Fantasy is often condemned as escapist, unsophisticated and superficial. This collection of new essays puts such easy dismissals to the test by examining the ways in which Fantasy narratives present diverse, politically relevant discourses--gender, race, religion or consumerism--and thereby serve as indicators of their real-world contexts. Through their depiction of other worlds allegedly disconnected from our own, these texts are able to actualize political attitudes. Instead of categorizing Fantasy either as conservative or progressive, the essays suggest that its generic peculiarity allows the emergence of productive forms of oscillation between these extremes. Covered are J.R.R. Tolkien's The Lord of the Rings, George R.R. Martin's A Song of Ice and Fire sequence, J. K. Rowling's Harry Potter novels, the vampire TV series True Blood, and the dystopian computer game Fallout 3.
From J.R.R. Tolkien to Star Trek and from Game of Thrones to Battlestar Galactica and from The Walking Dead to Janelle Mone's Afrofuturist concept albums, transmedia world building offer us complex and immersive environments beyond capitalism. Science Fiction, Fantasy and Politics examines the ways in which these popular storyworlds offer tools for anticapitalist theory and practice. Building on Hardt and Negir's theory of global capitalism. Dan Hassler-Forest shows how transmedia world-building has the potential to offer more than a momentary escape from capitalist realism in the age of media a converagence and participator culture. This book feature eight fantastic storyworlds that offer vivid illustration of global capitalism contradictory logic. Approaching transmedia world-building both as a cultural form and as a political economy, Hassler-Forest demonstrates the limitations inherent in fandom and fan culture, which is increasingly absorbed as a form of immaterial labor. At the same time, he also explores the productive ways in which fantastic storyworlds contain a radical energy that can give us new ways of thinking about politics popular culture and anticapitalism.
A wrongfully imprisoned storyteller spins stories from his jail cell that just might have the power to save him—and take down a corrupt government. Arrested on accusations of witchcraft and treason, Chant finds himself trapped in a cold, filthy jail cell in a foreign land. With only his advocate, the unhelpful and uninterested Consanza, he quickly finds himself cast as a bargaining chip in a brewing battle between the five rulers of this small, backwards, and petty nation. Or, at least, that's how he would tell the story. In truth, Chant has little idea of what is happening outside the walls of his cell, but he must quickly start to unravel the puzzle of his imprisonment before they execute him for his alleged crimes. But Chant is no witch—he is a member of a rare and obscure order of wandering storytellers. With no country to call his home, and no people to claim as his own, all Chant has is his wits and his apprentice, a lad more interested in wooing handsome shepherds than learning the ways of the world. And yet, he has one great power: his stories in the ears of the rulers determined to prosecute him for betraying a nation he knows next to nothing about. The tales he tells will topple the Queens of Nuryevet and just maybe, save his life.
This book offers a psychosocial perspective on political violence, employing a strong current of psychoanalytic thinking. In the course of its chapters an international roster of researchers and scholars offers a richly complex and insightful view of diverse forms of political violence and its build-ups. The authors discuss the processes by which the ground for political violence is prepared, and how violent acts are facilitated. They question how social, cultural and political constellations can develop in such a way that, for certain people in this constellation, violence becomes a logical – perversely reasonable – response. This collection demonstrates what a psychoanalytic perspective can bring to existing approaches to political violence, going beyond the social movement approach by unfolding the inherent ambiguity in accepted concepts within the study of political violence.
Entertainment media are rife with material that touches on the political. The stories with which we entertain ourselves often show us, for better or worse, that everything can be solved by the rise of an individual hero, and that the “best way” to deal with a bad guy with a gun is a good guy with a gun. Our stories portray individuals along the lines of gender, racial, and ethnic stereotypes; offer us villains that are one-dimensional characters driven by evil; and show us politicians who are almost always corrupt, self-serving, and/or incompetent. They offer up models for how to deal with oppressive authority and they typically portray worlds that are just, where those who do the right thing come out on top. Entire entertainment genres, with their shared story telling conventions and common plot devices, provide lessons and perspectives that are relevant to how the public sees political issues. The stories that entertain us show us all these things and more, but to what effect? Does the pervasive politically relevant content that can be found not just in political entertainment shows, like House of Cards, but also in entertainment like Game of Thrones, that, on the surface, has nothing to do with modern politics, affect people’s perspectives on the political world? That is the central question of this volume. This book discusses the type of content in entertainment media that has the best chance of influencing political beliefs, draws from the work of scholars in a number of disciplines in order to forge a theory explaining how and when entertainment media will affect political perspectives, and presents a series of empirical studies using experiments and surveys that demonstrate the effect of politically relevant content in shows such as Game of Thrones, House of Cards, The Daily Show and The Colbert Report, in genres such science fiction, and through pervasive villain and leader character types.
