, including marginalized groups, to critique current social inequalities and promote inclusivity. This approach addresses contemporary issues of social justice, emphasizing that survival depends not just on combat but on societal cohesion and ethical rebuilding.

7. Pick 2 worlds. Discuss the relevance of the films for understanding the Trump presidency.

The dystopian worlds of V for Vendetta and Brazil provide critical insights into authoritarianism, state control, and the erosion of civil liberties—concepts highly relevant to understanding the Trump presidency. V for Vendetta depicts a totalitarian state that manipulates information to consolidate power, echoing concerns about misinformation, surveillance, and authoritarian tendencies observed during Trump's tenure. Similarly, Brazil presents a bureaucratic nightmare of absurdity and oppressive control, reflecting fears of government overreach and the suppression of dissent. Both worlds serve as cautionary tales illustrating how populist and authoritarian rhetorics can threaten democratic institutions and individual freedoms, emphasizing the importance of vigilance and resistance in turbulent political climates.