‘Textes fossiles’: The Metatextual Geology of Verne's Voyage au centre de la Terre

Despite the compelling parallels between George Sand’s Laura; ou, le voyage dans le cristal and Jules Verne’s Voyage au centre de la Terre (both 1864), Sand’s place within the intertextual fabric of Verne’s novel has been occluded. By shifing the terms of the debate away from the vexed issues of borrowing, influence, or inspiration, and focusing on Verne’s sustained engagement with Sand’s work as a specifically geological fiction, this article sheds new light on the imbrication of the scientific and the fictional in Voyage au centre de la Terre, whereby geological and palaeontological references not only guarantee the text’s verisimilitude and underwrite its didactic objectives, but also fulfil an important metatextual function.

The Fraternity of Metaphors: Jean-Luc Godard's Film Socialisme

Since the 'completion' of Histoire(s) du cinema (1988-1998), Jean-Luc Godard's work has become increasingly mosaic-like in its forms and configurations, and markedly elegiac in its ruminations on history, cinema, art, and thought. While his associative aesthetic and citational method –including his choice of ‘actors’, and the fragmentariness of his ‘soundtracks’ – can combine to create a distinctive cinematic event, the films themselves refuse to cohere around a unifying concern, or yield to a thematic schema. Not surprisingly, Film Socialisme does not offer us the illusion of narrative or structural integrity anymore than it contributes to the quotidian rhetoric of political and moral argument. It is, however, a political film in the sense that it alters something more fundamental than opinions and points of view. It transforms a way of seeing and understanding reality and history, fiction and documentary, images, and images of images. If anything, it belongs to that dissident or ‘dissensual’ category of artwork capable of ‘emancipating the spectator’ by disturbing what Jacques Rancière terms ‘the distribution of the sensible’ in that it generates gaps, openings, and spaces, poses questions, invites associations without positing a fixed position, imposing an interpretation, or allowing itself to invest in the illusion of expressive objectivity and the stability of meaning. The myriad citations and fragments that comprise the film are never intended to culminate into anything cohesive, never mind conclusive. In one sense, they have no source and no context beyond their moment in the film itself, and what we make of that moment. This article studies the degree to which Godard allows these images and sounds to combine and collide, associate and dissolve in this film, arguing that Film Socialisme is both an important intervention in the history of contemporary cinema, and necessary point of reference in any serious discussion of the relations between that cinema and political reality.

Anthropology, Socialist Prediction and William Morris’s Commonweal

In the late nineteenth century, a number of writers turned to anthropology to predict a socialist future. They included prominent revolutionary socialists: Friedrich Engels, William Morris and members of the Socialist League. Contextualising the appropriation of the anthropologist Lewis Henry Morgan by such readers, this article also pays particular attention to socialist popularisations of anthropology, particularly those by Morris and his fellow writers in his penny weekly, the Commonweal. Focusing on Morris’s articles on ancient society helps to illuminate his own understanding of history, art and socialism. It also sheds new light on his predictive fiction News from Nowhere, which was originally read alongside Commonweal non-fiction. Both, I will argue, encouraged readers to see the future in the struggles of the ancient past.

Policing the Globe: State Sovereignty and the International in the Post-9/11 Crime Novel

Two recent studies of 9/11 literature are dismissive of the contributions that crime and espionage novels have made to ongoing efforts to map the significance of 9/11 and its aftermath. My essay contests the assumption that only literary fiction – which pays sufficient attention to trauma – can “bear witness” to the events of 9/11 and argues that such fiction is, in fact, singularly ill-equipped to illuminate the complex geo-political circumstances that 9/11 entrenched and transformed. By contrast, genre novels by John Le Carré and Don Winslow have responded in imaginative and critical ways to post-9/11 and avowedly trans-national securitization initiatives and hence to efforts to trouble traditional accounts of state sovereignty.

Experimentalism in the Irish Novel, 1750-1770

While recent studies of the novel have turned their attention to the diverse experimentalism of mid-century fiction, a number of significant Irish novels of the period remain under-represented in such work. William Chaigneau, Thomas Amory, Charles Johnstone and Henry Brooke are discussed as experimental novelists, extending the 'new species of writing' by their incorporation of theology and politics, education and philosophy within a fictional frame.

Form Follows Media::What is The Matrix as Film, Animation, Game and Comics?

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial notion creating a parallel world to the space we live in. In this alternative realm, the body transforms into a hyperbody, and begins to follow the white rabbit. Not only in real world but also in the Matrix world. The Matrix project of Andy and Larry Wachowski started with a feature film released in 1999. However, The Matrix is not only a film (trilogy). It is a concept, a universe that brings real space and hyperspace together. It is a world represented not only in science fiction films but also in The Animatrix that includes nine animated Matrix films directed by Peter Chung, Andy Jones, Yoshiaki Kawajiri and others, four of which are written by the Wachowskis. The same universe is used in Enter the Matrix, a digital game whose script was written and directed by the brothers and a comic book, The Matrix Comics, which includes twelve different stories by artists like Neil Gaiman and Goef Darrow. The Wachowskis played an active role in the creation and realization of all these “products” of different media. The comic book came last (November 2003), however it is possible to argue that everything came out of comics – the storyboards of the original film. After all the Wachowskis have a background in comics.

