American Science Fiction TV: Star Trek, Stargate and BeyondFrom "The Next Generation" and "The X-Files", to "Farscape" and "Enterprise", sci-fi television series in the US have multiplied since the 1980s. Jan Johnson-Smith shows how, in line with national political upheavals, this vibrant and perplexing genre set about expanding the myth of the Western frontier into deep space. She looks at the "sense of wonder" or sublime that infuses much Frontier art and science fiction, and traces a possible historical precedent to the genre in the fabulous and heroic journeys of the Classical epic. She discusses narrative styles and their influences, from the overarching narrative of "Babylon 5" to the episodic formula of "The Outer Limits", considers how experimental series such as "Twin Peaks" challenge conventional structures, and how and why sci-fi television has adopted new technologies. She also explores the juxtaposition of arcane language and technological jargon in modern American sci-fi television, revealing the extraordinarily alien, yet curiously familiar arena it creates. |
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Page 17
... problem lies with genre theory in general, and in how we group texts together, whether capriciously or with empirical pragmatism. Since the 1971 publication of Claudio Guillen's Literature as System, the approach to literary genre study ...
... problem lies with genre theory in general, and in how we group texts together, whether capriciously or with empirical pragmatism. Since the 1971 publication of Claudio Guillen's Literature as System, the approach to literary genre study ...
Page 18
... problems, provide specific pleasures, produce specific types of insights and experiences.'17 The question of what comprises any genre demands continual reassessment and reconsideration in the context of its era, ideology and culture ...
... problems, provide specific pleasures, produce specific types of insights and experiences.'17 The question of what comprises any genre demands continual reassessment and reconsideration in the context of its era, ideology and culture ...
Page 31
... problem by employing a 'universal translator', even Enterprise (2001–) relies upon this, only half-heartedly charting the problems in its database development. The opening credits in Farscape's later seasons are initially presented in ...
... problem by employing a 'universal translator', even Enterprise (2001–) relies upon this, only half-heartedly charting the problems in its database development. The opening credits in Farscape's later seasons are initially presented in ...
Page 52
... problem for science fiction series if it is not limited to one or two aspects of the story. The Betaville setting and introductory set in Welcome to Paradox (1998) or the characters and crew of Star Trek: The Next Generation's ...
... problem for science fiction series if it is not limited to one or two aspects of the story. The Betaville setting and introductory set in Welcome to Paradox (1998) or the characters and crew of Star Trek: The Next Generation's ...
Page 57
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action actually alien allows American ancient appears articulated associated audience Babylon become called Centauri challenge characters comes command concept concerns consider context continuity create crew cultural Dark Deep Space Delenn demonstrates diegesis Earth effect Enterprise epic episode equally established example existence experience exploration film final forces frontier future genre human idea identified ideology images individual issues John language later light lives London Maquis McQueen means military Minbari narrative nature Nine occurs offers original parallel past perhaps planet political potential present Press problem programmes question races reality reference remarkable says science fiction season sense Shadows Sheridan ship shows Sinclair Star Trek Stargate station story Sublime suggests television tells texts turn universe Vietnam visual Voyager Western whilst wormhole