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"Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose" (FLAME WARS: THE DISCOURSE OF CYBERCULTURE).

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Abstract

Seminal essay on Afrofuturism, in which the term is coined and theorized in depth.
... Ao recorrer às alegorias fantásticas, Dery (1994) iguala a experiência dos escravizados africanos e seus descendentes a um [...] pesadelo sci-fi, em que campos de força invisíveis, mas não menos intransponíveis, frustram seus movimentos; em que histórias oficiais desfazem o que foi feito; em que a tecnologia é frequentemente aplicada em corpos negros (p. 180 -tradução nossa). ...
... Belo Horizonte (MG): Letramento, 2018.Helena Lucas Rodrigues de OliveiraEm 1994, o teórico da literatura Mark Dery editou Flame Wars: the discourse of cyberculture, obra em que explorou como a cybercultura, com o auxílio de uma interface tecnológica e virtual, mobiliza mudanças sociais, culturais e comunicacionais em meio a um contexto globalizado. A partir da realidade estadunidense, a esclarecedora entrevista "Black to the future", que conta com a participação dos escritores Samuel R. Delany, Greg Tate e da socióloga Tricia Rose, inicia-se com uma indagação pertinente: por que há tão poucos escritores afro-americanos escrevendo sobre ficção científica, uma vez que o gênero explora justamente o prisma do Outro em terras desconhecidas, uma experiência tão próxima da realidade da população negra?Ao recorrer às alegorias fantásticas,Dery (1994) iguala a experiência dos escravizados africanos e seus descendentes a um [...] pesadelo sci-fi, em que campos de força invisíveis, mas não menos intransponíveis, frustram seus movimentos; em que histórias oficiais desfazem o que foi feito; em que a tecnologia é frequentemente aplicada em corpos negros (p. 180 -tradução nossa). ...
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The recent efflorescence of fictional writings and artistic works examined under the rubrics of Blue Humanities (Mentz 2009), Critical Ocean Studies (DeLoughrey 2019), Hydro-Criticism (Winkiel 2019), or New Thalassology (Horden and Purcell 2006), testify a recent cultural shift from the land to the sea. In this article, the hydrosphere is analysed in two female Afrofuturist works – Nnedi Okorafor’s Lagoon (2014) and Wanuri Kahiu’s short film Pumzi (2010) – to address the global capitalist order and to imagine an aquafuturist multispecies aesthetics that springs from the countermemory of the Middle Passage and its undersea myths.
Thesis
Eir ati yn y ddoethuriaeth hon i gyflwyno ffuglen wyddonol drwy gyfrwng y Gymraeg fel pwnc i’w astudio’n academaidd. Dadansoddir datblygiad y genre yn y Gymraeg, gan edrych ar y datblygiad hwnnw yng nghyd-destun llenyddiaeth Gymraeg ac yng nghyddestun llenyddiaeth ffuglen wyddonol yn fyd-eang. Yn y bennod gyntaf, cwestiynir pam nad oes yna drafodaethau academaidd yn trafod ffuglen wyddonol yn y Gymraeg eisoes ac ymdrechir i ddiffinio’r genre gan edrych ar waith beirniaid llenyddol sy’n arbenigo yn y maes. Yn y tair pennod ganlynol, archwilir delweddau a themâu ffuglen wyddonol drwy gyfrwng y Gymraeg dan chwyddwydr y damcaniaethau llenyddol canlynol: strwythurol, ôl-strwythurol, ôl-drefedigaethol a ffeminyddol. Yr hyn a ddaw i’r amlwg yw’r cysyniad o Aralledd (Otherness) sy’n clymu’r gweithiau oll ynghyd. Trafodir yr Arall o sawl persbectif gwahanol, gan sylwi ar genre ffuglen wyddonol fel Arall yn y cyd-destun llenyddol Cymraeg. Ynghyd â hynny, sylwn fod ffuglen wyddonol fel genre yn cynnig cyfle i lenorion o gefndiroedd ac o gyfnodau amrywiol (gyda’r cynharaf o’r gweithiau a ddarganfyddwyd yn dyddio o 1856) i draethu am eu presennol a chynnig mewnwelediad o safbwynt dieithr. Cyflwynir ffuglen wyddonol felly fel genre sy’n cynnig gofod newydd a chyfle arbennig i awduron sy’n llenydda ‘o’r ymylon’.
Chapter
From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh
Chapter
From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh
Chapter
From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh
Chapter
From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh
Chapter
From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh
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