DOCSLIB.ORG

Cyberpunk in a Transnational Context

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cyberpunk in a Transnational Context arts Cyberpunk in a Transnational Context Edited by Takayuki Tatsumi Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Cyberpunk in a Transnational Context Cyberpunk in a Transnational Context Special Issue Editor Takayuki Tatsumi MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade Special Issue Editor Takayuki Tatsumi Keio University Japan Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Arts (ISSN 2076-0752) from 2018 to 2019 (available at: https://www.mdpi.com/journal/arts/special issues/cyberpunk) For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03921-421-1 (Pbk) ISBN 978-3-03921–422-8 (PDF) Cover image courtesy of ni ka: ”Hikari” (Light). c 2019 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents About the Special Issue Editor ...................................... vii Preface to ”Cyberpunk in a Transnational Context” .......................... ix Takayuki Tatsumi The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk Reprinted from: Arts 2019, 8, 40, doi:10.3390/arts8010040 ....................... 1 Mike Mosher Some Aspects of California Cyberpunk Reprinted from: Arts 2018, 7, 54, doi:10.3390/arts7040054 ....................... 4 Frenchy Lunning Cyberpunk Redux: Derives´ in the Rich Sightof Post-Anthropocentric Visuality Reprinted from: Arts 2018, 7, 38, doi:10.3390/arts7030038 ....................... 16 Lidia Mer´as European Cyberpunk Cinema Reprinted from: Arts 2018, 7, 45, doi:10.3390/arts7030045 ....................... 29 Elana Gomel Recycled Dystopias: Cyberpunk and the End of History Reprinted from: Arts 2018, 7, 31, doi:10.3390/arts7030031 ....................... 46 Martin de la Iglesia Has Akira Always Been a Cyberpunk Comic? Reprinted from: Arts 2018, 7, 32, doi:10.3390/arts7030032 ....................... 54 Denis Taillandier New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk Reprinted from: Arts 2018, 7, 60, doi:10.3390/arts7040060 ....................... 67 Janine Tobeck and Donald Jellerson Caring about the Past, Present, and Future in William Gibson’s Pattern Recognition and Guerrilla Games’ Horizon: Zero Dawn Reprinted from: Arts 2018, 7, 53, doi:10.3390/arts7040053 ....................... 82 Takayuki Tatsumi Transpacific Cyberpunk: Transgeneric Interactions between Prose, Cinema, and Manga Reprinted from: Arts 2018, 7, 9, doi:10.3390/arts7010009 ........................100 v About the Special Issue Editor Takayuki Tatsumi has taught American Literature and Critical Theory at Keio University, Tokyo, since 1989. He served as President of The American Literature Society of Japan (2014–2017) and of The Poe Society of Japan (2009–), and as Vice President of the Melville Society of Japan (2012–). He is currently a member of the Editorial Board of PARADOXA, Mark Twain Studies, and the Journal of Transnational American Studies. His book Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America (Duke UP, 2006) won the 2010 IAFA (International Association for the Fantastic in the Arts) Distinguished Scholarship Award. Co-editor of the “New Japanese Fiction” issue of Review of Contemporary Fiction (Summer 2002), Robot Ghosts, Wired Dreams (U of Minnesota P, 2007), the special “Three Asias—Japan, S. Korea, China” issue of PARADOXA (No. 22, 2010) and The Routledge Companion to Transnational American Studies (Routledge, 2019), he has also published a variety of essays in PMLA, Critique, Extrapolation, American Book Review, Mechademia, The Oxford Research Encyclopedia of Literature, and elsewhere on subjects ranging from the American Renaissance to post-cyberpunk fiction and film. His recent collaborations include The Cambridge History of Postmodern Literature (2016) and The Liverpool Companion to World Science Fiction Film (2014). His recent monographs include: Young Americans in Literature: The Post-Romantic Turn in the Age of Poe, Hawthorne and Melville (Sairyusha, 2018). vii Preface to ”Cyberpunk in a Transnational Context” Since the inception of cyberpunk in the early 1980s, which coincided with the dawn of the Internet and the rise of computer hackers, the movement, with William Gibson as super star and Bruce Sterling as theoretical chairman, has consistently created a tremendous impact on today’s literature and culture, ranging from manga and anime to cinema. William Gibson’s 1980s Cyberspace Trilogy (Neuromancer [1984], Count Zero [1986], and Mona Lisa Overdrive [1988]), which explored the frontier of cyberspace—another name for the Internet coined by the same author—was followed by his 1990s “Bridge Trilogy” (Virtual Light [1993], Idoru [1996], and All Tomorrow’s Parties [1999]) featuring a virtual idol Rei Toei, without whom no AI Beauty (such as Hatsune Miku) could have been created. However, here we should reconsider the extraterritorial status of Gibson, who immigrated from South Carolina to Toronto, Canada, to evade the draft. Being a typical outsider, Gibson put special emphasis on the Lo-Tek spirit of a countercultural tribe in the post-apocalyptic near-future, and replace the keyword “steampunk” with “post-apocalypse”. This was to be shared by the punk kids that Otomo describes in Akira and the human weapons distinguished