"How come it is easier for us to imagine the end of the world than a modest change in our economic order?" Let me take a crack at this, including how it relates to SF.
By Serdar Yegulalp on 2020-08-24 12:00:00 No comments
Here's a line you may have heard floating around recently (I think it's from the movie The Pervert's Guide To Ideology): "How come it is easier for us to imagine the end of all life on earth – an asteroid hitting the planet – than a modest change in our economic order?" Let me take a crack at this, including how it relates to SF.
When we can't think our way out of it, that is.
By Serdar Yegulalp on 2020-08-20 20:00:00 No comments
Not long ago I bumped into a little book called Structural Fabulation, by Robert Scholes (the Internet Library also has it), subtitled "An Essay On Fiction Of The Future". Scholes wrote it in 1975, when as Fred Pohl and Fred Pohl IV put it in a discussion of SF on film, it was a time when SF was not "out", but still not quite all the way "in". The book is an argument not merely for SF as literature, but for SF as a special kind of literature, one particularly suited to helping us live in our world now that it has been irreversibly transformed by both the scientific and postmodern worldviews. It's something that seems like such a truism now, we don't really talk about what it means anymore, but it seems like high time to dust off the idea and give it another close go-round.
A blueprint for how to do the impossible -- namely, follow up a classic: give it to another artist of vision and stand back.
By Serdar Yegulalp on 2020-08-19 12:00:00 No comments
There was, to my mind, no earthly reason to make a sequel to Blade Runner, any more than there was a reason to make a sequel to 2001: a space odyssey. But they did in fact make 2010: The Year We Make Contact with Arthur C. Clarke, if not with Stanley Kubrick, and it was good although short of great.
And they did in fact make Blade Runner 2049, with screenwriter Hampton Fancher, if not original author Philip K. Dick, and with original director Ridley Scott as producer and Denis Villeneuve in the director's chair. What they delivered stands so comfortably next to the original, and yet with so much of its own to offer, that it suggests a blueprint for how to do such an impossible thing: just give it to another artist of vision, assuming you can find one, and stand back.