Category Archives: Science Fiction

Fantasy & Science Fiction Media, Spring 2014

FILM 4280/6280, Spring 2014

Tuesdays & Thursdays 1:00-2:15 PM, 401 Langdale

Screenings Tuesdays, 11:00 AM-12:50 PM, 406 Arts & Humanities

 

Ted Friedman

25 Park Place #1017

tedf@gsu.edu

http://twitter.com/tedfriedman

http://tedfriedman.com

 

 

Course Description

How do we dream our visions of the future? How do we explore our fantasies of the past?

 

Science fiction extrapolates the trends of the present to imagine possible future worlds, both utopian and (more often) dystopian. Fantasy looks back to imagine past worlds in which technology has not yet usurped nature. Both genres are rooted in mythic traditions that push beyond the boundaries of realism to reach for deeper truths.

 

This class will examine the genres of fantasy and science fiction across multiple media, including film, television, literature, comics and gaming. We’ll survey their history, while at the same time tracing the impact of each text forward into the present. We’ll look at how these works have reflected and influenced American society, as each new generation of creators has responded to changing social conditions by re-imagining the key tropes and themes of the genres. And we’ll try to understand why these visions continue to capture the world’s imagination.

 

Readings

Class readings will include books and a coursepack of articles. Here are the books you’ll need:

 

Maggie Hyde and Michael McGuinness, Introducing Jung

Salman Rushdie, The Wizard of Oz

Neal Gaiman, The Sandman: Season of Mists

Orson Scott Card, Ender’s Game

Karen Thompson Walker, The Age of Miracles

 

The course books can be ordered through online retailers such as amazon.com/student, bn.com, and powells.com. The coursepack is sold by Bestway Copy Center, 18 Decatur Street SE (on the first floor of One Park Place South).

 

Students in Film 6280 will read two additional books of their choice, one scholarly book and one work of fiction, and will present them in two separately scheduled meetings with the other graduate students.

 

Twitter Feed 

Relevant news and commentary will be shared with the class via the Twitter hashtag #fsfmedia. Feel free to respond to tweets or post your own.  Class Schedule

 

Unit I: Modern Myths

 

T 1/14 Understanding Fantasy and Science Fiction

 

Th 1/16 The Power of Myth

Ted Friedman, “Myth, the Numinous, and Cultural Studies”:

http://flowtv.org/?p=4161

Ted Friedman, “The Politics of Magic,”

http://www.scope.nottingham.ac.uk/article.php?issue=14&id=1138&section=article&q=rose

 

T 1/21 Star Wars

Joseph Campbell, excerpt from The Hero With a Thousand Faces (CP)

Christopher Vogler and Stuart Voytilla, excerpt from Myth and the Movies (CP)

 

Th 1/23 Archetypes and the Collective Unconscious

Hyde and McGuinness, Introducing Jung

Ted Friedman, “Jung and Lost”:

http://flowtv.org/?p=3865

Ursula K. LeGuin, “The Child and the Shadow” (CP)

 

T 1/28 The Lord of the Rings 

J.R.R. Tolkien, “Introduction to The Fellowship of the Ring” (CP)

J.R.R. Tolkien, “On Fairy Stories”:

http://bjorn.kiev.ua/librae/Tolkien/Tolkien_On_Fairy_Stories.htm

 

Th 1/30 Game of Thrones

 

 

Unit II: Folklore and Fantasy

 

T 2/4 The Wizard of Oz

Salman Rushdie, The Wizard of Oz

 

Th 2/6 Buffy the Vampire Slayer

Guillermo del Toro and Chuck Hogan, “Why Vampires Never Die”:

http://www.nytimes.com/2009/07/31/opinion/31deltoro.html?_r=1

Laura Miller, “Real Men Have Fangs”:

http://online.wsj.com/article_email/SB122540672952785957-lMyQjAxMDI4MjE1MTQxMDE2Wj.html

 

T 2/11 The Company of Wolves

Angela Carter, “The Company of Wolves” (CP)

Selections from Marjorie Tatar, ed., The Classic Fairy Tales (CP)

 

Th 2/13 Firefly

 

T 2/18 Where the Wild Things Are

Alison Lurie, “Something Wonderful Out of Almost Nothing”:

http://www.nybooks.com/articles/archives/2012/jul/12/something-wonderful-out-almost-nothing/

 

Th 2/20 Dollhouse

 

T 2/25 Spirited Away

Margaret Talbot, “The Auteur of Anime” (CP)

James W. Boyd and Tetsuya Nishimura, “Shinto Perspectives in Miyazaki’s Anime Film Spirited Away,” The Journal of Religion and Film 8.2 (October 2004):

http://www.unomaha.edu/jrf/Vol8No2/boydShinto.htm

Norkio T. Reider, “Spirited Away: Film of the Fantastic and Evolving Japanese Folk Symbols,” Film Criticism 29.3 (2005): 4-27:

http://www.corneredangel.com/amwess/papers/spirited_away.pdf

Aaron Sherwood, “Characterization, Narrative Structure and Mythopoeia in the Films of Hayao Miyazaki” (2006):

http://www.nausicaa.net/miyazaki/essay/files/AaronSherwood_Mythopoeia.pdf

 

Th 2/27 Lost

Jason Mittell, “Sites of Participation: Wiki Fandom and the Case of Lostpedia”:

http://journal.transformativeworks.org/index.php/twc/article/view/118/117

 

T 3/4 Pan’s Labyrinth and Sandman

Neil Gaiman, The Sandman: Season of Mists

 

Th 3/6 The Walking Dead

Take-home midterm due

 

Unit III: Science Fiction

 

T 3/11 Metropolis

J. P. Telotte, “The Seductive Text of Metropolis” (CP)

William Gibson, “The Gernsback Continuum” (CP)

Andrew Ross, “Getting Out of the Gernsback Continuum” (CP)

David Hartwell, excerpt from Age of Wonders (CP)

 

Th 3/13 The Twilight Zone

 

T 3/18 Spring Break – no class

 

Th 3/20 Spring Break – no class

 

T 3/25 Bride of Frankenstein

Gary Morris, “Sexual Subversion: The Bride of Frankenstein”:

http://www.brightlightsfilm.com/19/19_bride1.html

 

Th 3/27 Star Trek

Henry Jenkins, “Infinite Diversity in Infinite Combinations” (CP)

Ted Friedman, “Capitalism: The Final Frontier”:

http://www.tedfriedman.com/essays/2005/03/capitalism_the.html

 

T 4/1 Blade Runner

Donna Haraway, “A Manifesto for Cyborgs” (CP)

Fredric Jameson, “Postmodernism, or the Cultural Logic of Late Capitalism” (CP)

 

Th 4/3 The X-Files

Carl Jung, “Flying Saucers as Modern Myths” (CP)

 

T 4/8 Brazil and Ender’s Game

Orson Scott Card, Ender’s Game

 

Th 4/10 Battlestar Galactica

Spencer Ackerman, “Battlestar: Iraqtica,”

http://www.slate.com/id/2151425/nav/tap2/

 

T 4/15 The Matrix

David Weberman, “The Matrix: Simulation and the Postmodern Age” (CP)

Slavoj Zizek, “The Matrix, or the Two Sides of Perversion” (CP)

Aleksandar Hemon, “Beyond the Matrix”:

http://www.newyorker.com/reporting/2012/09/10/120910fa_fact_hemon

 

Th 4/17 World of Warcraft and The Guild

Download and play the free World of Warcraft trial:

http://www.worldofwarcraft.com

 

T 4/22 Children of Men and The Age of Miracles

Karen Thompson Walker, The Age of Miracles

 

Th 4/24 Futurama

 

 

Take-Home Final due via email to tedf@gsu.edu on Thursday, May 1 by 5 PM

 

 

 

Screening Schedule

 

You are responsible for viewing assigned films in time for class discussion. Screenings are held on Tuesdays at 11 AM in 406 Arts & Humanities.

 

1/14 No screening

1/21 Star Wars

1/28 The Lord of the Rings: The Fellowship of the Ring

2/4 The Wizard of Oz

2/11 The Company of Wolves

2/18 Where the Wild Things Are

2/25 Spirited Away

3/4 Pan’s Labyrinth

3/11 Metropolis

3/18 Spring Break – no class

3/25 Bride of Frankenstein

4/1 Blade Runner

4/8 Brazil

4/15 The Matrix

4/22 Children of Men

 

 

 

Assignments

 

The class assignments add up to total of 100 possible points. Your final grade for the class is determined by adding up your grades for each assignment, adjusting for attendance, then applying the final number to the following scale:

 

A+ 100-98 B+ 89-88 C+ 79-78 D 69-65

A 97-93 B 87-83 C 77-70 F 64-0

A- 92-90 B- 82-80

 

TV Presentation – 10 points (Film 4280 only)

As part of a 2-3 person team, you will give a presentation on an influential fantasy or science fiction television show. Your team has two presentation options:

 

Research Presentation: Each member of the team gives a 5-minute presentation on a different aspect of the show: 1) the creator/creators; 2) the economics of the production, including available budget and ratings information; 3) audience responses. Each member hands in a list of sources. A minimum of five separate sources is required for each member’s presentation. (Wikipedia can be consulted to find sources but does not itself count toward the five sources.) PowerPoint is not necessary, but short video clips (such as creator interviews, news stories, and fan films) should be incorporated into each presentation when available.

 

Creative Presentation: Alternately, the presentation team can choose to collectively produce a short film about the TV show. Options include an edited selection of clips with voice-over commentary, a series of interviews with viewers, or a fan film.