director Shinya Tsukamoto represents in his TETSUO trilogy (1989–2010), one of the major inheritors of the Japanese Apache created by Komatsu Sakyo, a founding father of Japanese science fiction, in his first novel Nippon Apacchi-zoku (The Japanese Apache [1964]) as I detailed in Full Metal Apache (Duke UP, 2006). A further descendant of cyberpunk could well be easily noticed in Neil Blomkamp’s South African post-cyberpunk film, District 9 (2009), in which the natives of Johannesburg and the miserable aliens lost in space turn out to have the Lo-Tek spirit in common. Yes, cyberpunk is a literary and (sub-)cultural subgenre not so much celebrating the growth of high-technology as the neo-extraterritorial spirit of Lo-Tek tribes born out of postmodern streets. What matters now is that, in this context, cyberpunk has started gaining new significance, not only in today’s arts of representation, but also in international/transnational politics. The present collection of essays showcases a diversity of cyberpunk possibilities ranging from Cool Japan, Dystopian narrative down to the postmodern extraterritorial and Anthropocene. Takayuki Tatsumi Special Issue Editor ix arts Editorial The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk Takayuki Tatsumi Department of English, Keio University, Tokyo 108-8345, Japan; [email protected] Received: 19 March 2019; Accepted: 21 March 2019; Published: 25 March 2019 The genesis of cyberpunk criticism could well be dated to March 1987, when Stephen P. Brown inaugurated the first cyberpunk journal Science Fiction Eye together with his friend Daniel J. Steffan, with Paul DiFilippo, Elizabeth Hand, and myself as contributing editors. Of course, it is the impact of William Gibson’s multiple-award-winning Neuromancer in 1984, featuring the anti-hero Case’s adventures in what Gibson himself called “cyberspace,” that aroused popular interest in the new style of speculative fiction. This surge of interest led Gibson’s friend, writer Bruce Sterling, the editor of the legendary critical fanzine Cheap Truth, to serve as unofficial chairman of the brand-new movement. Thus, on 31 August 1985, the first cyberpunk panel took place at NASFiC (The North American Science Fiction Convention) in Austin, Texas, featuring writers in Sterling’s circle: John Shirley, Lewis Shiner, Pat Cadigan, Greg Bear, and Rudy Rucker. As I was studying American literature at the graduate school of Cornell University during the mid-1980s, I was fortunate enough to witness this historical moment. After the panel, Sterling said, “Our time has come!” Thus, from the spring of 1986, I decided to conduct a series of interviews with cyberpunk writers, part of which are now easily available in Patrick A. Smith’s edited Conversations with William Gibson (University Press of Mississippi 2014). However, without Brown’s plan in 1987 of publishing the new journal Science Fiction Eye focusing on cyberpunk criticism, my early interviews and articles could not have been published in their original form. It was in May 1986 at Disclave’86, the annual local science fiction convention held in the Washington D.C. area, that I could have my first interview with Gibson and come to know his close friend Steve Brown, who wanted me to get involved in his new project. Since then, Brown taught me everything he could about science fiction journalism. What is more, he provided me with whatever he found intriguing and necessary in this field. He sent me a copy of Jeanne Gomoll’s monumental symposium on “Women in Science Fiction”, featured in a fanzine called Khatru #3 and #4. It is true that the cyberpunk writer community is
Load more

Recommended publications
  • Cyberpunking a Library
    Cyberpunking a Library Collection assessment and collection Leanna Jantzi, Neil MacDonald, Samantha Sinanan LIBR 580 Instructor: Simon Neame April 8, 2010 “A year here and he still dreamed of cyberspace, hope fading nightly. All the speed he took, all the turns he’d taken and the corners he’d cut in Night City, and he’d still see the matrix in his sleep, bright lattices of logic unfolding across that colorless void.” – Neuromancer, William Gibson 2 Table of Contents Table of Contents ................................................................................................................................................ 2 Introduction ......................................................................................................................................................... 3 Description of Subject ....................................................................................................................................... 3 History of Cyberpunk .................................................................................................................................................... 3 Themes and Common Motifs....................................................................................................................................... 3 Key subject headings and Call number range ....................................................................................................... 4 Description of Library and Community .....................................................................................................
