FACELESS was produced under the rules of the ‘Manifesto for CCTV Filmmakers’. The manifesto states, amongst other things, that additional cameras are not permitted at filming locations, as the omnipresent existing video surveillance (CCTV) is already in operation.
Tag Archives | Science Fiction
Exploring the radical roots of a popular science fiction genre. Via Airships, Anarchists, & Anachronisms:
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Steampunk began as a radical satirical form of fiction, but today it encompasses much more. What precisely is steampunk? As the editors of Steampunk Magazine explain, steampunk is “a vibrant culture of DIY crafters, writers, artists, and other creative types, each with their own slightly different answer to that question.” By its diverse nature, steampunk resists definition. Furthermore, in the ever evolving nature of steampunk, “as each new iteration of the idea becomes more ambitious, the mutations are delightfully limitless and unpredictable.”
This definition seems in line with Rachel A. Bowser and Brian Croxall’s statement that, “Steampunk is more about instability than any other single characteristic. It resists fixedness by unsettling the categories from which it cribs.” Yet, the authors do provide a definition for those looking for the quintessential steampunk. They write:
That being said, one common element arguably shared by all steampunk texts, objects, or performances is the one on which this journal is predicated: the invocation of Victorianism.
Here are some notes from an older (September 2010) questions and answers session from William Gibson’s Zero History tour. Via Technoccult:
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Asked about the intelligence communities in his books
I don’t want anyone to think I’ve gone “Tom Clancy” but what you find is that you have fans in every line of work. How reliable those narrators are I don’t know, but they tell a good story.
Asked about humor in his work.
Neuromancer was not without a comedic edge. My cyberpunk colleagues and I back in our cyberpunk rat hole sniggered mightily as we slapped our knees.
But writers can’t have more than two hooks. “Gritty, punky,” sure. “Gritty, punky, funny” doesn’t work.
I asked him about the slogan “Never in fashion, always in style” because I read that slogan on his blog and never found out what company that slogan actually belonged to.
Aero Leathers in Scotland.
The New Inquiry unearths the 1959 work of sci-fi satire that arguably coined the term — now used in earnest by many pundits to describe and defend our current society:
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Michael Young’s The Rise of the Meritocracy begins in 2034 with a puzzled member of the commanding elite of the future wondering why in the world various discontented factions of the meritocratic society could be contemplating a general strike.
The more plausible meritocracy seems, the more self-righteous and intransigent the “meritorious” will become. In other words, the obvious shortcomings of the meritocracy myth don’t prevent beneficiaries of the status quo from taking ideological comfort in the idea.
There are inescapable problems of definition and measurement. What counts as merit? Who decides, and how is this decision objective? What sort of tests can be devised to isolate “merit” from some inherently privileged position in society that facilitates it? Doesn’t power redefine merit in terms of itself, and what it needs to preserve itself?
Anna North writes on Jezebel:
A Chinese newspaper claims two young girls committed suicide in hopes of traveling back in time like the characters on popular TV shows. Is this a real case of death-by-TV, or is it government propaganda?
The English-language site People’s Daily Online has the story, which apparently originated at the paper China Daily. Fifth-grader Xiao Hua (not her real name) apparently “realized she lost the remote control for a rolling door at her house.” So she decided to commit suicide. Her friend Xiao Mei (also a pseudonym) decided to die with her, “because they were the best friends.” She, however, had bigger concerns than a remote control: “She planned to travel back to the Qing Dynasty (1644—1911) to make a film of an emperor; and she wanted to visit outer space.” The two wrote suicide notes and then drowned themselves in a pool.
This sounds like a cautionary tale about parenting — if your kid thinks killing herself is a good response to losing the remote control, you might not be sending the right message about the value of everyday objects …
Read More: Jezebel
In this column for Toronto Standard, Emily Keeler asks, “Are Dystopic literary visions becoming the way of the world?” Call me Henry Case, but i think she might be on to something.
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Okay, it’s true: I tend to prefer fiction to fact. Though some journalists (and essayists) who work with what you might call “reality” get my gears going, I typically think stories are better, if only because they offer a window to a different, much less banal world. I learned early that novels are a place to run to, islands of respite from the endless rowing across the boring and tedious ocean between birth and death. It’s a place, to abuse a phrase associated with one of fiction’s loudest champions, where I can go to get away from being already pretty much away from it all. Stories relieve me of myself, from the blandness of my mostly apolitical and largely unremarkable life, and none more so than fictions of the mystifying future.
Well, haven’t we all been treated to quite the show lately? Of course I’m talking about the debates for the Republican Party’s primary in Florida, which have degenerated into an unseemly picking over the corpse of Reagan-era optimism, each candidate trying to prize from Zombie Ronnie’s rigor mortised grasp the famed Talisman of Americana. Shameful and disgusting.
The mind readily grasps the allure of laying claim to the mantle of the august Uncle Dutch (i.e., being the only legitimate basis of rule, the “One Meme to Rule Them All”). Therefore it is hardly surprising that its power should attract the devious lust of unsavory creatures from beneath even the dankest rocks in the even the darkest corners of America’s mushroom garden. That is merely natural and expected, actually a necessary function of narrative causality, being all the better to highlight by means of contrast the enlightened munificence and nobility of the True Heir of the king who single-handedly defeated the corrosive and perverse troglodytes of The Evil Empire.… Read the rest