Against heritage: Invented identities in science fiction film

Verfasser / Beitragende:
[Sky Marsen]
Ort, Verlag, Jahr:
2004
Enthalten in:
Semiotica, 2004/152 - 1/4(2004-11-09), 141-157
Format:
Artikel (online)
ID: 378912984
LEADER caa a22 4500
001 378912984
003 CHVBK
005 20180305123546.0
007 cr unu---uuuuu
008 161128e20041109xx s 000 0 eng
024 7 0 |a 10.1515/semi.2004.2004.152-1-4.141  |2 doi 
035 |a (NATIONALLICENCE)gruyter-10.1515/semi.2004.2004.152-1-4.141 
100 1 |a Marsen  |D Sky  |u 1. Lecturer with the School of Linguistics and Applied Language Studies, Victoria University of Wellington, New Zealand 
245 1 0 |a Against heritage: Invented identities in science fiction film  |h [Elektronische Daten]  |c [Sky Marsen] 
520 3 |a This article explores some innovations in the concept of identity in contemporary science fiction film. Using a narrative-semiotic method of analysis, the article discusses an emerging trend in science fiction that questions mainstream cultural beliefs regarding motivations for action and definitions of individual agency. Focusing on Alex Proyas's Dark City (1998) and Andrew Niccol's Gattaca (1997), the article traces the ways in which this trend rearranges elements in narrative positioning to bring to light relational possibilities that challenge privileged attitudes toward who we are and why we act the way we do. The selected films deal creatively with questions concerning the causal eects of past events, origins, or heritage, and give innovative answers to complex philosophical issues about the nature of reality. At the same time, they retain a popular aesthetic and a classical narrative structure. Their common characteristic is a narrative program composed of signs of resistance to notions of a fixed identity ‘caused' by biography or genetic inheritance. These signs, furthermore, form the basis of unconventional interpretations of self and action that serve as catalysts in dismantling outmoded definitions of identity. The article explores these issues following a content-based approach that focuses on how agents and acts are constructed on the story level. 
540 |a © Walter de Gruyter 
690 7 |a Literary theory  |2 nationallicence 
690 7 |a Anthropology  |2 nationallicence 
773 0 |t Semiotica  |d Walter de Gruyter  |g 2004/152 - 1/4(2004-11-09), 141-157  |x 0037-1998  |q 2004:152 - 1/4<141  |1 2004  |2 2004  |o semi 
856 4 0 |u https://doi.org/10.1515/semi.2004.2004.152-1-4.141  |q text/html  |z Onlinezugriff via DOI 
908 |D 1  |a research article  |2 jats 
950 |B NATIONALLICENCE  |P 856  |E 40  |u https://doi.org/10.1515/semi.2004.2004.152-1-4.141  |q text/html  |z Onlinezugriff via DOI 
950 |B NATIONALLICENCE  |P 100  |E 1-  |a Marsen  |D Sky  |u 1. Lecturer with the School of Linguistics and Applied Language Studies, Victoria University of Wellington, New Zealand 
950 |B NATIONALLICENCE  |P 773  |E 0-  |t Semiotica  |d Walter de Gruyter  |g 2004/152 - 1/4(2004-11-09), 141-157  |x 0037-1998  |q 2004:152 - 1/4<141  |1 2004  |2 2004  |o semi 
900 7 |b CC0  |u http://creativecommons.org/publicdomain/zero/1.0  |2 nationallicence 
898 |a BK010053  |b XK010053  |c XK010000 
949 |B NATIONALLICENCE  |F NATIONALLICENCE  |b NL-gruyter