    [Show full text]
  • A Very Short History of Cyberpunk
    A Very Short History of Cyberpunk Marcus Janni Pivato Many people seem to think that William Gibson invented The cyberpunk genre in 1984, but in fact the cyberpunk aesthetic was alive well before Neuromancer (1984). For example, in my opinion, Ridley Scott's 1982 movie, Blade Runner, captures the quintessence of the cyberpunk aesthetic: a juxtaposition of high technology with social decay as a troubling allegory of the relationship between humanity and machines ---in particular, artificially intelligent machines. I believe the aesthetic of the movie originates from Scott's own vision, because I didn't really find it in the Philip K. Dick's novel, Do Androids Dream of Electric Sheep (1968), upon which the movie is (very loosely) based. Neuromancer made a big splash not because it was the "first" cyberpunk novel, but rather, because it perfectly captured the Zeitgeist of anxiety and wonder that prevailed at the dawning of the present era of globalized economics, digital telecommunications, and exponential technological progress --things which we now take for granted but which, in the early 1980s were still new and frightening. For example, Gibson's novels exhibit a fascination with the "Japanification" of Western culture --then a major concern, but now a forgotten and laughable anxiety. This is also visible in the futuristic Los Angeles of Scott’s Blade Runner. Another early cyberpunk author is K.W. Jeter, whose imaginative and disturbing novels Dr. Adder (1984) and The Glass Hammer (1985) exemplify the dark underside of the genre. Some people also identify Rudy Rucker and Bruce Sterling as progenitors of cyberpunk.
    [Show full text]
  • Citizen Cyborg.” Citizen a Groundbreaking Work of Social Commentary, Citizen Cyborg Artificial Intelligence, Nanotechnology, and Genetic Engineering —DR
    hughes (continued from front flap) $26.95 US ADVANCE PRAISE FOR ARTIFICIAL INTELLIGENCE NANOTECHNOLOGY GENETIC ENGINEERING MEDICAL ETHICS INVITRO FERTILIZATION STEM-CELL RESEARCH $37.95 CAN citizen LIFE EXTENSION GENETIC PATENTS HUMAN GENETIC ENGINEERING CLONING SEX SELECTION ASSISTED SUICIDE UNIVERSAL HEALTHCARE human genetic engineering, sex selection, drugs, and assisted In the next fifty years, life spans will extend well beyond a century. suicide—and concludes with a concrete political agenda for pro- cyborg Our senses and cognition will be enhanced. We will have greater technology progressives, including expanding and deepening control over our emotions and memory. Our bodies and brains “A challenging and provocative look at the intersection of human self-modification and human rights, reforming genetic patent laws, and providing SOCIETIES MUST RESPOND TO THE REDESIGNED HUMAN OF FUTURE WHY DEMOCRATIC will be surrounded by and merged with computer power. The limits political governance. Everyone wondering how society will be able to handle the coming citizen everyone with healthcare and a basic guaranteed income. of the human body will be transcended, as technologies such as possibilities of A.I. and genomics should read Citizen Cyborg.” citizen A groundbreaking work of social commentary, Citizen Cyborg artificial intelligence, nanotechnology, and genetic engineering —DR. GREGORY STOCK, author of Redesigning Humans illuminates the technologies that are pushing the boundaries of converge and accelerate. With them, we will redesign ourselves and humanness—and the debate that may determine the future of the our children into varieties of posthumanity. “A powerful indictment of the anti-rationalist attitudes that are dominating our national human race itself.
