Technology fetishism in The Wandering Earth.
My claim is that Frant Gwo's film, The Wandering Earth (2019), fetishises technology and, in so doing, forces Western audiences of the film to face an otherwise outdated thematic motif of social togetherness or solidarity. That is, the exquisite onscreen rendering of advanced technological achieveme...
| Publicado en: | Inter-Asia Cultural Studies Vol. 21; no. 1; pp. 20 - 38 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Mar2020
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| 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=142399747&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 142399747 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14649373 B8U jtl: Inter-Asia Cultural Studies issn: 14649373 maglogo: N pubinfo: dt: Mar2020 vid: 21 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 142399747 10.1080/14649373.2020.1720387 ppf: 20 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.9MB tig: atl: Technology fetishism in The Wandering Earth. aug: au: Khan, Amir affil: School of Foreign Languages, Dalian Maritime University, Dalian, People's Republic of China su: Technology Fetishism (Religion) Decolonization Film studies China sug: subj: China Technology Fetishism (Religion) Decolonization Film studies keyword: Chinese cinema David Harvey decolonization film studies Fredric Jameson Mobo Gao Technology fetishism The Wandering Earth the West ab: My claim is that Frant Gwo's film, The Wandering Earth (2019), fetishises technology and, in so doing, forces Western audiences of the film to face an otherwise outdated thematic motif of social togetherness or solidarity. That is, the exquisite onscreen rendering of advanced technological achievement (the construction of 10,000 Earth Engines designed to drive the planet to inhabit another solar system after the sun begins to rapidly deteriorate) acts as an aesthetic Trojan Horse. We in the West are seduced by the slick technological hardware showcased in the film; from there, however, the film forces us to ask if such advanced technology can be achieved outside of the profit-motive. The capable visual rendering of technological progress subtly masks a more subversive political message critiquing Western colonization of the planet. In the end, the film asserts China's right to lead humanity past impending global disaster not simply (nor solely) by making the necessary hard technological leaps, but by mobilizing the necessary collective energy and will of the world's colonized and oppressed. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Inter-Asia Cultural Studies is the property of Taylor & Francis Ltd 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: Inter-Asia Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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