DOCSLIB.ORG

Representations of Gender and Subjectivity in 21St Century American Science Fiction Television

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Representations of Gender and Subjectivity in 21St Century American Science Fiction Television Representations of Gender and Subjectivity in 21st Century American Science Fiction Television Sophie Halliday Submitted for the degree of Doctor of Philosophy University of East Anglia, School of Film, Television and Media Studies March 2014 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract This thesis interrogates representations of gender and subjectivity within 21st century American science fiction television. It recognises a recent convergence of generic concerns, the shifting contexts of television, and the cultural context of 21st century America. Identifying a recent shift in how American science fiction television of this era has engaged with issues of gender and subjectivity, I offer an exploration of this trend via four key texts: Terminator: The Sarah Connor Chronicles (FOX, 2008-2009), Fringe (FOX, 2008-2013), Battlestar Galactica (SyFy, 2004-2009) and Caprica (SyFy, 2009-2010). The importance of this thesis lies in its exploration of new representational strategies in contemporary science fiction television in relation to the female body, and its consideration of the wider socio- cultural concerns of America in the 21st century. Previous attempts have been made to examine the socio-political import of certain series this thesis interrogates. I intervene in these debates by offering a much more focused interrogation of gender and subjectivity in 21st century science fiction television, via the framework of acclaimed and newly emerging series. Utilising a methodological approach that involves detailed textual analysis informed by social and cultural theory, I situate my case study series within the socio- cultural context of 21st century America. As such, this thesis covers a broad range of current representations that speak to how constructions of gender and subjectivity within a contemporary US cultural context are currently being worked through. Foregrounding an engagement with a particularly fraught period of American history via the female body, I argue that the protagonists my case study series present offer a positive intervention in previous estimations of how the female body has been utilised in film and television. As such, this thesis considers the implications of this particular context upon how these protagonists are represented by these newly emerging series. 2 Contents Abstract ....................................................................................................................... 2 Contents ...................................................................................................................... 3 Acknowledgments ...................................................................................................... 4 List of Illustrations ...................................................................................................... 5 Introduction ................................................................................................................ 6 Defining Subjectivity .................................................................................... 9 Method and Structure ............................................................................... 15 Chapter 1: Contexts: Nation, Genre, Medium, Gender ........................................... 22 Myth and Ideology ...................................................................................... 23 Science Fiction and “Cultural Instrumentality” .......................................... 37 The Television Medium .............................................................................. 48 Representing the Female Heroine ............................................................. 60 Chapter 2: “Words to live by”: 21st Century Motherhood in Terminator: The Sarah Connor Chronicles ..................................................................................................... 73 Chapter 3: ‘Brave New World’: The Multiple Roles of Fringe’s Olivia Dunham .. 106 Chapter 4: “That was then and this is now”: Race and Subjectivity in Battlestar Galactica ................................................................................................................. 141 Season 1: “At this point there’s no choice. It’s either them, or us.” ........ 148 Sharon: “I make my own choices.” .......................................................... 165 Chapter 5: “The children of Caprica are lost…we are all lost”: Virtual Realities, Caprica and Youth in the 21st Century .................................................................... 189 Conclusion ............................................................................................................... 222 Bibliography ............................................................................................................ 235 Filmography ............................................................................................................ 257 Teleography ............................................................................................................ 