    [Show full text]
  • CD PROJEKT RED and NVIDIA Partner to Bring Ray Tracing to ‘Cyberpunk 2077’
    CD PROJEKT RED and NVIDIA Partner to Bring Ray Tracing to ‘Cyberpunk 2077’ Highly Acclaimed, Highly Anticipated Game Uses Real-Time Ray Tracing E3--NVIDIA and CD PROJEKT RED today announced that NVIDIA® GeForce RTX™ is an official technology partner for Cyberpunk 2077 and that the companies are working together to bring real-time ray tracing to the game. Cyberpunk 2077 won over 100 awards at E3 2018 and Gamespot calls it “one of the most anticipated games of the decade.'' The game is the next project from CD PROJEKT RED, makers of the highly acclaimed The Witcher 3: Wild Hunt, which has won numerous “Game of the Year'' awards. NVIDIA and CD PROJEKT RED have a long history of technology collaboration that spans more than a decade. “Cyberpunk 2077 is an incredibly ambitious game, mixing first-person perspective and deep role-playing, while also creating an intricate and immersive world in which to tell its story,'' said Matt Wuebbling, head of GeForce marketing at NVIDIA. “We think the world of Cyberpunk will greatly benefit from the realistic lighting that ray tracing delivers.'' Ray tracing is the advanced graphics technique used to give movies their ultra-realistic visual effects. NVIDIA GeForce RTX GPUs contain specialized processor cores designed specifically to accelerate ray tracing so the visual effects in games can be rendered in real time. “Ray tracing allows us to realistically portray how light behaves in a crowded urban environment,'' says Adam Badowski, head of Studio at CD PROJEKT RED. “Thanks to this technology, we can add another layer of depth and verticality to the already impressive megacity the game takes place in.'' Cyberpunk 2077 is an open-world, action-adventure story set in Night City, a megalopolis obsessed with power, glamour and body modification.
    [Show full text]
  • BLADE RUNNER 2049 “I Can Only Make So Many.” – Niander Wallace REPLICANT SPRING ROLLS
    BLADE RUNNER 2049 “I can only make so many.” – Niander Wallace REPLICANT SPRING ROLLS INGREDIENTS • 1/2 lb. shrimp Dipping Sauce: • 1/2 lb. pork tenderloin • 2 tbsp. oil • Green leaf lettuce • 2 tbsp. minced garlic • Mint & cilantro leaves • 8 tbsp. hoisin sauce • Chives • 2-3 tbsp. smooth peanut butter • Carrot cut into very thin batons • 1 cup water • Rice paper — banh trang • Sriracha • Rice vermicelli — the starchless variety • Peanuts • 1 tsp salt • 1 tsp sugar TECHNICOLOR | MPC FILM INSTRUCTIONS • Cook pork in water, salt and sugar until no longer pink in center. Remove from water and allow to cool completely. • Clean and cook shrimp in boiling salt water. Remove shells and any remaining veins. Split in half along body and slice pork very thinly. Boil water for noodles. • Cook noodles for 8 mins plunge into cold water to stop the cooking. Drain and set aside. • Wash vegetables and spin dry. • Put warm water in a plate and dip rice paper. Approx. 5-10 seconds. Removed slightly before desired softness so you can handle it. Layer ingredients starting with lettuce and mint leaves and ending with shrimp and carrot batons. Tuck sides in and roll tightly. Dipping Sauce: • Cook minced garlic until fragrant. Add remaining ingredients and bring to boil. Remove from heat and garnish with chopped peanuts and cilantro. BLADE RUNNER 2049 “Things were simpler then.” – Agent K DECKARD’S FAVORITE SPICY THAI NOODLES INGREDIENTS • 1 lb. rice noodles • 1/2 cup low sodium soy sauce • 2 tbsp. olive oil • 1 tsp sriracha (or to taste) • 2 eggs lightly beaten • 2 inches fresh ginger grated • 1/2 tbsp.