Recent trends in politics culminating in the US with the election of Donald Trump both provoked and expressed a troubling intensification of emotion in the body politic. Heightened levels of anger, frustration, and distrust, the dismissal of the norms of politics and policy making, and the prevalence of intractable conflict indicated an increase in the power of regressive forces. The power of these forces takes the form of dark fantasies involving the loss, indeed the destruction, of safe space, the prevalence of existential threat, and the corrosion of the kinds of relationships that make living in the world tolerable. This book explores the emotional meaning of regressive movements in contemporary politics with special reference to Trump and his supporters. Its main hypothesis is that the primary goal of these movements is not to restore a lost world of safety and wellbeing as they claim it is, but to make their members' experience of the destruction and loss of that world universal.
In this original and timely assessment of cultural expressions of paranoia in contemporary Russia, Eliot Borenstein samples popular fiction, movies, television shows, public political pronouncements, internet discussions, blogs, and religious tracts to build a sense of the deep historical and cultural roots of konspirologiia that run through Russian life. Plots against Russia reveals through dramatic and exciting storytelling that conspiracy and melodrama are entirely equal-opportunity in modern Russia, manifesting themselves among both pro-Putin elites and his political opposition. As Borenstein shows, this paranoid fantasy until recently characterized only the marginal and the irrelevant. Now, through its embodiment in pop culture, the expressions of a conspiratorial worldview are seen everywhere. Plots against Russia is an important contribution to the fields of Russian literary and cultural studies from one of its preeminent voices.
Democracy and Other Neoliberal Fantasies is an impassioned call for the realization of a progressive left politics in the United States. Through an assessment of the ideologies underlying contemporary political culture, Jodi Dean takes the left to task for its capitulations to conservatives and its failure to take responsibility for the extensive neoliberalization implemented during the Clinton presidency. She argues that the left’s ability to develop and defend a collective vision of equality and solidarity has been undermined by the ascendance of “communicative capitalism,” a constellation of consumerism, the privileging of the self over group interests, and the embrace of the language of victimization. As Dean explains, communicative capitalism is enabled and exacerbated by the Web and other networked communications media, which reduce political energies to the registration of opinion and the transmission of feelings. The result is a psychotic politics where certainty displaces credibility and the circulation of intense feeling trumps the exchange of reason. Dean’s critique ranges from her argument that the term democracy has become a meaningless cipher invoked by the left and right alike to an analysis of the fantasy of free trade underlying neoliberalism, and from an examination of new theories of sovereignty advanced by politicians and left academics to a look at the changing meanings of “evil” in the speeches of U.S. presidents since the mid-twentieth century. She emphasizes the futility of a politics enacted by individuals determined not to offend anyone, and she examines questions of truth, knowledge, and power in relation to 9/11 conspiracy theories. Dean insists that any reestablishment of a vital and purposeful left politics will require shedding the mantle of victimization, confronting the marriage of neoliberalism and democracy, and mobilizing different terms to represent political strategies and goals.
A common misconception is that professors who use popular culture and fantasy in the classroom have abandoned the classics, yet in a variety of contexts--high school, college freshman composition, senior seminars, literature, computer science, philosophy and politics--fantasy materials can expand and enrich an established curriculum. The new essays in this book combine analyses of popular television shows including Buffy the Vampire Slayer; such films as The Matrix, The Dark Knight and Twilight; Watchmen and other graphic novels; and video games with explanations of how best to use them in the classroom. With experience-based anecdotes and suggestions for curricula, this collection provides a valuable pedagogy of pop culture.
1075 AD. William the Conqueror's army sits outside Norwich Castle, the siege of three months going nowhere fast.The men need ale, but there is none. One man can get it for them, Sir Peter Godfried.Sir Peter has the fate of the kingdom in his hands, and he can't let his king down – that ale must be found! He sets out, and along the way he finds love, trouble, laughs, and a hideous plot to upend the kingdom in this humorous and edgy historical novella.