258 3 Acknowledgements I would like to thank the University of East Anglia for the training and support that has been extended to me during my period of study. In particular, I am extremely grateful to my supervisors, Christine Cornea and Keith Johnston, for their guidance, insight and enthusiasm throughout the development of my thesis. To all of my fellow PhD students in the School of Film, Television and Media Studies, thank you for your friendship and feedback during the seminars and conferences we participated in. Special thanks to Rhys Owain Thomas and Ed Clough for their wise words, humour and encouragement. Thank you to Stephanie Fuller and Nina Mickwitz for being both great colleagues and great neighbours, and to Stephen Mitchell for his advice (and banter). To Laura Hone, George Denman, Todd Kerry and Kirsty-Louise Bentley, thank you for all your support over the years. I could always count on you to provide me with necessary breaks from the thesis in the form of barbecues, gigs and trips to various sporting events! Thanks also to Mark and Lucy Leyland, and Jamie Warren and Dan Lockwood, for their friendship. Finally, special thanks are due to my family for their love and support throughout my PhD and university career. To my mother, Marianne, and my father, Nigel, I couldn't have done this without you. Thank you for everything you have done for me. To Richard, thank you for believing in me, and for your interest in my work. To Gill, Natalie, Laura, Anita, Stefan and Sydney, thank you for your encouragement. 4 List of Illustrations 2.1 Sarah paints a wall, behind which she has concelead a shotgun, in 1.01, 'Pilot.' ............................................................................................................. 91 2.2 Sarah takes cover behind a reinforced chair in 1.01, 'Pilot.' ......................... 92 2.3 Sarah visits Dr. Sherman in 2.09, 'Complications. ' ..................................... 103 3.1 Olivia is shot in the head in 4.22, 'Brave New World, Part 2.' ..................... 109 3.2 The twin towers in 1.20, 'There’s More Than One of Everything.' .............. 111 3.3 The 'amber protocol' in 3.01, 'Olivia.' ......................................................... 119 3.4 Olivia stares at her reflection in the amber in 3.01, 'Olivia.' ...................... 130 3.5 Split screen in 3.03, 'The Plateau.' .............................................................. 131 3.6 Olivia stares at the Manhattan skyline in 3.05, 'Amber 31422.' ................. 135 4.1 Zarek on CCTV in 1.03, 'Bastile Day.' ........................................................... 155 4.2 Sharon and Boomer in 1.02, 'Water.' .......................................................... 158 4.3 A grounded Colonial One in 3.01, 'Occupation.' ......................................... 174 4.4 Night time raid in 3.02, 'Precipice.' .............................................................. 178 4.5 Tigh’s missing eye is revealed in 3.01, 'Occupation.' ................................... 183 4.6 Cavil visits Tigh in 3.01, 'Occupation.' .......................................................... 184 5.1 Amanda watches home videos in 1.02, 'Rebirth.' ....................................... 203 5.2 The Cylon chassis in flames in 1.08, 'Ghosts in the Machine.' ..................... 206 5.3 Avatar Zoe in flames in 1.08, 'Ghosts in the Machine.' ............................... 207 5.4 Zoe fights her attackers in 1.10, 'Unvanquished.' ........................................ 214 5.5 The stadium in New Cap City in 1.12, 'Things We Lock Away.' .................... 216 5 Introduction This thesis interrogates representations of gender and subjectivity within 21st century American science fiction television. Science fiction has typically concentrated on issues of subjectivity, and its generic form is historically popular for working through shifts in such issues within national and global contexts. In this thesis I identify a recent shift in how American science fiction television of this era has engaged with issues of gender and subjectivity, and investigate this trend. Explicitly locating this interrogation within a wider American socio-cultural context, I explore how 21st century science fiction
Load more

Recommended publications
  • Brave New World
    BRAVE NEW WORLD by Aldous Huxley (1894-1963) Chapter One A SQUAT grey building of only thirty-four stories. Over the main en- trance the words, CENTRAL LONDON HATCHERY AND CONDITIONING CENTRE, and, in a shield, the World State's motto, COMMUNITY, IDEN- TITY, STABILITY. The enormous room on the ground floor faced towards the north. Cold for all the summer beyond the panes, for all the tropical heat of the room itself, a harsh thin light glared through the windows, hungrily seeking some draped lay figure, some pallid shape of academic goose- flesh, but finding only the glass and nickel and bleakly shining porce- lain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse- coloured rubber. The light was frozen, dead, a ghost. Only from the yellow barrels of the microscopes did it borrow a certain rich and living substance, lying along the polished tubes like butter, streak after luscious streak in long recession down the work tables. "And this," said the Director opening the door, "is the Fertilizing Room." Bent over their instruments, three hundred Fertilizers were plunged, as the Director of Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the absent-minded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly arrived students, very young, pink and callow, followed nervously, rather abjectly, at the Director's heels. Each of them carried a notebook, in which, whenever the great man spoke, he desperately scribbled. Straight from the horse's mouth. It was a rare privilege.