    [Show full text]
  • THESIS ANXIETIES and ARTIFICIAL WOMEN: DISASSEMBLING the POP CULTURE GYNOID Submitted by Carly Fabian Department of Communicati
    THESIS ANXIETIES AND ARTIFICIAL WOMEN: DISASSEMBLING THE POP CULTURE GYNOID Submitted by Carly Fabian Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Fall 2018 Master’s Committee: Advisor: Katie L. Gibson Kit Hughes Kristina Quynn Copyright by Carly Leilani Fabian 2018 All Rights Reserved ABSTRACT ANXIETIES AND ARTIFICIAL WOMEN: DISASSEMBLING THE POP CULTURE GYNOID This thesis analyzes the cultural meanings of the feminine-presenting robot, or gynoid, in three popular sci-fi texts: The Stepford Wives (1975), Ex Machina (2013), and Westworld (2017). Centralizing a critical feminist rhetorical approach, this thesis outlines the symbolic meaning of gynoids as representing cultural anxieties about women and technology historically and in each case study. This thesis draws from rhetorical analyses of media, sci-fi studies, and previously articulated meanings of the gynoid in order to discern how each text interacts with the gendered and technological concerns it presents. The author assesses how the text equips—or fails to equip—the public audience with motives for addressing those concerns. Prior to analysis, each chapter synthesizes popular and scholarly criticisms of the film or series and interacts with their temporal contexts. Each chapter unearths a unique interaction with the meanings of gynoid: The Stepford Wives performs necrophilic fetishism to alleviate anxieties about the Women’s Liberation Movement; Ex Machina redirects technological anxieties towards the surveilling practices of tech industries, simultaneously punishing exploitive masculine fantasies; Westworld utilizes fantasies and anxieties cyclically in order to maximize its serial potential and appeal to impulses of its viewership, ultimately prescribing a rhetorical placebo.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • Best Game of 2020 #1 Animal Crossing: New Horizons #2 Hades #3 Ghost of Tsushima
    2020 Game Recommendations The best games from the worst year BEST GAME OF 2020 #1 ANIMAL CROSSING: NEW HORIZONS #2 HADES #3 GHOST OF TSUSHIMA Honorable Mentions: Crusader Kings 3, World of Warcraft: Shadowlands, Factorio, Doom Eternal, Cyberpunk 2077 BEST STORY BEST ART & VISUALS HADES HADES Art and Art Direction: Jen Zee Written by: Greg Kasavin Environmental Art: Joanne Tran 3D Art: Paige Carter Honorable Mentions: Final Fantasy VII Remake, Yakuza: Like a Dragon, 13 Sentinels: Aegis Rim, The Last of Us II, Ori and the Will of the Wisps, Crusader Kings 3, Cyberpunk 2077 Did you know The FRIENDZONE server celebrated its 4th birthday this year? It was created Sunday, Honorable Mentions: Ghost of Tsushima, April 24th, 2016 at 5:10 pm PST Genshin Impact, Ori and the Will of the Wisps, Animal Crossing: New Horizons, Outer Wilds, Cyberpunk 2077 WHERE HAVE YOU BEEN ALL MY LIFE? The best games released prior to 2020 that we discovered this year. HIDDEN GEMS OF 2020 Shine a light on some of the best games that few people paid attention to! Fitz Rachel Nullied Fox Myras Tau Leader Cobalt theStellarB raspbeary Fitret Ophainim Vaash Solanis Nando BEST DLC / NEW CONTENT / EXPANSION #1 World of Warcraft Shadowlands #2 Teamfight Tactics Fates Honorable Mentions: Rainbow Six Siege Operation Neon Dawn, Darkest Dungeon: The Butcher’s Circus, Hearthstone Battlegrounds, Monster Train DLC, Shovel Knight: King of Cards, PC Building Simulator E-Sports Expansion BEST TV SERIES BEST MOVIES #1 Schitt’s Creek Not too many movies this year but if you’re looking
