This talk was originally given at the 13. Jahrestagung der Gesellschaft für Fantastikforschung – Fantastic Geographies – at the TU Dortmund on Sep 22, 2022. Here is a recording to listen to or the text to read along my slides.
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The research for this talk was made possible my Leverhulme Professorship at the University of Leeds during the first half of 2022. It was funded by the Leverhulme Trust and hosted by Prof. Dr. Ingo Cornils, Professor of German Studies at LCS Leeds. The lecture was given on several occasions during my time in the UK, among them the following recording from the University of Glasgow, Center for Fantasy and the Fantastic. Here, I provide a link to the video, as well as the transcript and slides for those interested in contemporary German Science Fiction.
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This article was written in English and then translated into Catalan for publication on Elbiblionauta.com by Sara Martín Alegre. Check out the translation here – LINK, or the English version:
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„Schwäbischer Spielberg“ wird Roland Emmerich genannt. Dennoch sieht Lars Schmeink den Regisseur nicht als Vertreter einer deutschen Science-Fiction. Das Genre habe es nicht leicht gehabt, sich hierzulande zu entwickeln, so der Medienwissenschaftler.
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This is the first Leverhulme Lecture, held at Anglia Ruskin University on Mar 16, 2022, that I have given during my Leverhulme Professorship at the University of Leeds. Here is the transcript, a video of me talking and the slides/videos that I have used. Hope you can piece something together from this.
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Michael Pitts has written a good general review of The Routledge Companion to Cyberpunk Culture (edited by Anna McFarlane, Graham J. Murphy, and Lars Schmeink) in SFRA Review, vol. 52, no. 1, 241-42. – LINK – Here is a nice quote:
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Jeffrey Andrew Weinstock, ed. The Monster Theory Reader. U of Minnesota P, 2020. Paperback, 600 pg. $35.00. ISBN 9781517905255.
If you subscribe to the theory that Mary Shelley is a key figure in the genesis of science fiction, then it is only a small step to claim that the figure of the monster is as central to science fiction as it is to horror.
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In her seminal book, How We Became Posthuman, N. Katherine Hayles discusses the connection of subjectivity and embodiment and warns her readers that “my nightmare is a culture inhabited by posthumans who regard their bodies as fashion accessories rather than the ground of being” (5).
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Als Margaret Atwood bestimmte Trends in der naturwissenschaftlichen Forschung bemerkte, konnte sie als Autorin spekulativer Romane wohl nicht umhin, über die Konsequenzen dieser Trends nachzudenken. Denn die Forschung, etwa im Rahmen der Genetik, schien auf gefährliche Endpunkte hinauszulaufen, sollte man konsequent bestimmte Ideen bis zu ihrem logischen Ende weiterverfolgen.
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Martin de la Iglesia and Lars Schmeink
Up until the late 1980s, Japanese anime had gone mostly unnoticed in the west and it fell to cyberpunk film, specifically Katsuhiro Ōtomo’s Akira (1988) and Mamoru Oshii’s Ghost in the Shell (1995), to change the western perception of animated films forever.
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