Mad Max -- Spare-Parts Heroes, Recycled Narratives, Reused Visualities and Recuperated Histories.
The main assumption of this paper is that the mechanisms science fiction cinema uses follow three directions in order to create new representations. One is the cinema narratives that develop new worlds by simply mimicking the present day political and cultural contexts. In their critical form, these...
| Publicado en: | Caietele Echinox Vol. 29; pp. 185 - 207 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Echinox Cultural Foundation
2015
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=111744385&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 111744385 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 1582960X 90EZ jtl: Caietele Echinox issn: 1582960X maglogo: N pubinfo: dt: 2015 vid: 29 pid: 52779 pub: Echinox Cultural Foundation artinfo: ui: 111744385 ppf: 185 ppct: 22 formats: fmt: @attributes: type: P size: 281KB tig: atl: Mad Max -- Spare-Parts Heroes, Recycled Narratives, Reused Visualities and Recuperated Histories. aug: au: POP, DORU affil: Babeş-Bolyai University, Cluj-Napoca, Romania su: Science fiction films Motion pictures Dystopian films Mad Max (Film) Postmodernism (Literature) sug: subj: Science fiction films Motion pictures Dystopian films Mad Max (Film) Postmodernism (Literature) keyword: Mad Max Negation of Negation Political Representation Recycled Aesthetics Reused Cultural Myths Science Fiction Cinema Utopian and Dystopian Movies ab: The main assumption of this paper is that the mechanisms science fiction cinema uses follow three directions in order to create new representations. One is the cinema narratives that develop new worlds by simply mimicking the present day political and cultural contexts. In their critical form, these are negations of present. Another major function is that of future projections using past histories and mythologies. In their negative form, they are often dystopian worlds. This dichotomy between the utopian vs. dystopian representations has been raised and dealt with in art and literature. Yet the divide between utopian (as modern, positive future projection) and dystopian (as postmodernism, defective representation) is described by the author as limited. The method used to move beyond is the negation of negation, practiced as an interpretative principle, which can deal with the issue of retroactive projections. In order to provide some answers to these complex problems, the author uses examples from the cult series "Mad Max", analyzed as a coherent case study. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Caietele Echinox is the property of Echinox Cultural Foundation and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Caietele Echinox holder: Echinox Cultural Foundation dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
|---|