In this study, I will focus on the formal analysis of the science fiction world of The Matrix - as a representation of hyperspace - in different media, feature film, animated film, digital game and comic book, focusing on diverse forms of space that come into being as a result of medium differences. To unfold the different formal characters of film, animation, game and comics, concepts and features including framing, flattening, continuity, movement, montage, sound/text, light and color will be discussed. An analysis of these products will help to open up a discussion on the relation of form, media and representation.

Chopper: From the Inside: Discourses of the "Celebrity" Criminal Mark Read

Popular culture has been inundated with stories and images of True Crime for a long time, which is testament to people’s enduring fascination with criminals and their deviant actions. In such stories, which present actual cases of notorious crimes in a style that often resembles fiction, criminals are either reviled as monsters or lauded as cultural icons. More recently, popular autobiographical accounts by criminals themselves have begun to emerge within this True Crime genre. Typically self-celebratory in nature, such representations construct a rather glamorized public image of the author. This article undertakes a multimodal analysis of what has been classed as one typical example of this True Crime sub-genre, Australian Mark Brandon Read’s autobiographical account Chopper: From the Inside. It thereby seeks to demonstrate that the book, while glamorizing and mythologizing its protagonist, simultaneously offers scope for a qualitative understanding of Read’s life of crime and the sensual dynamics of his violent offending. To this end, the analysis focuses on some of the linguistic and pictorial strategies Read employs in constructing a public image of himself that alternates between the dangerous ‘hardman’ and the ‘larrikin’ criminal hero. However, it is also shown that Read’s account reveals a degree of critical self-reflection. In addition to the multimodal analysis, the article also endeavours to explore the link between celebrity and crime, thereby engaging with the nature of popular culture’s fascination with celebrated criminals.

Living in Exospace: ISS and Discovery 1

The concept of exospace, as an alternative liveable structure, is discussed in this article to improve our comprehension of architectural space. Exospace is a man-made space designed for living beyond Earth’s atmosphere. Humankind has developed outerspace technologies to build the International Space Station as a significant experiment in exospace design. The ISS is a new building type for scientific experiments and for testing human existence in outerspace.

A fictional example of exospace, on the other hand, is Discovery 1 spaceship in Stanley Kubrick’s legendary science fiction film 2001: A Space Odyssey (1968). It is a ship travelling to Jupiter with a crew of five astronauts and HAL9000, the artificial intelligence controlling the ship. I will first discuss the ISS, and the space stations built before, from a spatial point of view. A spatial study of Discovery 1 will follow. Finally, through an understanding of exospace, I will return to architectural space with a critical appraisal. The comparison of architectural space with exospace will add to the discussion of space theories from a technological approach.

Exospace creates an alternative reality to architectural space. Architects cannot consider exospaces without comparing them with the spaces they design on Earth. The different context of outerspace shows that a work of terrestrial architecture is very much dependent on its context. A building is not an ‘object’ that can be located anywhere; it is designed for its site. Architectural space is a real, material, continuous, static and extroverted habitable space designed for and used in the specific physical context of Earth. The existence of exospace in science opens a new discussion in architectural theory, both terrestrial and extraterrestrial.

Norberg-Schulz’ Elements of Space in Dark City

Alex Proyas' science fiction film Dark City (1998) puts forth questions about the building process of a city. The aliens in the film constantly alter each street, building and room to create the right environment for humans to dwell. The ‘strangers’ believe that they need to study humans in their spaces to understand human nature. They use bits and pieces of people's memories to reconstruct the city.

Christian Norberg-Schulz identifies four elements of space: physical, perceptual, existential and conceptual. Physical space is physical existence as it is. Perceptual space is the temporary space the user perceives. Existential space, for instance, the meaning of the concept of home, is abstract and permanent; it does not change with changing conditions. Finally, conceptual space, in his spatial philosophy, is the space concept of specialists like architects, economists and mathematicians.

This article analyses the future noir environment of Dark City from a spatial perspective. The notion of building is studied as to physical, perceptual, existential and conceptual spaces of Norberg-Schulz through concepts of home, identity, belonging, and alienation with reference to the architecture of the city.

'Strange Visitor From Another Planet': Genre, Corporate Identity and the Arrival of American Telefantasy on British Television

While the BBC had been broadcasting television Science Fiction productions from as early as 1938, and Horror since the start of television in 1936, American Telefantasy had no place on British television until ITV’s broadcast of Adventures of Superman (1952-1958) in 1956. It would be easy to assign this absence to the avoidance of popular American programming, but this would ignore the presence of Western and adventure serials imported from the US and Canada for monopoly British television. Similarly, it would be inaccurate to suggest that these imports were purely purchased as thrilling fare to appease a child audience, as it was the commercial ITV that was first to broadcast the more adult-orientated Science Fiction Theatre (1955-7) and Inner Sanctum (1954). This article builds on the work of Paul Rixon and Rob Leggott to argue that these imports were used primarily to supply relatively cheap broadcast material for the new channel, but that they also served to appeal to the notion of spectacular entertainment attached to the new channel through its own productions, such as The Invisible Man (1958-1959) and swashbucklers such as The Adventures of Robin Hood (1955-60). However, the appeal was not just to the exciting, but also to the transatlantic, with ITV embracing this conception of America as a modern place of adventure through its imports and its creation of productions for export, incorporating an American lead into The Invisible Man and drawing upon an (inexpensive) American talent pool of blacklisted screenwriters to provide a transatlantic style and relevance to its own adventure series. Where the BBC used its imported serials as filler directed at children, ITV embraced this transatlantic entertainment as part of its identity and differentiation from the BBC.