„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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Anna McFarlane, Graham J. Murphy, and Lars Schmeink
In his book The Seven Beauties of Science Fiction, Istvan Csicsery-Ronay argues that today’s social, political, and cultural realities have become science-fictional, that estrangement and dislocation constitute our habitual normalcy in the 21st century.
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1 – In his influential study Terminal Identity: The Virtual Subject in Postmodern Science Fiction, Scott Bukatman argues that “the real advent of cyberpunk, with the publication of [William Gibson’s] Neuromancer in 1984, was preceded by at least three films that, in varying ways, had a formative impact upon the cyberpunk aesthetic: Videodrome, Blade Runner,and TRON” (137).
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While it is not quite clear when and where the term ‘biopunk’ was first used, its heritage reflects two distinct traditions of literary science fiction (sf): that of cyberpunk on the one hand, and that of biological sf on the other.1
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