 

Book Presentations – 5 points each (Film 6280 only)

Graduate students will read two additional books of their choice, one scholarly book and one work of fiction, and will give short a presentation on each in two separately scheduled meetings with the other graduate students.

 

Take-Home Midterm – 45 points (Film 4280 and 6280)

The take-home midterm will require you to relate concepts from the readings and lectures to the assigned films, series, novels and comics. Undergraduate and graduate students will take the same exam, but graduate students will be expected to submit more detailed answers. Due March 7.

 

Take-Home Final – 45 points (Film 4280 and 6280)

The take-home final will be structured just like the midterm, covering the second half of the semester. Due April 30.

 

Attendance Adjustment

As Woody Allen put it, “80 percent of success is showing up.” It’s less than that in this formula, but the bottom line is that you can’t contribute to the class if you’re not there. You’re allowed one unexcused absence for the semester. After that, each unexcused absence subtracts one point from your grade total. Excused absences include medical and family emergencies. You will be expected to schedule any employment responsibilities around this class, or accept the consequences of missed classes for your grade. If you do need to miss a class, please contact me ahead of time, and make arrangements to catch up on missed material.

 

 

 

Policies

 

Office Hours

Office hours are by appointment. I’m usually available to meet before and after every class.

 

Late Papers

Late midterms are penalized at the rate of 1/2 point per day overdue. Late finals cannot be accepted without an extension.

 

Rewrites

Rewrites of any midterm question are welcome. The final grade on the question will be the average of the original grade and the rewritten version’s grade. Rewrites of the final are unavailable, but rough drafts of the final can be submitted for feedback through April 23.

 

Incompletes

Incompletes may be given only in special hardship cases. Incompletes will not be used merely for extending the time for completion of course requirements.

 

Assessment

Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State. Upon completing the course, please take time to fill out the online course evaluation.

 

Disability

Students who wish to request accommodation for a disability may do so by registering with the Office of Disability Services. Students may only be accommodated upon issuance by the Office of Disability Services of a signed Accommodation Plan and are responsible for providing a copy of that plan to instructors of all classes in which accommodations are sought.

 

Changes to the Syllabus

This syllabus provides a general plan for the course. Deviations may be necessary.

Senior Seminar: Convergence Culture, Spring 2014

Film 4910, Spring 2014

4910-010: Tuesdays & Thursdays 2:30-3:45, Classroom South 325

4910-015: Tuesdays & Thursdays 5:30-6:45, Classroom South 506

 

Ted Friedman

Office: 25 Park Place #1017

Email: ted@tedfriedman.com

Twitter: http://twitter.com/tedfriedman

Website: https://tedfriedman.com/teaching

 

Course Description

Media today are converging, as the boundaries that divide movies, TV, games, computers and phones blur. Likewise, the familiar categories of producer and consumer intermingle in Web 2.0 practices such as blogging, vidding, modding and tweeting. This senior seminar will examine the shifting roles of creators and audiences across a range of media practices, culminating in a capstone project that represents your own engagement with the changing media landscape.

 

Readings

Two books are required for the class. Both are available for free online:

Marcus Boon, In Praise of Copying (Harvard UP, 2010).

Laurence Lessig, Remix  (Bloomsbury Press, 2008)

 

In Praise of Copying can be downloaded at http://www.hup.harvard.edu/features/boon/. Spreadable Media can be downloaded at http://www.scribd.com/doc/47089238/Remix . Other assigned readings are available online at the URLs listed below. Supplementary links to media news and criticism will be distributed via the class Twitter hashtag #sensem.

 

Capstone Project

This seminar is structured to support the creation of an individual project (research or creative) addressing some aspect of authorship, audiences, and/or convergence.  This project may either be a research paper (10-15 pages), a website (15-20 pages), a fiction/nonfiction video (5-10 minutes), a comic book (24 pages), or a game (a board game with cards and rules, or a computer game), depending on your preference and previous technical experience. (Students will not receive technical training in the details of video production or multimedia development as part of this class. Support is available through the GSU Digital Aquarium, http://www.gsu.edu/aquarium/.)  The final submitted project will be the culmination of a series of assignments, as described below.

 

 

 

Critical Thinking through Writing

This course is a designated Critical Thinking through Writing (CTW) course. In film, “critical thinking” is defined as identifying, analyzing, and evaluating arguments and truth claims; and formulating and presenting convincing reasons in support of conclusions.

“Writing” refers to the skill of writing clear, well-organized, and grammatically correct English prose.

 

 

Schedule

 

Introducing Convergence Culture

 

1/14 Introduction

In-class screening: Star Wars fan films

 

1/16 Read Henry Jenkins, “Quentin Tarantino’s Star Wars? Digital Cinema,

Media Convergence, and Participatory Culture,” Convergence Culture (NYU Press, 2006): http://web.mit.edu/cms/People/henry3/starwars.html

Read Chris Anderson, “The Long Tail,” Wired, December 2004:

http://www.wired.com/wired/archive/12.10/tail.html

In-class screening: Barbie Nation

 

The Culture of the Copy

 

1/21 Read Marcus Boon, In Praise of Copying, Introduction, Chapters 1-2

http://www.hup.harvard.edu/features/boon/

In-class screening: Rip! A Remix Manifesto 

 

1/23 Read Boon, Chapters 3-5

 

1/28 Read Boon, Chapters 6-7, Conclusion

In-class screening: Exit through the Gift Shop

Project Proposal due

 

1/30 Read Ted Friedman, “Ideologies of Information Processing: From Analog to Digital.” From Electric Dreams. New York: NYU Press, 2005. https://tedfriedman.com/ electric-dreams-chapter-two/

 

Remix Culture

 

2/4 Read Lessig, Remix, Introduction

http://www.scribd.com/doc/47089238/Remix

In-class screening: Copyright Criminals

 

2/6 Read L essig, Part 1

In-class screening: Everything Is a Remix

 

2/11 Read Lessig, Part 2

Project Structure draft due

 

2/13 Read Lessig, Part 3

 

Source/Influence Presentations

 

2/18 Source/Influence Presentations

 

2/20 Source/Influence Presentations

 

2/25 Source/Influence Presentations

Project Structure final draft due

 

2/27 Source/Influence Presentations

 

3/4 Source/Influence Presentations

 

3/6 Source/Influence Presentations

 

Proposal Workshops

 

3/11 Proposal Workshops

 

3/13 Proposal Workshops

 

3/18 Spring Break – no class

 

3/20 Spring Break – no class

 

3/25 Proposal Workshops

 

3/27 Proposal Workshops

 

4/1 Proposal Workshops

 

4/3 Proposal Workshops

 

 

New Media Today

 

4/8 Read Sasha Frere-Jones, “Cash on the Pinhead,” newyorker.com, August 12, 2013:

http://www.newyorker.com/online/blogs/sashafrerejones/2013/08/how-will- musicians-survive-in-the-spotify-era.html?mobify=0

Read Damon Krukowski, “Free Music,” Pitchfork, July 26, 2013:

http://pitchfork.com/features/oped/9178-free-music/

Read Tim Quirk, “My Hilarious Warner Bros. Royalty Statement,” toomuchjoy.com, December 2009:

http://www.toomuchjoy.com/index.php/2009/12/my-hilarious-warner-bros-royalty-statement/

 

4/10 Read Joe Karaganis, “Rethinking Piracy,” Media Piracy in Emerging Economies. New

York: Social Science Research Council, 2011.

http://piracy.americanassembly.org/wp-content/uploads/2011/08/MPEE-PDF-1- Rethinking-Piracy.pdf

Read Richard Barbrook, “The High Tech Gift Economy,” First Monday, December 5, 2005. http://firstmonday.org/ojs/index.php/fm/article/view/1517/1432

 

Final Project Presentations

 

4/15 Final Project Presentations

 

4/17 Final Project Presentations

 

4/22 Final Project Presentations

 

4/24 Final Project Presentations

 

Final project due May 1

 

 

Assignments

 

The class assignments add up to total of 100 possible points. Your final grade for the class is determined by adding up your grades for each assignment, adjusting for attendance, then applying the final number to the following scale:

 

A 100-93 B+ 89-88 C+ 79-78 D 70-65

A- 92-90 B 87-83 C 77-73 F 64-0

B- 82-80 C- 72-70

 

 

Project Proposal – 10 points

Write a 2-3 page proposal.  Students creating research papers, nonfiction videos, or websites will detail the questions to be investigated and the sources they will use (including bibliography).  Those creating fiction videos will present a story synopsis and a statement of their project’s intended meaning/purpose. The proposal is due in class on January 28.

 

Source/Influence Presentation – 10 points

Pick one or more texts that you expect to engage in your project. These may be sources you plan to write about, clips you plan to sample, or models for your own creative work. Present to the class (10-15 minutes) the background and context for the sources or influences, discussing how you plan to engage them in your own project. Presentations will be scheduled from February 18 to March 6.

 

Project Structure – 30 points

Write a 6-10 page document including the following segments:

 

I. Outline or script: 3-5 pages, form depending on project. An essay project should include an expanded outline. A nonfiction video project should include a detailed segmentation breaking down scenes. A fiction video project or comic book should include a full script. A website project should include a site map.

 

Plan: 3-5 pages. You will answer a series of questions to flesh out your goals and strategies for the project. (More information to follow on a separate handout.)

A rough draft of the Project Structure is due in class on February 11. After meetings to discuss revisions, the final version is due in class February 25.

 

Proposal Workshop – 10 points

Present your work in progress to the class. Workshops will be scheduled from March 11 to April 3.

 

Final Project Presentation – 10 points

After incorporating the class’s feedback from the Proposal Workshop, you will present a final version to the class at the end of the semester, April 15-24.

