Poll: The Next Retro Nostalgia Film (#2)? You Decide!
And now it’s your turn to decide which film I’ll watch for this Monday’s Retro Nostalgia feature. Choose wisely!
And now it’s your turn to decide which film I’ll watch for this Monday’s Retro Nostalgia feature. Choose wisely!
Earlier, I asked for film suggestions for my Retro Nostalgia feature thinking that there would be some kind of simple consensus. Boy was I wrong! And so, in order to decide which film I’m going to watch for tomorrow, I’m creating this little poll, which you all get to vote in. It’ll run until midnight, since I need time to actually watch whichever film you all decide on. Anywho!
(Note: There’s a little request for input at the end. I’d really appreciate your thoughts.) Lately, I’ve found myself wanting to change how things are run on this site. You’ll have noticed that I wasn’t an active blogger for the latter half of 2012, whereas the first month-ish of 2013 has shown the exact opposite. Part of this had to do with a lack of time on my part, but it also stemmed from having nothing to say, or not having the will to put some thought into topics suggested to me. I don’t want the same thing to happen in 2013, which is why I start this thread on Google+ asking about scheduled columns and other blog-related things. That thread gave me the push I need to make the following changes: 1) For the foreseeable future, the following will be regular, day-specific features on this blog (some will have proper titles; some will not): Monday — Retro Nostalgia (rethinking/re-examining classic genre films/TV — Example) OR Movie Reviews (Example) Tuesday — Free Day (I can write about whatever I want) Wednesday — Exploring Genre Literature (in which I examine actual works of lit, new and old, in a similar fashion as this recent post on Myke Cole’s Shadow Ops series) — this needs a proper title, methinks. Thursday — Free Day (I can write about whatever I want) Friday — Adventures in Teaching (discussions about teaching genre lit, and related teaching topics — Example) Saturday — Book Review Saturdays (Example) Sunday — Free Day (I can write about whatever I want) Note: Free Days are also days I will post non-weekly stuff, such as my “Adventures in…Cancer” stuff (see below). 2) Occasionally, I post short bits on little videos I’ve found or academic material I think you all might be interested in. Those columns will continue to appear somewhat randomly throughout the year (Videos Found, Academic Spotlight, Promo Bits, Photo Bits, etc.). I may also continue the Science My Science Fiction columns, although with a different thought process behind it. Peggy Kolm already explores the intersections between science and science fiction with the kind of detail you’d expect of someone who focuses on that issue; I, therefore, need to find a very unique direction for that column. 3) I will continue to blog about my cancer experiences, though on a more regular schedule. For now, I am making it an every-other-week feature, starting the week after next. It is possible I will make more changes to this schedule in the future, either by moving things around, adding new columns, or something else (I’ve considered creating an interview series here, but I already review/interview so much at The Skiffy and Fanty Show that I’m not sure I can really put in the time for such a thing — we’ll see). So that’s that. The game starts tomorrow (not “the” game, mind — that’s in about 4 hours…). P.S.: If anyone has better titles for these features, please let me know. I’m terrible with titles… Likewise, if you have any thoughts, opinions, suggestions, etc., send an email to arconna[at]yahoo[dot]com or leave a comment. You can suggest just about anything (posts you’d rather see, etc. etc. etc.).
Short, but sweet. I had no idea they were making a Captain Harlock movie. If you don’t know who that is, it’s because you don’t watch enough anime. You should start. Immediately. Anywho. Despite the random almost-nude shot (so strange for anime to have a skin fetish, after all — ha), it looks like a compelling film, no? If by “compelling” we mean “two hours of gun battles, space battles, sword fights, and all the other cool trappings of genre,” that is. Here’s the video (after the fold):
On the recent Skiffy and Fanty Show podcast, my friend Jen and I interviewed author Myke Cole about Shadow Ops: Fortress Frontier, the sequel to his 2012 hit, Shadow Ops: Control Point (which we interviewed him about here). During the discussion, we (Jen and I) sidetracked from asking Myke direct questions to actually considering the world he had actually created — specifically, the ethics of that world and how it might actually happen in the real world. I’d like to continue some of that discussion here (on top of this post by Myke on a similar subject). For those that are unfamiliar with Myke’s work, you’ll need to know that Shadow Ops takes place in an alternate present where “magic powers” (a.k.a. superhero powers) are monitored and “controlled” by the various world governments. In the case of the U.S., they have sought to control these powers and the people who have them by banning their use in the general populace and forcing people who discover that they are “latent” to join the military (or some related agency, depending on the need). Much of the “forcing” isn’t publicly acknowledged, which becomes apparent in this brilliant book trailer for Fortress Frontier: One of the questions I’ve always asked myself when looking at any superhero universe (whether it’s Myke’s or the X-Men universe or whatever) is “What would we actually do?” Myke’s universe is not that different from popular comics like X-Men. In a way, the narrative of government control, often using violent force, is a staple of superhero narratives. And rightly so. It’s possibly the most important issue in any superhero world still populated by “normies.” Magneto recognized this when he waged a personal war against humanity, assuming that mutants would become the dominant lifeforms on the planet (the evolutionary model is more important to X-Men than Shadow Ops); thus, what seems like a fit of genocidal thinking turns into a vendetta that is both biologically and personally-oriented (Magneto’s heritage is crucial to his motivations, however problematic). Of course, his actions also fueled the very things he had hoped to prevent. No idea how he has an 8-pack…not likehe actually lifts anything. In Myke’s world, however, the the only rational answer the officials can come up with is “CONTROL” (hence the name Control Point for his first book — one of many meanings). Not surprisingly, this is a painfully repetitive human response. For example, the current debate over gun control is largely an emotional response to something we don’t quite understand — mass shootings (this is not intended as a 1-to-1 analogy). When bad things happen, the human response is often to control that thing, because to control “evil” is to secure the “good” (or something like that). We jump on “mental health” and “fewer guns or stricter laws” because they are the simple answers to problems which, on the surface, appear simple, but, underneath, are complicated. The same thing has happened throughout history, with some noticeable spurts of reasoned progress.