    [Show full text]
  • Parental Kidnapping How to Prevent an 'Abduction and S
    If you have issues viewing or accessing this file contact us at NCJRS.gov. -...... N(' , "j NATIONAL CENTER FOR III&4iINC; I~XI• .A)Ir"I~I) L....-l...----I CHILDREN Parental Kidnapping How to Prevent an 'Abduction and s. What to Do j If Your Child !i • II Is Abducted " :1 n ~ I ,! II'I f! II " \1 Ii i it 11 it IIIi I, : i I; ! \ ,~ \, ; ; I : I ' , j , ! i • , () I 1 $ : --~-, ..,...----- ," The National Center for Missing and Exploited Children "\ - provides training assistance to law-enforcement and child protection agencies to develop effective procedures to investigate and prosecute cases of missing and exploited children - assists individuals, groups, agencies, and state and local governments involved in inves­ tigating and prosecuting cases of criminally or sexually exploited children - provides information and advice on effective state legislation to assure the safety and protection of children - provides prevention and education programs for parents, schools, action groups, agencies, communities, volunteer organizations, law enforcement, and local, state, and federal institutions - distributes comprehensive instruction packages to aid communities in protecting children - organizes networks of information among school systems, school boards, parent-teacher organizations, and community organizations abollt proven techniques for implementing educational programs - conducts an outreach program to alert families, communities, the criminal justice system, and concerned organizations about the nature and extent of child victimization
    [Show full text]
  • 6821191 the Bsg Forum Time Capsule.Pdf
    #6821191 … The bsg forum time capsule. Posted by midshiftbrigwatch on 27 July 2010 - 08:21 PM in Battlestar Galactica Wow. I haven't been on here since 2007. I was part of the big wave of Mansquitos that showed up on the forum after the excitement of the 'bucket drop' in S2.5. Hung out with Cafsiopeia, ViperChic, Chewbekah, WakaWaka, Wahaa! (thirty iterations of Wahaa! that is...), GoonSquad, Dickie Hertz, Viper1, Wingnut622, Sephiroth144, CobraCommander, Frackitall, LurkerKing, JungleBoot, Archimedes, PubliusClaudius, Boozy, Ambrosia Stims, Wolfpack, Zorya, elbe, Goliath, Raymond Shaw (Sean, R.I.P. brother- you inspired me to learn to wield the power of the animated GIF. Can't believe it.), eternalkerri, Malcolm XII, and tons of other good folks who had fun watching this crazy thing for a while. I also was cordial with most of the TOSsers and Moist board "trolls", who in fairness wanted something specific that just wasn't going to happen, but took a Browncoats' stand to get it anyway, and I salute that. It was a furious campaign, but it wasn't exactly ugliness- it was opposing opinion, strong and uncompromising- and no forum since Rome has been without that. Nor should it. Sure, Languatron was a nutjob, sworn by himself to destroy NBC/Universal by any quixotic means necessary, but even the other "trolls" thought he was a nightmare; he made his own board where only he was able to join, post, or read posts for crying out loud! Most of the above mentioned went and played on Moctezuma's Frakheads! for a while after we got fed up with this board's constant banhammerization and the show's increasingly wayward direction in S3 & 3.5.
    [Show full text]
  • Brave New World: the Correlation of Social Order and the Process Of
    Brave New World: The Correlation of Social Order and the Process of Literary Translation by Maria Reinhard A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in German Waterloo, Ontario, Canada, 2008 ! Maria Reinhard 2008 Author's Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This comparative analysis of four different German-language versions of Aldous Huxley’s Brave New World (1932) shows the correlation between political and socio- cultural circumstances, as well as ideological differences, and translations of the novel. The first German translation was created by Herberth E. Herlitschka in 1932, entitled Welt – Wohin? Two further versions of it were released in 1950 and 1981. In 1978, the East German publisher Das Neue Berlin published a new translation created by Eva Walch, entitled Schöne neue Welt. My thesis focuses on the first translations by both Herlitschka and Walch, but takes into account the others as well. The methodological basis is Heidemarie Salevsky’s tripartite model. With its focus on author and work, commissioning institution and translator, it was developed as a tool to determine the factors influencing the process of literary translation. Within this framework, the translations are contextualized within the cultural and political circumstances of the Weimar and German Democratic Republics, including an historical overview of the two main publishers, Insel and Das Neue Berlin.