 

Final Project – 30 points

After incorporating further class feedback and polishing any rough edges, the final version of the capstone project is due on May 1.

 

Attendance Adjustment

As Woody Allen put it, “80 percent of success is showing up.” It’s less than that in this formula, but the bottom line is that you can’t contribute to the class if you’re not there. You’re allowed one unexcused absence for the semester. After that, each unexcused absence subtracts one point from your grade total. Excused absences include medical and family emergencies. You will be expected to schedule any employment responsibilities around this class, or accept the consequences of missed classes on your grade. If you do need to miss a class, please contact me ahead of time, and make arrangements to catch up on missed material.

 

 

Policies

 

Late Assignments

Late assignments will be marked off by ½ point for every day overdue unless an extension is agreed upon before the due date. No work can be accepted after the deadline for the final project. Any unsubmitted work will receive a 0.

 

Withdrawals

Students withdrawing on or before the midsemester point will receive a W provided they are passing the course. Students who withdraw after the midsemester point will not be eligible for a W except in cases of hardship. If you withdraw after the midsemester point, you will be assigned a WF, except in those cases in which (1) hardship status is determined by the Office of the Dean of Students because of emergency, employment, or health reasons, and (2) you are passing the course.

 

Incompletes

Incompletes may be given only in special hardship cases. Incompletes will not be used merely for extending the time for completion of course requirements.

 

Changes to the Syllabus

This syllabus provides a general plan for the course. Deviations may be necessary.

 

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American Film History, Fall 2013

Film 4960, Fall 2013

Class: Tuesdays & Thursdays 9:30-10:45 AM, Langdale 315

Screenings: Tuesdays at 11 AM, Arts & Humanities 406

Office: 25 Park Place South #1017

email: ted@tedfriedman.com

Twitter: http://twitter.com/tedfriedman

website: http://www.tedfriedman.com

Course Description

How do movies reflect and influence American life? How has Hollywood shaped Americans’ image of the world, and the world’s view of Americans? What are the alternatives to Hollywood’s stories? What is the future of film in a digital age?

In attempting to answer these questions, this class will trace the history of American movies from the 1960s to the present. Along the way, we’ll look at the semiotics, aesthetics, economics, and politics of Hollywood movies and their independent alternatives.

Readings

The readings for the class include a coursepack, online articles, and a choice of movie memoirs from which you will select one to read.

The coursepack for this class is sold by Bestway Copy Center, 18 Decatur Street SE (on the first floor of One Park Place South).

The choice of movie memoirs includes:

  • William Goldman, Adventures in the Screen Trade (Warner, 1983).
  • Robert Evans, The Kid Stays in the Picture (Hyperion, 1994).
  • Robert Rodriguez, Rebel Without a Crew (Plume, 1996).
  • Sidney Lumet, Making Movies (Vintage, 1996).
  • John Gregory Dunne, Monster (Random House, 1997).
  • Brian Michael Bendis, Fortune and Glory: A True Hollywood Comic Book Story (Oni, 2000)
  • Lloyd Kaufman, Make Your Own Damn Movie! Secrets from a Renegade Director (LA Weekly Books, 2003).
  • Robert Ben Garant and Thomas Lennon, Writing Movies for Fun & Profit (Touchstone, 2011).
  • Lynda Obst, Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business (Simon & Schuster, 2013).

In addition, optional movie news items and reviews will be distributed through the Twitter hashtag #afh2. Find all recent tweets by searching http://twitter.com for #afh2, and feel free to share your own links and comments by including #afh2 in any tweet.

Class Schedule

8/27 Introduction

In-class screening: opening of Saving Private Ryan (Spielberg, 1998).

 

8/29 Warm Bodies (Levine, 2013)

Rachel Dodes, “Why It Took Seven Years to See Mandy Lane,” Wall Street Journal, August 22, 2013:

http://online.wsj.com/article/SB10001424127887324747104579022770929528870.html

 

9/3 Hollywood Today

David Bordwell, “Intensified Continuity: Visual Style in Contemporary

American Film,” Film Quarterly 55.3 (Spring 2002): 16-28.

Ashley Lutz, “These 6 Corporations Control 90% of the Media in America,” Business 

Insider, June 14, 2012 [infographic by Jason of http://frugaldad.com]:

http://www.businessinsider.com/these-6-corporations-control-90-of-the-media-in-america-2012-6

Christopher Anderson, “The Long Tail,” Wired, December 2010:

http://www.wired.com/wired/archive/12.10/tail.html

Peter Suderman, “Save the Movie!”, Slate, July 19, 2013:

http://www.slate.com/articles/arts/culturebox/2013/07/hollywood_and_blake_snyder_s_screenwriting_book_save_the_cat.html

Peter Suderman, “The Save the Cat Beat Sheet,” Slate, July 19, 2013:

http://www.slate.com/sidebars/2013/07/the_save_the_cat_beat_sheet.html

Scott Brown, “Nuke the Cat!”, New York, August 4, 2013:

http://www.vulture.com/2013/08/script-doctor-damon-lindelof-on-blockbuster-screenwriting.html

 

9/5 Night of the Living Dead (Romero, 1968)

Robin Wood, “George Romero: Apocalypse Now,” Hollywood from Vietnam to Reagan 

and Beyond (Columbia UP, 2003), 101-119.

Thomas Schatz, “Film Genres and the Genre Film,” Hollywood Genres (McGraw-Hill,

1981), 14-41.

 

9/10 Body Genres

Carol J. Clover, “Her Body, Himself,” Men, Women and Chainsaws (Princeton UP, 1992), 21-64.

Linda Williams, “Film Bodies: Gender, Genre and Excess,” Film Quarterly 44.4 (Summer 1991), 2-13.

In-class screening: The American Nightmare (Simon, 2000).

 

9/12 McCabe & Mrs. Miller (Altman, 1971)

Richard Slotkin, “Introduction: The Significance of the Frontier Myth in American History,”

Gunfighter Nation (Oklahoma UP, 1998), 1-26.

Pauline Kael, “McCabe & Mrs. Miller: Pipe Dream,” New Yorker, July 3, 1971.

 

9/17 The Hollywood Renaissance

Yannis Tzioumakis, “The New Hollywood and the Independent Hollywood,” American Independent Cinema: An Introduction (Rutgers UP, 2006), 169-191.

In-class screening: American Cinema: The Film School Generation (Klarer, 2000).

 

9/19 The Godfather (Coppola, 1972)

Robert Ray, “Introduction,” “Left and Right Cycles,” and “The Godfather and Taxi Driver,” A Certain Tendency in the Hollywood Cinema, 1930-1980 (Princeton UP, 1985), 3-21, 296-360.

 

9/24 Blaxploitation

Ed Guerrero, “The Rise and Fall of Blaxploitation,” from Framing Blackness: The African-American Image in Film, excerpted in Movies and American Society, ed. Steven J. Ross (Blackwell, 2002), 250-273.

In-class screening: Baadasssss Cinema (Julien, 2002).

 

9/26 Jaws (Spielberg, 1975)

Janice Hocker Rushing and Thomas S. Frentz, “Introduction,” “The Hunter Myth” and “Jaws: Faces of the Shadow,” Projecting the Shadow: The Cyborg Hero in American Film (University of Chicago Press, 1995), 1-8, 52-99.

 

10/1 The New Hollywood

Thomas Schatz, “The New Hollywood,” in Jim Collins, Hilary Radner, and Ava Preacher Collins, eds., Film Theory Goes to the Movies (Routledge, 1993), 8-36.

 

10/3 Fast Times at Ridgemont High (Heckerling, 1982)

Robin Wood, “Teens, Parties and Rollercoasters: A Genre of the 1990s,” Hollywood: From Vietnam to Reagan…and Beyond (Columbia, 2003), 144-167, 309-332.

Susan Faludi, “Fatal and Fetal Visions: The Backlash in the Movies,” Backlash (Broadway Books, 1991), 112-139.

 

10/8 Director Presentations

 

10/10 Robocop (Verhoven, 1987)

Susan Jeffords, “Hard Bodies: The Reagan Heroes” and “The Movies are Looking for a Few Good White Men,” Hard Bodies (Rutgers UP, 1994): 24-63, 104-139.

 

10/15 Director Presentations

 

10/17 Do the Right Thing (Lee, 1989)

Nelson George, excerpts from Blackface: Reflections on African-Americans and the 

Movies (Perennial, 1995).

In-class screening: Classified X

Take-home Midterm due

 

10/22 Director Presentations

 

10/24 Dazed and Confused (Linklater, 1993)

Michael Z. Newman, “Indie Cinema Viewing Strategies,” Indie: An American Film Culture

(Columbia UP, 2011), 21-47.

Yannis Tzioumakis, “The Institutionalization of American Independent Cinema,” American Independent Cinema: An Introduction (Rutgers UP, 2006), 246-280.

 

10/29 Director Presentations

 

10/31 Mulholland Drive (Lynch, 2001)

David Foster Wallace, “David Lynch Keeps His Head,” A Supposedly Fun Thing I’ll 

Never Do Again (Back Bay, 1998), 146-212.

Michael Z. Newman, “Games of Narrative Form,” Indie: An American Film Culture

(Columbia, 2011), 182-220.

Bill Wyman, Max Garrone and Andy Klein, “Everything You Were Afraid to Ask About Mulholland Drive,” Salon, October 24, 2001:

http://www.salon.com/2001/10/24/mulholland_drive_analysis/

 

11/5 Hollywood Sexuality

Harry Benshoff and Sean Griffin, “Sexuality and American Film,” America on Film 

(Wiley-Blackwell, 2009): 303-355.

