By Lincoln Geraghty
American technology Fiction movie and tv offers a severe heritage of overdue twentieth Century SF including an research of the cultural and thematic issues of this well known style. technological know-how fiction movie and tv have been at first encouraged through the vintage literature of H.G. Wells and Jules Verne. the capability and fears born with the Atomic age fuelled the recognition of the style, upping the stakes for either know-how and apocalypse. From the chilly conflict via to America's present battle on Terror, technological know-how fiction has proved a refined motor vehicle for the hopes, fears and preoccupations of a kingdom at war.The definitive advent to American technological know-how fiction, this publication can be the 1st research to investigate SF throughout either movie and television. all through, the dialogue is illustrated with serious case reports of key movies and tv sequence, together with The Day the Earth Stood nonetheless, Planet of the Apes, famous person Trek: the subsequent new release, The X-Files, and Battlestar Galactica.
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Additional info for American Science Fiction Film and Television
However, Dr. Strangelove clearly combined elements of the nuclear theme and satirical form, offering audiences different perspectives on America’s national agenda. Strangely, for a period in American history that is most characterised by social conflict, war and suffering, science fiction films largely neglected the more extreme visions of contemporary and future society (Baxter 1972: 140); instead, the genre can perhaps be viewed as being in a state of flux as it struggled to attract audiences tired of alien invasion narratives and more impressed with the colourful action adventure serials now appearing on television.
It is at this point that the audience is thrust four million years into the future, from primitive Earth to 2001, where humans have mastered space travel and we now inhabit large space stations and the Moon. America and the Soviet Union still maintain their Cold War in this 2001, yet in their attempts to achieve technological superiority all sense of human instinct and emotion have been lost. For Mark Crispin Miller, this part of the film emphasises Kubrick’s use of antimyth, where human technological achievement has served only to stifle and suffocate the evolutionary process instigated by the first black monolith: ‘In 2001, in other words, there is too much science, too much made, the all-pervasive product now degrading us almost as nature used to do’ (Miller 1994: 19).
However, with the disruption that the war brought, husbands were displaced in both the home and at work by their wives; this led to a sense of masculinity in crisis as the traditional male breadwinning role became increasingly obsolete. Thus, like the male protagonists of popular books such as Sloan Wilson’s The Man in the Gray Flannel Suit (1955) and William Whyte’s The Organization Man (1956), Miles is a man caught in a suburban nightmare, unable to escape the encroaching conformity symbolized by the white picket fences and mundane daily routine of work and family responsibility (see Castronovo 2004).