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Biopunk Dystopias

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Book Series: Liverpool Science Fiction Texts and Studies ISBN: 9781781383766 9781781383322 Year: DOI: 10.26530/OAPEN_626391 Language: English
Publisher: Liverpool University Press Grant: Knowledge Unlatched - 100393
Subject: Languages and Literatures
Added to DOAB on : 2017-03-31 11:02:36
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'Biopunk Dystopias' contends that we find ourselves at a historical nexus, defined by the rise of biology as the driving force of scientific progress, a strongly grown mainstream attention given to genetic engineering in the wake of the Human Genome Project (1990-2003), the changing sociological view of a liquid modern society, and shifting discourses on the posthuman, including a critical posthumanism that decenters the privileged subject of humanism. The book argues that this historical nexus produces a specific cultural formation in the form of "biopunk", a subgenre evolved from the cyberpunk of the 1980s. Biopunk makes use of current posthumanist conceptions in order to criticize contemporary reality as already dystopian, warning that a future will only get worse, and that society needs to reverse its path, or else destroy all life on this planet.

Star Wars and the History of Transmedia Storytelling

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ISBN: 9789462986213 Year: DOI: 10.5117/9789462986213 Language: Undetermined
Publisher: Amsterdam University Press
Subject: Media and communication
Added to DOAB on : 2017-10-05 11:01:47
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The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.

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