In-class screening: The Celluloid Closet

 

11/7 Brokeback Mountain (Lee, 2005)

Alexander Doty, “There’s Something Queer Here,” Making Things Perfectly Queer

(Minnesota UP, 1993), 1-16.

 

11/12 Director Presentations

 

11/14 Zero Dark Thirty (Bigelow, 2013)

Peter Bergen, “Zero Dark Thirty: Did Torture Really Net Bin Laden?” CNN.com,

December 11, 2012:

http://www.cnn.com/2012/12/10/opinion/bergen-zero-dark-thirty/index.html

Jane Meyer, “Zero Conscience in Zero Dark Thirty,” New Yorker, December 14, 2012:

http://www.newyorker.com/online/blogs/newsdesk/2012/12/torture-in-kathryn-bigelows-zero-dark-thirty.html?mobify=0

Steve Coll, “‘Disturbing’ & ‘Misleading,’” New York Review of Books, February 7, 2013:

http://www.nybooks.com/articles/archives/2013/feb/07/disturbing-misleading-zero-dark-thirty/?pagination=false

Spencer Ackerman, “Two Cheers for Zero Dark Thirty,” Wired.com, December 12, 2012:

http://www.wired.com/dangerroom/2012/12/zero-dark-thirty/

 

11/19 Director Presentations

 

11/21 Iron Man 3 (Black, 2013)

Begin reading one of the movie memoirs listed above.

 

Thanksgiving Break – No Class 11/26, 11/28

 

12/3 Director Presentations

 

12/5 Class Choice

 

Take-home Final due December 12

 

Screenings

 

You are responsible for viewing the assigned film before class each Thursday. Screenings are Tuesdays at 11 AM in 406 Arts & Humanities.

 

8/27 Warm Bodies

9/3 Night of the Living Dead

9/10 McCabe & Mrs. Miller

9/17 The Godfather

9/24 Jaws

10/1 Fast Times at Ridgemont High

10/8 Robocop

10/15 Do the Right Thing

10/22 Dazed and Confused

10/29 Mulholland Drive

11/5 Brokeback Mountain

11/12 Zero Dark Thirty

11/19 Iron Man 3

12/3 Class choice

 

 

Assignments

 

The class assignments add up to total of 100 possible points. Your final grade for the class is determined by adding up your grades for each assignment, adjusting for attendance, then applying the final number to the following scale:

 

A+ 100-98 B+ 89-88 C+ 79-78 D 69-65

A 97-93 B 87-83 C 77-70 F 64-0

A- 92-90 B- 82-80

 

Presentation – 10 Points

 

With a partner, you will research and present a 15-20 minute discussion of a contemporary American filmmaker. A list of potential directors is attached. The presentation should include the following parts:

 

1. One partner will begin by presenting a brief overview of the director’s work, with an emphasis on key films which demonstrate what makes the director’s work distinctive and innovative. Focus on bringing to class up to speed on what they should know about the director in order to have an informed discussion of the clip. If at all possible, include a short clip (under 5 minutes) of the director discussing his or her own work, from a DVD Special Feature, YouTube clip, documentary, or other source.

 

2. Screen a short film clip (under 5 minutes) selected by both partners to exemplify the director’s style. Unless you choose the alternate presentation (discussed below), use one continuous clip.

 

3. The other partner will then present a short analysis of the clip. Choose 1-3 film elements, and discuss in detail how each element functions in the clip. Rewind and replay selections from the clip, or pause on still images, to highlight key moments. (Be sure to prepare by noting in advance the time marks for moments you want to highlight.)

 

4. Class discussion.

 

5. At the end of class, hand in a list of your group’s sources. At least six distinct sources are required from each group. (You don’t need to specifically discuss all sources during your presentation – the goal is that you dig around enough to find the most useful material.) Possible sources include books, journal articles, interviews, documentaries, DVD commentary tracks, and YouTube videos. Wikipedia can be a useful launching pad for your research but does not in itself count towards your six sources. Other recommended resources:

 

Film & Television Literature Index:

http://web.ebscohost.com.ezproxy.gsu.edu/ehost/search/basic?sid=941c38dc-4cf8-4b7d-b462-670bc0603fbd%40sessionmgr111&vid=2&hid=126

“Gateways to Geekery,” The A.V. Club:

http://www.avclub.com/features/gateways-to-geekery/

“The New Cult Canon,” The A.V. Club:

http://www.avclub.com/features/the-new-cult-canon/

Box Office Mojo: http://boxofficemojo.com

Internet Movie Database: http://imdb.com

Film Studies for Free: http://filmstudiesforfree.blogspot.com

 

Alternate presentation: if you choose, you may produce a video presentation on your director in place of the spoken presentation. Possible video projects include an edited selection of clips with commentary, interviews with viewers, a fan film, or a trailer mashup. Video equipment and training are available at GSU’s Digital Aquarium in the Student Center.

 

Take-Home Midterm – 45 points

The take-home midterm will require you to relate concepts from the readings and lectures to the films screened in the first half of the semester. Due in class October 17.

 

Take-Home Final – 45 points

The take-home final will be structured just like the midterm, covering the second half of the semester. Due December 12.

 

Attendance Adjustment

As Woody Allen put it, “80 percent of success is showing up.” It’s less than that in this formula, but the bottom line is that you can’t contribute to the class if you’re not there. You’re allowed one unexcused absence for the semester. After that, each unexcused absence subtracts one point from your grade total. Excused absences include medical and family emergencies. You will be expected to schedule any employment responsibilities around this class, or accept the consequences of missed classes for your grade. If you do need to miss a class, please contact me ahead of time, and make arrangements to catch up on missed material.

 

 

Policies

 

Re-Writes and Makeup Tests

Opportunities for revision and improvement will be available for the midterm and the presentation. In addition, I will look at optional drafts of the final submitted on or before December 1.

 

Late and Unsubmitted Papers

Late papers will be marked off by ½ point for every day overdue unless an extension is agreed upon before the due date. Any unsubmitted papers will receive a 0. Likewise, any unanswered exam questions will receive a 0. So, if you answer only 2 out of 3 required exam questions, you will get a 0 on the third question.

 

Academic Honesty

The university’s policy on academic honesty is attached. The policy prohibits plagiarism, cheating on examinations, unauthorized collaboration, falsification, and multiple submissions. Violation of the policy will result in failing the class, in addition to disciplinary sanctions.

 

The Internet makes it easy to plagiarize, but also easy to track down plagiarism. Bottom line: Don’t plagiarize. It’s wrong, and it’s not worth it. There’s always a better way. Cite all your sources, put all direct quotations in quotation marks, and clearly note when you are paraphrasing other authors’ work.

 

Incompletes

Incompletes may be given only in special hardship cases. Incompletes will not be used merely for extending the time for completion of course requirements.

 

Changes to the Syllabus

This syllabus provides a general plan for the course. Deviations may be necessary.

 

Course Evaluation

Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State University.  Upon completing the course, please take the time to fill out the online course evaluation.

 

 

 

 

 

pastedGraphic.pdf

Director List

 

Note: This is only a partial list. Feel free to choose any other director who’s made English-language films since World War II, with one exception: directors of films screened for class are off limits, since they’re already covered.

 

 

Woody Allen

Paul Thomas Anderson

Allison Anders

Kenneth Anger

Judd Apatow

Greg Araki

Darren Aronofsky

Hal Ashby

Ralph Bakshi

Paul Bartel

Michael Bay

Luc Besson

Brad Bird

Lizzie Borden

Danny Boyle

Stan Brakhage

Albert Brooks

Mel Brooks

Charles Burnett

Tim Burton

James Cameron

Jane Campion

Shane Carruth

John Cassavetes

Joel & Ethan Coen

Martha Coolidge

Sofia Coppola

Roger Corman

Alex Cox

Wes Craven

David Cronenberg

Cameron Crowe

Julie Dash

Ossie Davis

Tamra Davis

Guillermo del Toro

Jonathan Demme

Brian DePalma

Tom DiCillo

Ernest Dickerson

Atom Egoyan

Bobby and Peter Farrelly

Jon Favreau

Abel Ferrara

David Fincher

Stephen Frears

William Friedkin

Sam Fuller

Terry Gilliam

Michael Gondry

F. Gary Gray

David Gordon Green

Paul Greengrass

Christopher Guest

James Gunn

Mary Harron

Hal Hartley

Amy Heckerling

Albert and Allen Hughes

Peter Jackson

Henry Jaglom

Rian Johnson

Spike Jonze

Neil Jordan

Jon Jost

Lloyd Kaufman

Harmony Korine

Stanley Kubrick

Neil LaBute

John Lassiter

David Lean

Barry Levinson

Doug Liman

Ken Loach

Sidney Lumet

Terrence Malick

Michael Mann

Elaine May

George Miller

Michael Moore

Errol Morris

Greg Mottola

Mira Nair

Gregory Nava

Mike Nichols

Victor Nunez

Alexander Payne

Sam Peckinpah

Arthur Penn

Sidney Poitier

Roman Polanski

Alex Proyas

Sam Raimi

Rob Reiner

Tim Robbins

Robert Rodriguez

Eli Roth

Alan Rudolph

David O. Russell

Nancy Savoca

John Sayles

Michael Schultz

Martin Scorcese

Susan Seidelman

M. Night Shyamalan

Bryan Singer

John Singleton

Jack Smith

Kevin Smith

Zach Snyder

Stephen Sodebergh

Todd Solondz

Penelope Spheeris

Andrew Stanton

Whit Stillman

Quentin Tarantino

Julien Temple

Rose Troche

Melvin Van Peebles

Gus Van Sandt

Lars von Trier

Lana & Andy Wachowski

Wayne Wang

Andy Warhol

John Waters

Forest Whitaker

Fredric Wiseman

John Woo

Edgar Wright

Boaz Yakin

Benh Zeitlin

Robert Zemeckis

Rob Zombie

Fantasy and Science Fiction Media, Spring 2013

FILM 4280/6280, Spring 2013
Tuesdays & Thursdays 1:00-2:15 PM, 331 General Classroom Building
Screenings Tuesdays, 11:00 AM-12:50 PM, 406 Arts & Humanities

Ted Friedman
25 Park Place #1017
tedf@gsu.edu
http://twitter.com/tedfriedman
http://tedfriedman.com

Course Description
How do we dream our visions of the future? How do we explore our fantasies of the past?

