Download The Politics of Big Fantasy: The Ideologies of Star Wars, by John C. McDowell PDF

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By John C. McDowell

Bringing serious awareness to a specific set of technological know-how fiction and fable films—Larry and Andy Wachowski's The Matrix, George Lucas' big name Wars saga, and Joss Whedon's Avengers—this publication makes use of a wide-ranging set of serious instruments to light up their political ideologies, whereas additionally studying any resistant and complicating turns or byways the movies could provide. What all of them have in universal ideologically is that they—or at the very least the genres they belong to—tend to be considered as belonging to politically conservative frames of sociocultural reference. With the superstar Wars saga, even if, this concept is proven to be superficial and vulnerable.

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Additional info for The Politics of Big Fantasy: The Ideologies of Star Wars, The Matrix and The Avengers

Example text

65 The latter sentence here is meant to support the first one, although it requires remodeling to circumvent its carelessness. The important issue is not whether a superhero metes out his/her own justice as if that solves Jewett and Lawrence’s worry, since their critique of superhero texts is precisely that they tend to operate with a vigilante sensibility. Moreover, Judge Dredd remains part of a corrupt and violent governing system even while delivering fatal justice. The issue is, instead, that Superman is a political conservative who deals only with surface crime and not with the corrupting system.

4 Consequently, in a move not unlike that of Freire, cultural theorists recognize that so-called “popular culture” cannot be contained by being reduced to simple “entertainment”; they argue that its discursive relation to deeper senses of identity should be understood and tested. A particularly critically acclaimed dramatic performance with deep political-cultural resonance has recently appeared in a quite surprising place. This place has involved a metanarrative return to a kitsch and relatively mediocre, even if nostalgically well-remembered, television offering originally conceived by Glen A.

Asia a few years later. Dr Strangelove expressed apprehension over the nuclear arms race, and Stanley Kubrick’s 2001: Space Odyssey, among other things, raised questions about the wisdom of technological ingenuity. ”3 In this pair of movies, 25 26 The Politics of Big Fantasy there are demonstrably also expressions of dread over the fragility of life in the face of nature’s instinct to survive, anxieties over gender fluidity, and the ongoing horror over a monstrous otherness. ”4 Consequently, in a move not unlike that of Freire, cultural theorists recognize that so-called “popular culture” cannot be contained by being reduced to simple “entertainment”; they argue that its discursive relation to deeper senses of identity should be understood and tested.

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