Imperfect worlds and dystopian narratives in contemporary cinema
Title:
Imperfect worlds and dystopian narratives in contemporary cinema
ISBN:
9783631614891
Publication Information New:
Frankfurt ; New York : Peter Lang, 2011.
Physical Description:
190 pages ; 22 cm.
Contents:
Contents: Artur Blaim/Ludmiła Gruszewska Blaim: Introductory Remarks: The Uses of Dystopian Worlds – Artur Blaim: Failed Carnival: The Metonymic Dystopias in Werner Herzog’s Even Dwarfs Started Small – Barbara Klonowska: Defamiliarization of Dystopian Narratives: Esteban Sapir’s The Aerial – Zofia Kolbuszewska: Of Dystopia, Desire and Death: Goto, the Island of Flies – Grzegorz Maziarczyk: Huxley/Orwell/Bradbury Reloaded; or, The Campy Art of Bricolage – Justyna Galant: Vague Boundaries and Re-configured Senses: Dystopia(s) in the making in David Cronenberg’s Videodrome – Ludmiła Gruszewska Blaim: Against the Culture of Fear: Terror and Romance in V for Vendetta – Marta Komsta: Juliusz Machulski ’s Sexmission, or Paradise Regained – Andrzej Sławomir Kowalczyk: Between Dystopia and Eutopia: Andrei Tarkovsky’s Stalker – Katarzyna Pisarska: Out of the Drawer and Back Again: Utopian Satire in Juliusz Machulski ’s Kingsajz – Ludmiła Gruszewska Blaim/Patrycja Wawrzyszak: East European Golgotha: Constructing Postmodern Dystopia in Piotr Szulkin’s Ga-ga: Glory to the Heroes – Urszula Terentowicz-Fotyga: On the Impossibility of Dystopia? Children of Men or the Apocalypse Now.
Abstract:
Imperfect Worlds and Dystopian Narratives in Contemporary Cinema is a collection of studies on filmic dystopias: Goto, the Island of Love; Even Dwarfs Started Small; Stalker; Videodrome; Sexmission; Ga-ga: Glory to the Heroes; Kingsajz; Equilibrium; V for Vendetta; Children of Men; The Aerial. Employing a variety of theoretical perspectives (from cultural semiotics to post-structuralist approach), the authors analyse films from different cultural, linguistic and political contexts, demonstrating the interplay between the formulaic dystopian facade and narratological inventiveness, heightened intertextuality, and generic hybridity. The contributors also explore the ways in which dystopian cinema adapts the motifs and techniques borrowed from classic literary dystopias.
Electronic Access:
View the back cover
Language:
English