Science fiction extrapolates the trends of the present to imagine possible future worlds, both utopian and (more often) dystopian. Fantasy looks back to imagine past worlds in which technology has not yet usurped nature. Both genres are rooted in mythic traditions that push beyond the boundaries of realism to reach for deeper truths.

This class will examine the genres of fantasy and science fiction across multiple media, including film, television, literature, comics and gaming. We’ll survey their history, while at the same time tracing the impact of each text forward into the present. We’ll look at how these works have reflected and influenced American society, as each new generation of creators has responded to changing social conditions by re-imagining the key tropes and themes of the genres. And we’ll try to understand why these visions continue to capture the world’s imagination.

Readings
Class readings will include books and a coursepack of articles. Here are the books you’ll need:

Maggie Hyde and Michael McGuinness, Introducing Jung
Salman Rushdie, The Wizard of Oz
Neal Gaiman, The Sandman: Season of Mists
Orson Scott Card, Ender’s Game
Karen Thompson Walker, The Age of Miracles

The course books can be ordered through online retailers such as amazon.com/student, bn.com, and powells.com. The coursepack is sold by Bestway Copy Center, 18 Decatur Street SE (on the first floor of One Park Place South).

Students in Film 6280 will read two additional books of their choice, one scholarly book and one work of fiction, and will present them in two separately scheduled meetings with the other graduate students.

Twitter Feed
Relevant news and commentary will be shared with the class via the Twitter hashtag #fsfmedia. Feel free to respond to tweets or post your own. Class Schedule

Unit I: Modern Myths

T 1/15 Understanding Fantasy and Science Fiction

Th 1/17 The Power of Myth
Ted Friedman, “Myth, the Numinous, and Cultural Studies”:
http://flowtv.org/?p=4161
Ted Friedman, “The Politics of Magic,”
http://www.scope.nottingham.ac.uk/article.php?issue=14&id=1138&section=article&q=rose

T 1/22 Star Wars
Joseph Campbell, excerpt from The Hero With a Thousand Faces (CP)
Christopher Vogler and Stuart Voytilla, excerpt from Myth and the Movies (CP)

Th 1/24 Archetypes and the Collective Unconscious
Hyde and McGuinness, Introducing Jung
Ted Friedman, “Jung and Lost”:
http://flowtv.org/?p=3865
Ursula K. LeGuin, “The Child and the Shadow” (CP)

T 1/29 The Lord of the Rings
J.R.R. Tolkien, “Introduction to The Fellowship of the Ring” (CP)
J.R.R. Tolkien, “On Fairy Stories”:
http://bjorn.kiev.ua/librae/Tolkien/Tolkien_On_Fairy_Stories.htm

Th 1/31 Game of Thrones

Unit II: Folklore and Fantasy

T 2/5 The Wizard of Oz
Salman Rushdie, The Wizard of Oz

Th 2/7 Buffy the Vampire Slayer
Guillermo del Toro and Chuck Hogan, “Why Vampires Never Die”:
http://www.nytimes.com/2009/07/31/opinion/31deltoro.html?_r=1
Laura Miller, “Real Men Have Fangs”:
http://online.wsj.com/article_email/SB122540672952785957-lMyQjAxMDI4MjE1MTQxMDE2Wj.html

T 2/12 The Company of Wolves
Angela Carter, “The Company of Wolves” (CP)
Selections from Marjorie Tatar, ed., The Classic Fairy Tales (CP)

Th 2/14 Firefly

T 2/19 Where the Wild Things Are
Alison Lurie, “Something Wonderful Out of Almost Nothing”:
http://www.nybooks.com/articles/archives/2012/jul/12/something-wonderful-out-almost-nothing/

Th 2/21 Dollhouse

T 2/26 Spirited Away
Margaret Talbot, “The Auteur of Anime” (CP)
James W. Boyd and Tetsuya Nishimura, “Shinto Perspectives in Miyazaki’s Anime Film Spirited Away,” The Journal of Religion and Film 8.2 (October 2004):
http://www.unomaha.edu/jrf/Vol8No2/boydShinto.htm
Norkio T. Reider, “Spirited Away: Film of the Fantastic and Evolving Japanese Folk Symbols,” Film Criticism 29.3 (2005): 4-27:
http://www.corneredangel.com/amwess/papers/spirited_away.pdf
Aaron Sherwood, “Characterization, Narrative Structure and Mythopoeia in the Films of Hayao Miyazaki” (2006):
http://www.nausicaa.net/miyazaki/essay/files/AaronSherwood_Mythopoeia.pdf

Th 2/28 Lost
Jason Mittell, “Sites of Participation: Wiki Fandom and the Case of Lostpedia”:
http://journal.transformativeworks.org/index.php/twc/article/view/118/117

T 3/5 Pan’s Labyrinth and Sandman
Neil Gaiman, The Sandman: Season of Mists

Th 3/7 The Walking Dead
Take-home midterm due

Unit III: Science Fiction

T 3/12 Metropolis
J. P. Telotte, “The Seductive Text of Metropolis” (CP)
William Gibson, “The Gernsback Continuum” (CP)
Andrew Ross, “Getting Out of the Gernsback Continuum” (CP)
David Hartwell, excerpt from Age of Wonders (CP)

Th 3/14 The Twilight Zone

T 3/19 Spring Break – no class

Th 3/21 Spring Break – no class

T 3/26 Bride of Frankenstein
Gary Morris, “Sexual Subversion: The Bride of Frankenstein”:
http://www.brightlightsfilm.com/19/19_bride1.html

Th 3/28 Star Trek
Henry Jenkins, “Infinite Diversity in Infinite Combinations” (CP)
Ted Friedman, “Capitalism: The Final Frontier”:
http://www.tedfriedman.com/essays/2005/03/capitalism_the.html

T 4/2 Blade Runner
Donna Haraway, “A Manifesto for Cyborgs” (CP)
Fredric Jameson, “Postmodernism, or the Cultural Logic of Late Capitalism” (CP)

Th 4/4 The X-Files
Carl Jung, “Flying Saucers as Modern Myths” (CP)

T 4/9 Brazil and Ender’s Game
Orson Scott Card, Ender’s Game

Th 4/11 Battlestar Galactica
Spencer Ackerman, “Battlestar: Iraqtica,”
http://www.slate.com/id/2151425/nav/tap2/

T 4/16 The Matrix
David Weberman, “The Matrix: Simulation and the Postmodern Age” (CP)
Slavoj Zizek, “The Matrix, or the Two Sides of Perversion” (CP)
Aleksandar Hemon, “Beyond the Matrix”:
http://www.newyorker.com/reporting/2012/09/10/120910fa_fact_hemon

Th 4/18 World of Warcraft and The Guild
Download and play the free World of Warcraft trial:
http://www.worldofwarcraft.com

T 4/23 Children of Men and The Age of Miracles
Karen Thompson Walker, The Age of Miracles

Th 4/25 Futurama

Take-Home Final due via email to tedf@gsu.edu on Tuesday, April 30 by 5 PM

Screening Schedule

You are responsible for viewing assigned films in time for class discussion. Screenings are held on Thursdays at 4:30 PM in 406 Arts & Humanities.

1/15 No screening
1/22 Star Wars
1/29 The Lord of the Rings: The Fellowship of the Ring
2/5 The Wizard of Oz
2/12 The Company of Wolves
2/19 Where the Wild Things Are
2/26 Spirited Away
3/5 Pan’s Labyrinth
3/12 Metropolis
3/19 Spring Break – no class
3/26 Bride of Frankenstein
4/2 Blade Runner
4/9 Brazil
4/16 The Matrix
4/23 Children of Men

Assignments

The class assignments add up to total of 100 possible points. Your final grade for the class is determined by adding up your grades for each assignment, adjusting for attendance, then applying the final number to the following scale:

A+ 100-98 B+ 89-88 C+ 79-78 D 69-65
A 97-93 B 87-83 C 77-70 F 64-0
A- 92-90 B- 82-80

TV Presentation – 10 points (Film 4280 only)
As part of a 2-3 person team, you will give a presentation on an influential fantasy or science fiction television show. Your team has two presentation options:

Research Presentation: Each member of the team gives a 5-minute presentation on a different aspect of the show: 1) the creator/creators; 2) the economics of the production, including available budget and ratings information; 3) audience responses. Each member hands in a list of sources. A minimum of five separate sources is required for each member’s presentation. (Wikipedia can be consulted to find sources but does not itself count toward the five sources.) PowerPoint is not necessary, but short video clips (such as creator interviews, news stories, and fan films) should be incorporated into each presentation when available.

Creative Presentation: Alternately, the presentation team can choose to collectively produce a short film about the TV show. Options include an edited selection of clips with voice-over commentary, a series of interviews with viewers, or a fan film.

Book Presentations – 5 points each (Film 6280 only)
Graduate students will read two additional books of their choice, one scholarly book and one work of fiction, and will give short a presentation on each in two separately scheduled meetings with the other graduate students.