    [Show full text]
  • Packet 6.Pdf
    Saturnalia: Packet 6 Edited by Justine French, Avinash Iyer, Laurence Li, Robert Condron, Connor Mayers, Eric Yin, Karan Gurazada, Nick Dai, Ethan Ashbrook, Dylan Bowman, Jeffrey Ma, Daniel Ma, Benjamin McAvoy-Bickford, and Lalit Maharjan. Written by the editors and Vikshar Athreya, Maxwell Ye, Felix Wang, Danny Kim, William Orr, Jason Lewis, Tiffany Zhou, Gabe Forrest, Ariel Faeder, Josh Rollin, Louis Li, Advaith Modali, Raymond Wang, Auden Young, Aadi Karthik, Ned Tagtmeier, Rohan Venkateswaran, Victor Li, and Richard Lin THESE TOSSUPS ARE PAIRED WITH BONUSES. IF A TOSSUP IS NOT CONVERTED, SKIP THE PAIRED BONUS AND MOVE ON TO THE NEXT TOSSUP. DO NOT COME BACK TO THE SKIPPED BONUS. 1. In his concerto for this instrument, Erich Wolfgang Korngold reused a two octave ascending theme from his film score for Another Dawn. A G minor “Canzonetta” is the middle movement of a D major concerto for this instrument inspired by Edouard Lalo’s concerto for it, the Symphonie Espagnole. Pyotr Tchaikovsky’s concerto for this instrument is in (*) D major. Joseph Joachim (“YO-zef YAW-kim”) was the dedicatee of a D major concerto for this string instrument composed by Johannes Brahms. For 10 points, name this highest-pitched string instrument played by Niccolo Paganini. ANSWER: violin [accept violin concerto] <Classical Music — Jeffrey Ma> [Edited] 1. Along with Liberal leaders Juan Álvarez and Ignacio Comonfort, this politician supported the Plan of Ayutla (“eye-YOOT-lah”). For 10 points each: [M] Name this president of Mexico from 1858 to 1872. The tenure of this first Mexican president of indigenous origin saw both the Reform War and the occupation of Mexico by the French under Emperor Maximilian I (“the first”).
    [Show full text]
  • Katsuhiro Otomo Grand Prix D’Angoulême 2015
    KATSUHIRO OTOMO Grand Prix d’ANGOULÊME 2015 En choisissant d’attribuer le Grand Prix de la 42e édition du Festival international de la bande dessinée à Katsuhiro Otomo, la communauté des auteur(e)s qui a exprimé ses suffrages lors des deux tours du vote organisé par voie électronique en décembre 2014 puis janvier 2015 a accompli un geste historique. C’est la première fois en effet que cette récompense, la plus prestigieuse du palmarès du Festival, est attribuée à un auteur japonais, soulignant ainsi la place prise par le manga dans l’histoire du 9e art. Katsuhiro Otomo couronné, c’est le meilleur du manga qui se voit ainsi légitimement célébré en Europe. Né au Japon en 1954, Katsuhiro Otomo se met à dessiner professionnellement très tôt, au sortir de l’adolescence, et signe dès les années 70 ses premiers récits courts, souvent d’inspiration SF ou fantastique. Ainsi Domu - Rêves d’enfant (1981), traduit bien plus tard en langue française, qui se signale déjà par une maîtrise narrative, des innovations formelles et une science du cadrage remarquables chez un si jeune auteur. Le travail d’Otomo, d’emblée, exprime son goût de toujours pour le cinéma, qu’il aura par la suite de multiples occasions de satisfaire en devenant également cinéaste. Mais c’est à partir de 1982, alors que le jeune mangaka a déjà derrière lui près d’une décennie d’expérience, que le phénomène Otomo se déploie véritablement. Dans les pages du magazine Young, alors qu’il n’a que 28 ans, il entreprend un long récit post-apocalyptique d’une intensité et d’une ampleur visionnaire saisissantes : Akira.
