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The Intersection: Imagine

15 Feb

“This is called the theory of narrative causality and it means that a story, once started, takes a shape. It picks up all the vibrations of all the other workings of that story that have ever been. This is why history keeps on repeating all the time.” — Terry Pratchett

“People think that stories are shaped by people. In fact, it’s the other way around.” ― Terry Pratchett

When people ask me why I feel diversity is important in Science Fiction and Fantasy, I direct them to Terry Pratchett. He wrote a great deal about racism, sexism, and classism. He also knew a thing or two about people and story. Mainly, that story has a big effect on how people view the world and themselves. Continue reading

Diversity in SF Film: Things to Come (1936)

21 Dec Things to Come (1936) -- H.G. Wells

This is my third post on diversity in Science Fiction films. I started with Metropolis (1927), and then skipped two decades to The Day the Earth Stood Still (1951). Largely, my reason was that there weren’t any options for the 30s or 40s available on Netflix. Apparently, there aren’t very many SF films within that twenty year period.[1] I’ve decided to skip Frankenstein  although the novel is one of the first, if not the first, SF novels — because the classic film has more in common with horror than SF. I feel much the same about King Kong. Therefore, I settled on Things to Come (1936), which is based upon the H.G. Wells’ novel published in 1933 entitled The Shape of Things to Come. I know I’m risking a bit of confusion by going backward here, but I felt it was too important to skip. Also:  keep in mind that I don’t think I read the novel. At least, I don’t remember having read it.[2] So… Things to Come. Continue reading

Diversity in SF Film: The Day the Earth Stood Still (1951)

15 Oct The Day the Earth Stood Still (1951)

I thought I’d seen this film before, but apparently not. For a film made in the early ’50s — the era when post WW2 women were told to return to their “feminine roles” — it’s pretty inclusive. From the beginning, we see PoCs as part of the world’s population — even as part of the American population. They may not always have lines, and they may not be a big part of the action, but they exist in the background. Watch an American film today and you’ll see exactly what I mean. Not only do non-model-worthy people not exist, but neither do PoCs. Mind you, the British newscasters say things like “Throughout the Empire and the rest of the world,” and we see shots of these colonials in their colonial-ness — but hey, they EXIST. Wooo. Continue reading

“Where Are the Wise Crones in Science Fiction?” by Athena Andreadis (Reprint)

3 Oct

[This essay first appeared at the Astrogator’s Logs of Starship Reckless.]

“The childishness noticeable in medieval behavior, with its marked inability to restrain any kind of impulse, may have been simply due to the fact that so large a proportion of active society was actually very young in years.” — Barbara Tuchman, A Distant Mirror: The Calamitous 14th Century

old-woman-smoking-sandy-powers

Until recently, women died on the average younger than men, primarily in childbirth – though they also died from overwork, undernourishment and beatings, like the beasts of burden they often resembled, or were killed in infancy for having the wrong hardware between their legs. However, this changed in the last few decades. UN records indicate that most of the world’s aged are now women (ignoring the “girl gap” of China, India and other cultures that deem sons a sine qua non). Concurrently, biology is (reluctantly) coming to the conclusion that grandmothers, particularly maternal ones, may have made humans who they are. Continue reading

Metropolis (1927), Feminism, and Influence

25 Sep Metropolis (1927)

Since there seems to be so much noise these days about the Golden Age of SF, I decided to begin rewatching (or in some cases, watching) classic genre films in order to get a more sound foundation in my chosen genre. If I do this with novels, why not films? In this case, I’m glad that I did. One of my graphic design professors had us watch Metropolis in class. I’d vaguely remembered it as stylish — it’s a fine example of Art Deco design — and only a little coherent. At the time, I wondered why anyone would sit through the whole thing. It made no sense. The professor didn’t mention that the film had been censored. I’m not sure she was aware of how much it’d gotten cut as she didn’t mention it in the introduction. When I looked for it on Netflix, I found two versions. The first claimed to have restored footage and an 80s soundtrack. The second also had restored footage. What I failed to notice was that the first print was one hour and fifteen minutes long. The second? Two hours and fifteen minutes. I recall the version I saw in class was less than an hour. Wow.

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