    [Show full text]
  • The Women of Battlestar Galactica and Their Roles : Then and Now
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2013 The women of Battlestar Galactica and their roles : then and now. Jesseca Schlei Cox 1988- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Cox, Jesseca Schlei 1988-, "The women of Battlestar Galactica and their roles : then and now." (2013). Electronic Theses and Dissertations. Paper 284. https://doi.org/10.18297/etd/284 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE WOMEN OF BATTLESTAR GALACTICA AND THEIR ROLES: THEN AND NOW By Jesseca Schleil Cox B.A., Bellarmine University, 2010 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degre:e of Master of Arts Department of Sociology University of Louisville Louisville, Kentucky May 2013 Copyright 2013 by Jesseca Schlei Cox All Rights Reserved The Women of Battlestar Galactica and Their Roles: Then and Now By Jesseca Schlei Cox B.A., Bellarmine University, 2010 Thesis Approved on April 11, 2013 by the following Thesis Committee: Gul Aldikacti Marshall, Thesis Director Cynthia Negrey Dawn Heinecken ii DEDICATION This thesis is dedicated to my mother and grandfather Tracy Wright Fritch and Bill Wright who instilled in me a love of science fiction and a love of questioning the world around me.
    [Show full text]
  • 2018 – Volume 6, Number
    THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International
    [Show full text]
  • Tattoos & IP Norms
    Case Western Reserve University School of Law Scholarly Commons Faculty Publications 2013 Tattoos & IP Norms Aaron K. Perzanowski Case Western University School of Law, [email protected] Follow this and additional works at: https://scholarlycommons.law.case.edu/faculty_publications Part of the Intellectual Property Law Commons Repository Citation Perzanowski, Aaron K., "Tattoos & IP Norms" (2013). Faculty Publications. 47. https://scholarlycommons.law.case.edu/faculty_publications/47 This Article is brought to you for free and open access by Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Article Tattoos & IP Norms Aaron Perzanowski† Introduction ............................................................................... 512 I. A History of Tattoos .............................................................. 516 A. The Origins of Tattooing ......................................... 516 B. Colonialism & Tattoos in the West ......................... 518 C. The Tattoo Renaissance .......................................... 521 II. Law, Norms & Tattoos ........................................................ 525 A. Formal Legal Protection for Tattoos ...................... 525 B. Client Autonomy ...................................................... 532 C. Reusing Custom Designs ......................................... 539 D. Copying Custom Designs .......................................
    [Show full text]
  • Generic Affinities, Posthumanisms and Science-Fictional Imaginings
    GENERIC AFFINITIES, POSTHUMANISMS, SCIENCE-FICTIONAL IMAGININGS SPECULATIVE MATTER: GENERIC AFFINITIES, POSTHUMANISMS AND SCIENCE-FICTIONAL IMAGININGS By LAURA M. WIEBE, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy McMaster University © Copyright by Laura Wiebe, October 2012 McMaster University DOCTOR OF PHILOSOPHY (2012) Hamilton, Ontario (English and Cultural Studies) TITLE: Speculative Matter: Generic Affinities, Posthumanisms and Science-Fictional Imaginings AUTHOR: Laura Wiebe, B.A. (University of Waterloo), M.A. (Brock University) SUPERVISOR: Professor Anne Savage NUMBER OF PAGES: vi, 277 ii ABSTRACT Amidst the technoscientific ubiquity of the contemporary West (or global North), science fiction has come to seem the most current of genres, the narrative form best equipped to comment on and work through the social, political and ethical quandaries of rapid technoscientific development and the ways in which this development challenges conventional understandings of human identity and rationality. By this framing, the continuing popularity of stories about paranormal phenomena and supernatural entities – on mainstream television, or in print genres such as urban fantasy and paranormal romance – may seem to be a regressive reaction against the authority of and experience of living in technoscientific modernity. Nevertheless, the boundaries of science fiction, as with any genre, are relational rather than fixed, and critical engagements with Western/Northern technoscientific knowledge and practice and modern human identity and being may be found not just in science fiction “proper,” or in the scholarly field of science and technology studies, but also in the related genres of fantasy and paranormal romance.
