Es gibt eigentlich so gut wie kein Review des Films Splice (CDN/FR/US 2009, dt. Splice – Das Genexperiment), in dem nicht auf die Bezüge zu Frankenstein (1816) verwiesen wird, und sei es nur, um die Erwartungen des Rezipienten zu lenken und den Film so deutlich im Horrorsegment zu positionieren.Weiterlesen
Oryx and Crake is a near-future dystopian novel with strong satiric undertones that revolves around the innovations of gene splicing and their consequences. The novel follows Snowman, the survivor of a global and apocalyptic gene plague, in his every day struggle for survival and in his caretaking of a new race of bioengineered posthumans called the Crakers. In order to hunt for supplies Snowman returns to the bioengineering facility where he used to work, and in flashbacks reveals his pre-apocalypse life as Jimmy, best friend and unwitting accomplice to Crake, the genius behind both the plague and Crakers.Weiterlesen
Fremde Welten – Wege und Räume der Fantastik im 21. Jahrhundert
Strange Worlds – Paths and Spaces of the Fantastic in the 21st Century
October 1st of 2010 marks the beginning of a new era for the European fantastic as the German-based Gesellschaft für Fantastikforschung e.V. (GFF) (Association for Research on the Fantastic) inaugurated itself at its first annual conference at the University of Hamburg. The four-day event from Sep 30th to Oct 3rd offered its participants more than one hundred and thirty talks in four different strands, both in English and in German, discussing key issues of the fantastic in Europe and especially in European academia.Weiterlesen
Welcome to convergence culture, where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways.
It is hard to say what ranks lower on the artistic food chain than video games. Comic books? TV sit-coms? X-rated films? These ratlike vermin at the bottom scurry to avoid the thunderous footfalls of the towering behemoths of the art world. […] Is that even art? (Robinett viii)Weiterlesen