    [Show full text]
  • Modern Mythopoeia &The Construction of Fictional Futures In
    Modern Mythopoeia & The Construction of Fictional Futures in Design Figure 1. Cassandra. Anthony Fredrick Augustus Sandys. 1904 2 Modern Mythopoeia & the Construction of Fictional Futures in Design Diana Simpson Hernandez MA Design Products Royal College of Art October 2012 Word Count: 10,459 3 INTRODUCTION: ON MYTH 10 SLEEPWALKERS 22 A PRECOG DREAM? 34 CONCLUSION: THE SLEEPER HAS AWAKEN 45 APPENDIX 77 BIBLIOGRAPHY 90 4 Figure 1. Cassandra. Anthony Fredrick Augustus Sandys. 1904. Available from: <http://culturepotion.blogspot.co.uk/2010/08/witches- and-witchcraft-in-art-history.html> [accessed 30 July 2012] Figure 2. Evidence Dolls. Dunne and Raby. 2005. Available from: <http://www.dunneandraby.co.uk/content/projects/69/0> [accessed 30 July 2012] Figure 3. Slave City-cradle to cradle. Atelier Van Lieshout. 2009. Available from: <http://www.designboom.com/weblog/cat/8/view/7862/atelier-van- lieshout-slave-city-cradle-to-cradle.html> [accessed 30 July 2012] Figure 4. Der Jude. 1943. Hans Schweitzer. Available from: <http://www.calvin.edu/academic/cas/gpa/posters2.htm> [accessed 15 September 2012] Figure 5. Lascaux cave painting depicting the Seven Sisters constellation. Available from: <http://madamepickwickartblog.com/2011/05/lascaux- and-intimate-with-the-godsbackstage-pass-only/> [accessed 05 July 2012] Figure 6. Map Presbiteri Johannis, Sive, Abissinorum Imperii Descriptio by Ortelius. Antwerp, 1573. Available from: <http://www.raremaps.com/gallery/detail/9021?view=print > [accessed 30 May 2012] 5 Figure 7. Mercator projection of the world between 82°S and 82°N. Available from: <http://en.wikipedia.org/wiki/Mercator_projection> [accessed 05 July 2012] Figure 8. The Gall-Peters projection of the world map Available from: <http://en.wikipedia.org/wiki/Gall–Peters_projection> [accessed 05 July 2012] Figure 9.
    [Show full text]
  • Bornoftrauma.Pdf
    Born of Trauma: Akira and Capitalist Modes of Destruction Thomas Lamarre Images of atomic destruction and nuclear apocalypse abound in popular culture, familiar mushroom clouds that leave in their wake the whole- sale destruction of cities, towns, and lands. Mass culture seems to thrive on repeating the threat of world annihilation, and the scope of destruction seems continually to escalate: planets, even solar systems, disintegrate in the blink of an eye; entire populations vanish. We confront in such images a compulsion to repeat what terrifies us, but repetition of the terror of world annihilation also numbs us to it, and larger doses of destruction become necessary: increases in magnitude and intensity, in the scale and the quality of destruction and its imaging. Ultimately, the repetition and escalation promise to inure us to mass destruction, producing a desire to get ever closer to it and at the same time making anything less positions 16:1 doi 10.1215/10679847-2007-014 Copyright 2008 by Duke University Press positions 16:1 Spring 2008 132 than mass destruction feel a relief, a “victory.” Images of global annihilation imply a mixture of habituation, fascination, and addiction. Trauma, and in particular psychoanalytic questions about traumatic rep- etition, provides a way to grapple with these different dimensions of our engagement with images of large-scale destruction. Dominick LaCapra, for instance, returns to Freud’s discussion of “working-through” (mourning) and “acting out” (melancholia) to think about different ways of repeating trauma. “In acting-out,” he writes, “one has a mimetic relation to the past which is regenerated or relived as if it were fully present rather than repre- sented in memory and inscription.”1 In other words, we repeat the traumatic event without any sense of historical or critical distance from it, precisely because the event remains incomprehensible.
    [Show full text]