Take-Home Midterm – 45 points (Film 4280 and 6280)
The take-home midterm will require you to relate concepts from the readings and lectures to the assigned films, series, novels and comics. Undergraduate and graduate students will take the same exam, but graduate students will be expected to submit more detailed answers. Due March 7.

Take-Home Final – 45 points (Film 4280 and 6280)
The take-home final will be structured just like the midterm, covering the second half of the semester. Due April 30.

Attendance Adjustment
As Woody Allen put it, “80 percent of success is showing up.” It’s less than that in this formula, but the bottom line is that you can’t contribute to the class if you’re not there. You’re allowed one unexcused absence for the semester. After that, each unexcused absence subtracts one point from your grade total. Excused absences include medical and family emergencies. You will be expected to schedule any employment responsibilities around this class, or accept the consequences of missed classes for your grade. If you do need to miss a class, please contact me ahead of time, and make arrangements to catch up on missed material.

Policies

Office Hours
Office hours are by appointment. I’m usually available to meet before and after every class.

Late Papers
Late midterms are penalized at the rate of 1/2 point per day overdue. Late finals cannot be accepted without an extension.

Rewrites
Rewrites of any midterm question are welcome. The final grade on the question will be the average of the original grade and the rewritten version’s grade. Rewrites of the final are unavailable, but rough drafts of the final can be submitted for feedback through April 23.

Incompletes
Incompletes may be given only in special hardship cases. Incompletes will not be used merely for extending the time for completion of course requirements.

Assessment
Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State. Upon completing the course, please take time to fill out the online course evaluation.

Disability
Students who wish to request accommodation for a disability may do so by registering with the Office of Disability Services. Students may only be accommodated upon issuance by the Office of Disability Services of a signed Accommodation Plan and are responsible for providing a copy of that plan to instructors of all classes in which accommodations are sought.

Changes to the Syllabus
This syllabus provides a general plan for the course. Deviations may be necessary.

For a Jungian Turn in Comics Studies

Here’s a short “position paper” I wrote for a panel on comics at the Flow media studies conference in Austin:

For a Jungian Turn in Comics Studies

The rise of the new field of comics studies offers the opportunity to reconsider theoretical choices made by earlier forms of media studies. When, in an earlier generation, film studies began looking for models of subjectivity, it turned to the Freudian/Lacanian tradition. Left behind, for the most part, was the very different psychoanalytic perspective developed by Freud’s onetime protégé Carl Jung. While parsing the obsessions of exemplary filmmakers such as Alfred Hitchcock seemed to require the Oedipal framework of Freud, the work of comparable comic book auteurs such as Alan Moore and Neal Gaiman is in a very different, much more Jungian register. Their model for the psyche begins not with the family romance, but with a multiplicity of intense affects and impulses represented by godlike figures of outsized powers and desires. As these creators recognize, comic books’ heroes are archetypal, their stories mythic, their metaphysics mystical. Turning to Jung gives comics studies access to an invaluable trove of insight into the mythic dimensions of popular culture. In turn, recentering media studies around comics studies offers a chance to reintegrate models of archetype and the numinous into contemporary cultural studies.

Fans and scholars rightly insist that comics are more than just superheroes. But this claim for diversity also includes a hint of disavowal: there’s good reason why superpowered characters have featured so prominently not only in the medium’s most popular works, but also in many of its most powerful and influential ones. Produced by just ink and paper, comics are not indexically bound as photography and film are, and so easily transcend the limits of verisimilitude, making them the ideal visual medium for fantasy. Only now are other media, using CGI technology, able to approach the vastness of this canvas. Even Joss Whedon’s film version of The Avengers, working with a budget north of $100 million, was compelled to save money and effort by setting much of its second act in the stagey confines of the S.H.I.E.L.D. helicarrier. The locations of a comic book, on the other hand, are limited only by the artists’ imaginations.

Comics, then, are ideally suited for representing larger-than-life characteristics in settings far beyond the everyday. In Jungian terms, superheroes are archetypes: representations of primal psychic forces. In Jungian interpretations of myths and fairy tales, individual characters represent archetypal aspects of a single psyche: the Hero, the Mother, the Shadow, and so on. Likewise, stories of superheroes and super villains speak to us today because their characters represent archetypal elements within each of our psyches. Within The Avengers, for example, one might argue that Thor is an image of power, Captain America of duty, Iron Man intellect, and the Bruce Banner/The Hulk the dialectic of repression and aggression. Each of us contains within us the multitudes of the superheroic mythos.

Critics of Jungian interpretation have argued that it is essentialist—that is presumes all cultural texts represent unchanging psychological truths. But contemporary “post-Jungian” critics have pointed to the distinction that Jung draws between “archetype” and “archetypal image.” An archetype is an unrepresentable pattern of energy, stored, for Jung, in the collective unconscious. An archetypal image is the specific embodiment of an archetype in a distinct cultural and historical moment. The archetypal image is where archetype meets ideology. Bringing Jung together with the ideas of Antonio Gramsci, we can see every specific archetypal image as an intervention in the struggle to define the hegemonic meanings attached to an underlying archetype. The representation of Captain America, for instance, has been a space to struggle over the meanings of patriotism—from Jack Kirby’s Avenger slugging Hitler, to Alan Moore’s curdled parody the Comedian, to Whedon’s man out of time. Pairing post-Marxist ideology criticism with post-Jungian analytical theory gives comics studies the tools not just to explain its own medium, but also to map the fantasies and fears at the heart of contemporary popular culture.

Media and Cultural Studies, Spring 2012

COMM 6160/8690, Spring 2012
Thursdays 4:30-7:00 PM, Sparks 321

Ted Friedman
Office: 738 One Park Place South
ted@tedfriedman.com
http://twitter.com/tedfriedman
http://tedfriedman.com

Course Description
What are the political dimensions of popular culture? How does culture reflect, influence, and embody structures of power? Where does hegemony end and resistance begin? This class will engage the interdisciplinary field of Cultural Studies, which attempts to understand the relationship between culture and politics. We’ll be reading both founding theoretical texts and cutting-edge scholarship. We’ll address a range of media, from film and television to music, computer games and romance novels. We’ll look at multiple, intersecting structures of power, including class, nation, gender, and race.

Readings
Class readings will include books and a coursepack of articles. Here are the books you’ll need:

Graeme Turner, British Cultural Studies: An Introduction
Janice Radway, Reading the Romance
One romance novel of your choice
Susan Douglas, The Rise of Enlightened Sexism
Jodi Dean, Democracy and Other Neoliberal Fantasies
Stephen Duncombe, Dream: Re-Imagining Progressive Politics in an Age of Fantasy
Jane McGonigal, Reality Is Broken
Bruno Latour, On the Modern Cult of the Factish Gods
Janice Hocker Rushing and Thomas Frentz, Projecting the Shadow
Jeffrey Kripal, Mutants and Mystics

Most course books should be available at the GSU bookstores. They can also be ordered through online retailers such as amazon.com/student, bn.com, and powells.com. The coursepack is sold by Bestway Copy Center, 18 Decatur Street SE (on the first floor of One Park Place South).

Podcasts, Screenings and Activities
In addition to readings, some weeks’ assignments will include listening to podcasts, screening films and TV shows, and visiting locations around Atlanta.

Twitter Feed
Relevant news and commentary will be shared with the class via the Twitter hashtag #cultstud. Feel free to respond to tweets or post your own.
Schedule

1/12    The Politics of Culture
In-class screening: Barbie Nation

1/19    Culture and Power
Graeme Tuner, British Cultural Studies: An Introduction: Introduction, Chapter 1
Karl Marx, excerpts from The German Ideology
http://www.marxists.org/archive/marx/works/1845/german-ideology/ch01a.htm;
http://www.marxists.org/archive/marx/works/1845/german-ideology/ch01b.htm
Theodor Adorno and Max Horkheimer, “The Culture Industry: Enlightenment
as Mass Deception”
http://www.icce.rug.nl/~soundscapes/DATABASES/SWA/Some_writings_of_Adorno.shtml
Walter Benjamin, “On the Concept of History”
http://www.sfu.ca/~andrewf/CONCEPT2.html
Watch or listen to Reading Marx’s Capital with David Harvey, Class 1: “Introduction”
http://davidharvey.org/2008/06/marxs-capital-class-01/
Watch or listen to Paul Fry’s Literary Theory, Class 17: “The Frankfurt School of
Critical Theory”
http://itunes.apple.com/us/podcast/17-the-frankfurt-school-critical/id341652579?i=63753382

1/26    Hegemony and Resistance
Turner, Chapters 2-7, Conclusion
Louis Althusser, “Ideology and Ideological State Apparatuses”
http://www.marxists.org/reference/archive/althusser/1970/ideology.htm
Antonio Gramsci, “Hegemony, Intellectuals and the State” (CP)
Stuart Hall, “Encoding/Decoding” (CP)

2/2    Cynicism and Utopia
Slavoj Zizek, excerpt from The Sublime Object of Ideology (CP)
Fredric Jameson, “Reification and Utopia in Mass Culture,” (CP)
Thomas Frank, “New Consensus for Old” (CP)
Richard Dyer, “Entertainment and Utopia” (CP)
Ted Friedman, “Introduction,” Electric Dreams
http://www.tedfriedman.com/electricdreams/2005/02/introduction.php
Michael Berube, “What’s the Matter with Cultural Studies,”
http://chronicle.com/article/Whats-the-Matter-With/48334/
Watch or listen to Paul Fry’s Literary Theory, Class 18: “The Political Unconscious”
http://itunes.apple.com/us/podcast/18-the-political-unconscious/id341652579?i=63753375

2/9    Audience and Gender
Janice Radway, Reading the Romance
Go to a bookstore, buy a romance novel, and read it.