    [Show full text]
  • Rick Otto New Resume
    Rick Otto SAG-AFTRA TELEVISION FIVE POINTS Guest Star Facebook Watch HAWAII FIVE- O Guest Star CBS / Bryan Spicer UNSOLVED Guest Star USA / Anthony Hemingway AMERICAN CRIME STORY Guest Star FX / Anthony Hemingway BOSCH Recurring Amazon Studios / Various MARVEL AGENTS OF SHIELD Guest Star ABC STUDIOS / David Solomon CSI Guest Star CBS / Louis Milito PERCEPTION Guest Star TNT/ Christopher Misiano TEEN WOLF Guest Star MTV/ Christian Taylor HOLLYWOOD HEIGHTS Series Regular SONY TV/ Various THE WALKING DEAD Recurring AMC / Greg Nicotero THE UNKNOWN Guest Star SONY/ Crackle Martha Coolidge DOLLHOUSE Guest Star FOX / Tim Minear THREE RIVERS Guest Star CBS / Christine Moore DESPERATE HOUSEWIVES Recurring ABC STUDIOS/ Various THE WIRE (3 seasons) Recurring HBO/ Various CRIMINAL MINDS Guest Star CBS / Anthony Hemingway NCIS Guest Star CBS / Martha Mitchell LAW AND ORDER: SVU Guest Star NBC / Peter Leto WITHOUT A TRACE Guest Star CBS / Martha Mitchell FILM TROUBLE SLEEPING Lead Dir: Robert Adetuyi ALWAYS WATCHING Supporting Dir: James Moran RED TAILS Supporting Dir: Anthony Hemingway POINT BREAK 2 Supporting Dir: Jan de Bont THE GOOD HUMOR MAN Supporting Dir: Tenney Fairchild MY DAUGHTER’S TEARS Supporting Dir: Sherry Norman R.S.V.P. Supporting Dir: Mark Anthony Galluzo BREAD AND ROSES Supporting Dir: Ken Loach ENEMIES OF LAUGHTER Supporting Dir: Joey Travolta THE THIN RED LINE Supporting Dir: Terrence Malick PHANTOMS Supporting Dir: Joe Chappelle CRAZY WORLD Supporting Dir: Mike Franzini THEATRE TRUE WEST Austin Samuel Beckett Theatre Playwright Horizons SWEET BIRD OF YOUTH Chance Samuel Beckett Theatre Playwright Horizons SIGHTINGS Chad Christopher Street THE WOOL GATHERER Cliff Perry Street Theatre TRAINING UTA HAGEN HB Studios, NYC BOBBY LEWIS NYC SUSAN BATSON AGENT: Brianna Ancel/Scot Reynolds / Phone: 818-509-0121 / Fax: 818-509-7729 10950 Ventura Blvd, Studio City, CA 91604 / [email protected] / [email protected] .
    [Show full text]
  • Zálohadiplomka Konečná Verze
    Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Kristýna Chmelíková (FAV, magisterské navazující prezen ční studium) Narativn ě komplexní seriál a jeho transmediální extenze Případová studie amerického seriálu Battlestar Galactica Magisterská diplomová práce Vedoucí práce : Mgr. Pavel Skopal, Ph.D. Brno 2011 Prohlášení o samostatnosti Prohlašuji, že jsem pracovala samostatn ě a použila jen uvedených zdroj ů. Datum Podpis 31. dubna 2011 ............................................................................. 1 Poděkování Za vedení diplomové práce a cenné p řipomínky d ěkuji Mgr. Pavlu Skopalovi, Ph.D. Za podn ětné konzultace tématu pat ří m ůj dík Mgr. Jaroslavu Švelchovi a Mgr. Radomíru D. Kokešovi. Děkuji též Martinu Chmelíkovi za pomoc p ři zpracování graf ů a Vendule Pavlí čkové za jazykové korektury. Pod ěkovat za srde čnou podporu, a to nejen v dob ě vzniku této práce, pak chci svým rodi čů m a Michalu Kašpárkovi. 2 Klíčová slova Narativn ě komplexní seriál, transmediální vypráv ění, transmediální extenze, konvergence médií, narativní analýza, produser, hyperdiegeze, Battlestar Galactica Keywords Narrative complexity of a TV series, transmedia storytelling, transmedia extension, media convergence, narrative analysis, produser, hyperdiegesis, Battlestar Galactica 3 Obsah 1. Úvod ................................................................................................................................................ 6 1.1 Ne p říb ěh, ale sv ět nebo ansámbl.............................................................................................
