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Philosophy --- Film --- Motion pictures --- Matrix (Motion picture)
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Matrix (Motion picture) --- Matrix reloaded. --- Matrix revolutions.
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Though set in other worlds populated by alien beings, science fiction is a site where humans can critique and re-imagine the paradigms that shape this world, from fundamentals such as the sex and gender of the body to global power relations among sexes, races, and nations. Feminist thinkers and writers are increasingly recognizing science fiction's potential to shatter patriarchal and heterosexual norms, while the creators of science fiction are bringing new depth and complexity to the genre by engaging with feminist theories and politics. This book maps the intersection of feminism and science fiction through close readings of science fiction literature by Octavia E. Butler, Richard Calder, and Melissa Scott and the movies The Matrix and the Alien series. Patricia Melzer analyzes how these authors and films represent debates and concepts in three areas of feminist thought: identity and difference, feminist critiques of science and technology, and the relationship among gender identity, body, and desire, including the new gender politics of queer desires, transgender, and intersexed bodies and identities. She demonstrates that key political elements shape these debates, including global capitalism and exploitative class relations within a growing international system; the impact of computer, industrial, and medical technologies on women's lives and reproductive rights; and posthuman embodiment as expressed through biotechnologies, the body/machine interface, and the commodification of desire. Melzer's investigation makes it clear that feminist writings and readings of science fiction are part of a feminist critique of existing power relations—and that the alien constructions (cyborgs, clones, androids, aliens, and hybrids) that populate postmodern science fiction are as potentially empowering as they are threatening.
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Cet ouvrage étudie la littérature philosophique née de la trilogie Matrix et dresse un bilan des meilleures contributions. Il propose une interprétation qui s'appuie sur l'ensemble de la trilogie, mais aussi sur des courts métrages, des comic books et des jeux vidéo.
Motion pictures --- Science fiction films --- Cinéma --- Films de science-fiction --- Philosophy --- History and criticism --- Philosophie --- Histoire et critique --- Matrix (Motion picture)
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Science fiction films --- Motion pictures --- Films de science-fiction --- Cinéma --- History and criticism --- Philosophy. --- Histoire et critique --- Philosophie --- The Matrix (motion picture) --- -Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Philosophy --- -Philosophy --- Cinéma --- Matrix (Motion picture)
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Motion pictures --- Cinéma --- History --- Histoire --- Wachowski, Andy, --- Wachowski, Larry, --- Matrix (Motion picture) --- Joshua Clover --- film --- filmgeschiedenis --- sciencefiction --- speciale effecten --- twintigste eeuw --- Verenigde Staten --- Wachowski Andy --- Wachowski Larry --- 791.471 WACHOWSKI --- Cinéma --- Wachowski, Lilly, --- Wachowski, Lana,
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The Matrix trilogy continues to split opinions widely, polarising the downright dismissive and the wildly enthusiastic. Nevertheless, it has been fully embraced as a rich source of theoretical and cultural references. The contributions in this volume probe the effects the Matrix trilogy continues to provoke and evaluate how or to what extent they coincide with certain developments within critical and cultural theory. Is the enthusiastic philosophising and theorising spurred by the Matrix a sign of the desperate state theory is in, in the sense of “see how low theory (or ‘post-theory’) has sunk”? Or could the Matrix be one of the “master texts” for something like a renewal for theory as now being mainly concerned with new and changing relations between science, technology, posthumanist culture, art, politics, ethics and the media? The present volume is unashamedly but not dogmatically theoretical even though there is not much agreement about what kind of theory is best suited to confront “post-theoretical” times. But it is probably fair to say that there is agreement about one thing, namely that if theory appears to be “like” the Matrix today it does so because the culture around it and which “made” it itself seems to be captured in some kind of Matrix. The only way out of this is through more and renewed, refreshed theorising, not less.
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