2/16    Postfeminisms
Susan Douglas, The Rise of Enlighted Sexism

2/23    Communicative Capitalism
Jodi Dean, Democracy and Other Neoliberal Fantasies

3/1    No class – spring break

3/8    Fantasy
Stephen Duncombe, Dream: Re-imagining Progressive Politics in an Age of Fantasy

3/15    Play
Jane McGonigal, Reality Is Broken: Why Games Make Us Better and How They
Can Change the World

3/22    Science
Bruno Latour, On the Modern Cult of the Factish Gods

3/29    Myth
Janice Hocker Rushing & Thomas S. Frentz, Projecting the Shadow: The Cyborg Hero
in American Film
Watch Blade Runner

4/5    Mysticism
Jeffrey Kripal, Mutants and Mystics: Science Fiction, Superhero Comics,
and the Paranormal

4/12    Research Presentations
No reading

4/19    Research Presentations/Party
No reading

Assignments

The class assignments add up to total of 100 possible points. Your final grade for the class is determined by adding up your grades for each assignment, adjusting for attendance, then applying the final number to the following scale:

A+    100-98        B+    89-88        C+    79-78        D    69-65
A     97-93        B    87-83        C    77-70        F    64-0
A-    92-90        B-    82-80

I. Theorist Discussion – Comm 6160: 15% of final grade; Comm 8690: 10% of final grade
You will lead, with a group, a 30-45 minute discussion of one of the theorists covered in the opening weeks of class. One group member should present a brief (5 minute) biographical introduction, incorporating video clips of the author if available. Each other member should introduce a contemporary media example and suggest how the author’s ideas could be applied to the text. Note: it is not necessary to summarize the reading beyond a brief 1-2 sentence statement of its key arguments. Further exegesis will be developed in lecture and class discussion. The choice of theorists includes: Adorno, Benjamin, Althusser, Gramsci, Hall, Zizek, Jameson and Frank.

II. Book Discussion – 6160: 25% of final grade; 8690: 20% of final grade
You will lead, with a group, discussion of one assigned book. To prepare for the discussion of the reading, research these questions to put the reading in a broader context:

What is the author’s background? What discipline is the author trained in? What else has s/he written? In which journals has s/he published?

What was the reception of the book? How was the book reviewed? What criticisms have been made of the author’s work? How has the author responded? Whom has the author influenced?

Then, meet with your group to prepare for a class discussion. Don’t bother summarizing the work. Rather, concentrate on how the work relates to the key questions we’ll be asking all semester. In addition to the research topics, other subjects for discussion should include:

Methodology: What research methods does the author use? (Possibilities include textual analysis, ethnography, historical research, quantitative social science, etc.) How does the author approach and justify this methodology? What are the advantages and limitations of this methodology?

Theoretical debates: In what theoretical debates does the work intervene? Where does the author stand? Whom does the author criticize? How does this work move the debate forward?

Example of Analysis: Pick one media example that’s either directly addressed by the author, or that can be illuminated by applying the author’s ideas. Show a representative sample from the text (any clip should be no more than 5 minutes). Discuss how the author would (or does) interpret the example. What are the strengths and limitations of this interpretation? What alternate interpretations are possible?

(You don’t need to organize your discussion in the order listed above. It may help to present the example up front, to ground your discussion of methodology and theory. It’s often also a good icebreaker to begin discussion by going around the room, asking everybody to answer a specific question related to their response to the book.)

III. Outside reading presentation – 8690 only: 10% of grade
Doctoral students will read one additional book and give a short (10-15 minute) presentation on the work to the class, summarizing the book’s key arguments, the critical response to the book, and how its ideas relate to the themes of the course. A list of suggested readings will be distributed separately.

IV. Final Project – 50% of final grade
Option 1: Write a paper on a subject relating to the politics of popular culture. 6160: 12-15 pages. 8690: 18-25 pages. Doctoral work will be expected to meet a higher standard of theoretical sophistication.

Option 2: Produce a creative work which engages some of the ideas of the class. The project can be a short film, a screenplay, or a new media work. Along with the project, include a short paper relating your work to ideas from the class. 6160: 3-5 pages; 8690: 8-10 pages. Doctoral work will be expected to meet a higher standard of theoretical sophistication.

For either option, the deadlines are the same:
A one-page prospectus is due February 23. I will schedule individual meetings with you to discuss the prospectus.
You will give a short (10 minute) presentation of your research project on either April 12 or April 19.
The final project is due April 26.

V. Attendance Adjustment
As Woody Allen put it, “80 percent of success is showing up.” It’s less than that in this formula, but the bottom line is that you can’t contribute to the class if you’re not there. You’re allowed one unexcused absence for the semester. After that, each unexcused absence subtracts one point from your grade total. Excused absences include medical and family emergencies. You will be expected to schedule any employment responsibilities around this class, or accept the consequences of missed classes for your grade. If you do need to miss a class, please contact me ahead of time, and make arrangements to catch up on missed material.

Policies

Office Hours
Office hours are by appointment. I’m usually available to meet before and after every class.

Incompletes
Incompletes may be given only in special hardship cases. Incompletes will not be used merely for extending the time for completion of course requirements.

Assessment
Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State. Upon completing the course, please take time to fill out the online course evaluation.

Disability
Students who wish to request accommodation for a disability may do so by registering with the Office of Disability Services. Students may only be accommodated upon issuance by the Office of Disability Services of a signed Accommodation Plan and are responsible for providing a copy of that plan to instructors of all classes in which accommodations are sought.

Changes to the Syllabus
This syllabus provides a general plan for the course. Deviations may be necessary.

Marx, Jung & Yoda: The Dialectics of The Force

Here’s a talk about Star Wars and myth that I gave last month  at the Academy of Religious Studies conference in San Francisco. Feedback is welcome – I’m in the process of turning this into the introduction to my book, Centaur Manifesto.

I’m really thrilled to be here at the AAR conference. This is the first time I have been to a conference in religious studies, and I want to admit right off the bat that I’m not a trained scholar in religious studies. My own background is in cultural studies, new media, and critical theory. But I have found more and more that in trying to understand contemporary American culture, it’s impossible to ignore spiritual themes, and that the theoretical models of cultural studies really don’t offer a lot of space to think through questions of spirituality. There are some good and legitimate reasons for this. The Marxist and Freudian hermaneutics of suspicion have been incredibly valuable in uncovering the ideological underpinnings of religious discourses, along with all other discourses. But I’ve come to conclude that they’re not enough to tell the whole story.  I’ve come to this conference because I think a theological turn – or, in psychoanalytic terms, a Jungian turn – can help cultural studies develop a richer vocabulary to talk about the numinous. And at the same time, I do have some hope that some of the ideas that have come out of my own field might be of use to religious studies as well.

I’d like to begin by giving a little context for how I came to this topic. My first book, Electric Dreams, looked at the cultural history of personal computers, and what I argue is that cyberculture in the 1980s and 90s became what I call a utopian sphere: a space to imagine different visions of the future beyond the boundaries of late capitalist ideology. I was inspired by the work of Fredric Jameson, particularly his groundbreaking essay “Reification and Utopia in Mass Culture.” Jameson argues that for popular culture texts to capture the imaginations of large audiences, they must include at least glimpses of a better world. But capitalist ideology represses and recontains these utopian impulses, channelling them into consumerism, cynicism, and alienated individualism. For Jameson, the goal of the critic is to rescue and expand upon the utopian visions that have been buried within what he calls The Political Unconscious.

After finishing my first book a few years ago, I began to look more closely at the popular culture of this past decade, and was surprised by what I found. Electric Dreams argued that science fiction was the most influential genre of the 1980s and 1990s, helping to invent and make sense of the transmediated universe that we all live in now. But in this past decade, there’s been a cultural shift that has paralleled the growth of transmedia. These days, I’d argue that it’s the genre of fantasy that has been the most influential to our culture, producing the biggest blockbusters (Harry Potter and Lord of the Rings), the most popular gamespaces (World of Warcraft), and, to my mind, the most interesting genre authors

Fantasy works differently than science fiction. Science fiction speaks in the register of science and technology. But the central trope of fantasy is magic – a mystical force beyond the boundraries of Englightenment rationality. If science fiction celebrates logos, fantasy is the genre of mythos. As Arthur C. Clarke points out, any technology sufficiently advanced beyond our own is indistinguishable from magic. In this sense, all science fiction is part of the larger fantastical, mythological tradition. It’s just that the technological gloss of SF provides a cover of rationality over its magical, mystical core. Lately, that cover seems to be slipping. The rise of popular fantasy, I’d suggest, reflects what Christopher Partridge calls The Re-Enchantment of the West, in a play on Max Weber’s famous description of modernity as “The Dis-Enchantment of the World.” The desires underlying many fantasy texts, then, are not only the visions of a more just and egalitarian post-capitalist society that Jameson identifies, but also repressed visions of the spiritual – of mytical, gnostic experience.

Now, it may seem strange to describe spirituality as a repressed subtext in American popular culture. After all, the US remains one of the most religious societies in the world, an ongoing repudiation of the secularization thesis. But I’d suggest that the mystical, gnostic sensiblity of popular fantasy is not prominently represented in the American public sphere. This is the argument religious studies scholar Jeffrey Kripal makes in his fascinating new study of comic books, Mutants and Mystics. Furthermore, the core audience for these texts – the kinds of geeks and techies like myself who attend the San Diego Comic Con and play MMORPGs – are exactly those whose everyday worlds are most structured by the capitalist technocratic rationality of binary codes and spreadsheets. In this context, the mystical vision of fantasy represents what Jung would call a compensatory myth – not, as classical ideology theory would have it, because it mystifies and justifies capitalism, but rather because, like a recurring dream, it points to a psychological need that is not being met – a potential transformation of the self, and of society, that challenges the illusion of a stable, complete ego.