    [Show full text]
  • Scandinavian Studies Newsletter
    Department of German, Nordic, and Slavic + Scandinavian Studies Newsletter Fall 2020 Volume xxiv, Issue 1 1 A Message from the Program Chair Greetings to all of you. We sincerely hope that this newsletter finds you well and COVID-free. We also hope that our newsletter will provide you with some interesting reading material now that we’re once again pretty much confined to our homes. Needless to say, this has been a very strange semester for students, staff, and faculty. As you probably know, we started off with smaller classes taught face-to-face, but because of a surge of students testing positive for COVID, we soon had to shift to online teaching. After a couple of weeks, the COVID cases di- minished, and once again faculty and staff teaching low-enrollment classes were allowed back on campus in order to resume face-to-face teaching. Some chose to do so, while others did not. After Thanksgiving, we have all been teaching online. The winter break has been extended by one week, and spring break has been eliminated. This is, of course, an attempt to keep the virus from spreading. We have both good and sad news. We are delighted to welcome two new faculty members: Benjamin Mier- Cruz and Liina-Ly Roos. Both are featured in this newsletter. They bring to the Nordic Unit interesting, new courses and research projects, and we’re very happy to have them as colleagues. The sad news is that Peggy Hager, our lecturer in Norwegian, decided to retire. We’re going to miss her very much.
    [Show full text]
  • Le Héros Hollywoodien Dans Les Mailles De La Télésurveillance Et Dans La Ligne De Mire Du Drone
    Décadrages Cinéma, à travers champs 26-27 | 2014 Drones, cartographie et images automatisées Le héros hollywoodien dans les mailles de la télésurveillance et dans la ligne de mire du drone Alain Boillat Édition électronique URL : http://journals.openedition.org/decadrages/741 DOI : 10.4000/decadrages.741 ISSN : 2297-5977 Éditeur Association Décadrages Édition imprimée Date de publication : 10 avril 2014 Pagination : 14-47 ISBN : 978-2-9700668-8-0 ISSN : 2235-7823 Référence électronique Alain Boillat, « Le héros hollywoodien dans les mailles de la télésurveillance et dans la ligne de mire du drone », Décadrages [En ligne], 26-27 | 2014, mis en ligne le 14 décembre 2015, consulté le 30 avril 2019. URL : http://journals.openedition.org/decadrages/741 ; DOI : 10.4000/decadrages.741 ® Décadrages Dossier : Drones 14 Alain Boillat Le héros hollywoodien dans les mailles de la télésurveillance et dans la ligne de mire du drone Les dispositifs de prise de vues induits par les satellites de télésur- veillance et les drones s’inscrivent dans la iliation d’un imaginaire fan- tasmatique de la machine comme prothèse perceptive – l’œil de l’appa- reil permettant d’aller au-delà des capacités sensorielles humaines, qu’il s’agisse d’une vision microscopique ou macroscopique – dans le cadre duquel le cinéma a également été envisagé, en particulier au cours de la première période de légitimation du médium en tant qu’art et de valori- 1 Voir à ce propos Laurent Guido, L’A ge sation esthétique des traits de la modernité, entre la in des années 1910 du rythme. Cinéma, musicalité et culture 1 du corps dans les théories françaises des et le milieu des années 1920 .
    [Show full text]