Blog #7
16 comments Thursday, October 30, 2008


Referring to the screening of Ghost in the Shell (1995) and Susan Napier's "Doll Parts: Technology and the Body in Ghost in the Shell," what is the position of the human or physical body in the film (for instance, the mostly human Togusa or the memory-hacked garbage collector)? How does Kusanagi's cyborg body (and its three "falls") become a vehicle for transcendence?

Posted byS. Greene
at4:03 PM

16 comments
 
Blog #6
19 comments Thursday, October 16, 2008

Jean Michel Basquiat (1960-1988) Molasses, 1983

Afrofuturism is an appropriation by cultural producers of science fiction imagery, tropes of technology and science, and a "prosthetically enhanced future" to represent the experiences of the African diaspora. From your reading of the Alondra Harris essay "Introduction: Future Texts" and your viewing of John Sayles' Brother from Another Planet, address the following questions:

What does Alondra Nelson identify as a predominant myth of the self in the virtual age? According to Nelson, how and under what conditions have African disaporic authors contributed to the conceptualization of the multiple, fragmented, or non-unified self of the digital age?

What does Nelson find problematic with the use of the term “digital divide”? In what ways does Brother from Another Planet address issues of access to technology by disenfranchised communities?

Posted byS. Greene
at8:27 AM

19 comments
 
Blog #5
20 comments Friday, October 10, 2008




According to Barbara Creed ("'Alien' and the Monstrous-Feminine"), what is the "abject" and how does it secure boundaries between the human and non-human (monstrous) in Alien? What is the "primal scene" and how does Alien as horror/science fiction represent the primal scene for the spectator? According to Creed, why does the spectator derive fear/pleasure from viewing the horror film?

Posted byS. Greene
at7:07 AM

20 comments
 
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