In other words, there is a spiritual impulse that is repressed in technocratic postmodern American culture. But that human need does not go away. The return of the repressed shows up in our shared fantasies. Jorge Louis Borges suggested that the theological is a part of the fantastical genre.  I’d like to suggest the converse: that we consider popular fantasy as a form of folk theology.

Another inspiriation for my work, and for much of transmedia studies in general, has been Donna Haraway’s hugely influential 1986 essay, “A Manifesto for Cyborgs.” Haraway turned to the figure of the cyborg to argue that it offered a way to reimagine the intersection between the human and the machine, between nature and technology. She saw the cyborg as a figure who could challenge the presumptions of many on the Left at the time who saw technology as the enemy. Instead, she suggested that films like Blade Runner offerred ways to imagine reappropriating technological tools to empower the disnenfranchised. Haraway’s ideas, controversial in their time, have become a kind of common sense today; I don’t think technophobia on the Left is nearly the problem it was when she was discussing it. Instead, just as science fiction was dismissed by most of Haraway’s peers in the 1980s as escapism, today it is fantasy that is often dismissed as reactionary nostalgia. In fact, both the Lord of the Rings and Harry Potter movies first came out in the fall of 2001, shortly after 9/11, and many critics  argued that these films were so popular at this moment because they offer a safe, reassuring retreat into a fantasy world. I don’t think that’s completely wrong, but I don’t think it tells nearly the whole story. If in the 1980s what was needed was a cyborg manifesto, today what’s needed is what I call a centaur manifesto, a similar embrace of a liminal figure. The centaur is on the boundary between human and animal, between nature and culture, and even on the boundary between reality and fantasy, between the scientific world of everyday life and the fantastical world of mythology. Just as Haraway saw the cyborg as an inspiring figure to imagine how we could rework science fiction in new, more empowered ways, I think the centaur similarly can be that type of fantasy figure.

To flesh out the implications of this centaur manifesto, I’ll be turning now to a specific text. The movie I want to talk about might be a little surprising because at first glance we might presume it’s science fiction: Star Wars. Star Wars is on the precipice of science fiction and fantasy. It has spaceships and light sabers, but it’s also a story of a knight who rescues a princess. It begins like a fairy tale: “Long ago in a galaxy far, far away.” And most of all, it’s a world in which magic overcomes technology, as Luke turns off his computer and destroys the Death Star by trusting instead in the Force.

The formative religious experience of my childhood was Star Wars – certainly more so, I have to admit, than Hebrew School or my Bar Mitzvah. When Obi-Wan Kenobi told Luke, “The Force . . . is an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together,” I could feel The Force tingle in my own fingertips. More than once I attempted to move objects with only the power of my mind. They never moved, but I can’t say I was ever disappointed – I think something in me moved, as I recognized that my mind and the outside world in were in some ways part of an indivisible whole. Years later, I would rediscover the flavor of those experiences when I began meditating regularly.

The power of The Force, I think, has a lot to do with the endurance of the Star Wars mythos, over three decades past the release of the first film. Star Wars was one of the first transmedia blockbusters, spawning books, comics, videogames, lunchboxes, and most lucratively, toys. All of these spinoffs meant that watching the movie was only the beginning of the experience – kids like me could move on to tell our own stories, as we did for all the years between 198tk and 1999 when no new films were being made.

The Force is a fictional construction, but at the same time it is a very powerful model for thinking about the numinous in our lives. In fact, its very fictional nature may be part of what has made it so resonant and lasting. In Jungian terms, we could say that for Star Wars fans, The Force is an archetypal image rather than the archetype itself. While there are a few people who mark ‘Jedi’ under religion on their census forms, most people don’t explicitly believe in the theology of Star Wars. Rather, they find Star Wars a set of metaphors that can help them conceive of their own sense of the spiritual or the numinous without feeling constrained by the doctrines of traditional religions. In this sense, Star Wars is one example of what Paul Heelas and Linda Woodhead call The Spiritual Revolution, in which more and more Westerners define themselves as spiritual rather than religious.

So, how does cultural studies theorize texts like Star Wars? In Convergence Culture, Henry Jenkins’ agenda-setting work on transmedia, Jenkins recognizes the influence of Joseph Campbell’s ideas about myth not only on Star Wars, but on the many other screenplays that have been inspired by Campbell’s Hero With a Thousand Faces. But Jenkins characterizes Campbell’s ideas in a very distinctive way. He writes: “Audience familiarity with this basic plot structure allows scriptwriters to skip over transitional or expository sequences, throwing us directly in the action.” In other words, Jenkins finds Campbell important as a structuralist who codified the generic expectations that make these heroic narratives easier to parse. But Jenkins passes over exactly what’s most important about myth to Campbell: the mystical. As Campbell put it: “Without the mystical, myth is just ideology.” For Campbell, as a Jungian, the hero’s journey is fundamentally about the descent into the unconscious to engage the numinous – what he calls “the mystery which is the ground of our being.”

So what would it mean to take the numinous more seriously in cultural studies? Is there a way to articulate spirituality within the set of ideas that have been so influential in cultural studies?

The circuit of culture is Paul du Gay’s very influential model of the five nodes through which every culural object passes. Where does the numinous fit in this model? Spirituality is certainly an aspect of personal identity. It’s also, as I’ve been arguing, a key theme of textual representation, even if remains as subtext. But I’d suggest the numinous – a vision of the transcendental – also informs the activities of production, consumption, and regulation. Another way to rework the circuit of culture is this:

[To come: image of a Mandala of Culture. Submissions welcome.]

Here is a Mandala of Culture, which transforms Du Gay’s two-dimentional circle into a three-dimensional sphere. It conceives of the numinous as the ground, the context in which all the circuit goes around. The numinous in itself is not directly accessible. In Jung’s terms, it is the realm of archetypes. It enters our world through the circuit of culture, where it becomes an object of representation, redefinition, and struggle. The circuit of culture is where archetype meets ideology.

I like Jung’s term “the numinous” because it locates the spiritual in the unconscious, the unrepresentable. We could also call this axis the sublime, or even Lacan’s Real – in some sense, I’d argue that all these terms are pointing to the same thing: that part of the humand experience beyond Enlightenment rationality.

[Note – this is the fuzziest, most speculative part of the talk. More to come in Centaur Manifesto.]

With this model in place, let’s turn back to Star Wars and ask how we might integrate the numinous into cultural studies. One place to start is to point out that Joseph Campbell was not George Lucas’s only guru. As I was doing research for this paper, I came across a series of fascinating talks by Alan Watts, who was a very influential popularizer of Zen Buddhism and Taoism in the 1950s, 60s, and 70s. During the period that George Lucas was writing Star Wars, Watts lived in the Bay area, speaking often at places like the Esalen Institute and on his weekly public radio show. The vocal, physical, and philosphical resemblance between Watts and Alec Guinness’s portrayal of Obi-Wan Kenobi is so unmistakeable that many fans have concluded that Watts was “the real Obi-Wan Kenobi.”

In this context, then, we can see the Force not only as a generalized religious metaphor, but also more specifically as an example of the popular transmission of Eastern spiritual ideas to the West in the second half of the Twentieth Century. But Lucas’s Force is not quite the same thing as the Tao. In Taoism, the model of yin and yang reflects the interdependence and interpenetration of all things. Dark and light depend on and need each other. One cannot exist without the other, just as any figure depends on the negative space of its background. In George Lucas’s version of the Force, while the language of dark and light remains, it’s reincorporated into a much more Western, Manichean vision of absolute good and evil. There is the light side of Obi-Wan and Luke, and there is the dark side of Darth Vader and The Emperor. So while on the one hand George Lucas brought a Taoist vision to the United States, on the other hand, in the process he robbed it of much of what makes it distinctive, complex and resonant. For this, it’s been justly criticized for validating Ronald Reagan’s attack on the Soviet Union as an “Evil Empire” in the 1980s, and George W. Bush’s similar demonization of an “Axis of Evil” two decades later.

Having said that, however, if we then begin to think about Star Wars as a transmediated text, what is significant not only its original texual representation, but also its reappropriation and reworking by its audiences. If we think of the cultural studies model of an active audience negotiating and resisting dominant codes, then we can see George Lucas’s original vision of the Force as only a first step towards a more complex, collectively produced theological vision.

I work in downtown Atlanta. Just up the block once a year is the Dragon Con annual convention where science fiction and fantasy fans come from all over the world to dress up as their favorite characters. The most popular characters, by far, are the Star Wars Storm Troopers. Every year the Storm Troopers parade down Peachtree Street. This may seem surprising: why, we may wonder, would so many fans want to dress up, not as heroes like Luke Skywalker or Obi-Wan Kenobi, but instead as part of the forces of darkness? The answer, I think, is that for Star Wars fans, the metaphysics of Star Wars are more complex than it is in Lucas’s original formulation. The dark side represents not simply evil, but the shadow side of our own personalities – the attraction towards violence, aggression, and power that we repress in our daily lives. The play space of the Dragon Con convention and the Star Wars transmedia universe provides a safe, delineated way to engage with that shadow side. And in the process, to create a more complex moral vision: to embrace and show sympathy for the devil.

What Star Wars fans are doing is what we could call vernacular theology: challenging Lucas’s dilution of Alan Watts’s Taoist vision, returning it to a more complex model that has kept the power of the Force alive after 35 years.