* The Shadow Ops series is a great example of this knee-jerk response at work, but based on an actionable threat. If random people gain extraordinary powers, wouldn’t it make sense to launch at campaign to control those powers? Certainly. In the face of a presumed evil (I use this word lightly — the “other” might be a more appropriate term), we can only conceive the arrival, the moment when we know something new and terrifying has arrived, and we must take whatever action we can to prevent that change from overwhelming civilization itself. Some superhero universes use mutant registration, incarceration, extermination, indentured servitude (such as military service in Shadow Ops), or some other method of control that inevitably punishes the “mutant” for having abilities they didn’t ask for. George Clooney, Howard E. Rollins, Jr., and Aamir Khan walk into a bar… Mutant punishments, then, are easy analogues for the real world. People like to make grand comparisons between gay rights, race, and so on and so forth when talking about superheroes. They are fair comparisons when you treat the issue simplistically. I, however, don’t see the validity in such comparisons, in part because there is something tangibly different about a superhero. Arguments against the inclusion of LGBT people in contemporary society are, in my honest opinion, based not on rational determinations of “social damage,” but rather on unfounded accusations that such damage occurs and that it is exclusively the fault of LGBT people. I have seen a few studies which suggest that children raised by gay parents may suffer as a result, but these studies are always a reflection of how social conditions influence children and marginalized groups. In other words, if you raise kids in a homophobic culture, it shouldn’t surprise us that kids of LGBT parents develop social relationships that appear “damaged” in comparison to kids of heterosexual parents; there’s no way to know what effect LGBT parents have on their children without having those results tainted by the culture around us (woe be to sociology!). Similar arguments were made about people of color and so on and so forth — the wheel keeps turning. The older I get, the harder it is for these arguments to remain palatable for me… And then they made it into a movie… But some of those same arguments are actually valid when it comes to superheroes. For example, there are tangible social and physical impacts on the nation when unusual and seemingly supernatural powers are involved. If you think school shootings are terrible, imagine a world with superheroes. Someone who can control the earth around us could easily smash thousands of houses beneath a landslide. A person with fire on his fingertips could burn cities to the ground. Someone with a variation on teleportation (a la Jumper; porting in Myke’s universe) could steal untold amounts from banks or infiltrate secure areas (and, therefore, threaten national security — see the second X-Men movie). Whether we like it or not, superheroes are a potential threat to social stability, since their
A new feature around these parts! The Academic Spotlight’s purpose will be to draw attention to the wide range of new and old scholarship on genre fiction floating about on the net, from special issues of academic journals, to essay collections, to books, and so on and so forth. In some cases, I’ll offer some thoughts on the work in question — particularly if I’m familiar with it. Why am I doing this? Because I think academia is important, even if it is sometimes inaccessible to the wider public ($75 for an academic book is a lot to ask for; additionally, the writing styles are often not conducive to general reading). The first entry into this feature is Gurevitch’s With Both Feet in the Clouds: Fantasy in Israeli Literature. The book came out on the first of January, though I only discovered it today through the World SF blog. Personally, I don’t know much about Israeli genre fiction. My exposure to writers from that part of the world has been relatively limited: Lavie Tidhar and Niv Yaniv are the two I can name off the top of my head. Still, I’m fascinated by this work because it fills in some of the gaps in the genre/academic community. The question I have is this: What other works on Israeli genre fiction area already out there, and how much of it has been translated into English? If you happen to know something about this particular sub-field, feel free to leave a comment. You can read a review of the book by Abigail Nussbaum here. Note: The title seems to fluctuate between With Both Feet in the Clouds and With Both Feet on the Clouds. I’m not sure why these differences exist, so you’ll excuse the confusion between the title of this post and the title of the book image below. Description: Why do Israelis dislike fantasy? Put so bluntly, the question appears frivolous. But,in fact, it goes to the deepest sources of Israeli historical identity and literary tradition. Uniquely among developed nations, Israel s origin is in a utopian novel, Theodor Herzl s Altneuland (1902), which predicted the future Jewish state. Jewish writing in the Diaspora has always tended toward the fantastic, the mystical, and the magical. And yet, from its very inception, Israeli literature has been stubbornly realistic. The present volume challenges this stance. Originally published in Hebrew in 2009, it is the first serious, wide-ranging, and theoretically sophisticated exploration of fantasy in Israeli literature and culture. Its contributors jointly attempt to contest the question posed at the beginning: why do Israelis, living in a country whose very existence is predicated on the fulfillment of a utopian dream, distrust fantasy?