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#Hallstatt
The Future: We’re Not in Kansas, Anymore
“[T]he image (as always) goes before the word, foreshadowing
the future if only we knew how to read it. It is the older sign,
the archaic sign, the ‘first’ sign, as C.S. Peirce would put it. That
is why images not only ‘have’ a future related to technology and
social change, but are the future seen through a glass darkly.”
—Mitchell (2009, 140)
“[F]rom farther away we look mechanically reproduced / […] I
am not your object of study / and I am not here for you.”
— Polyck-O’Neill (2018)
Critics have had no trouble identifying the ideological coordi-
nates of the Jurassic universe. Like most action blockbusters, it
is a form of left melodrama, which, as discussed in the introduc-
tion and as we also saw in the culture-clash comedies, makes us,
on the one hand, conscious of “the fundamental antagonisms
that structure our society” while at the same time encouraging
us to live out the possibility of revolution and even reconciliation
“as mere entertainment” (Tompkins 2018, 90). That is why Juras-
sic World can present itself as “anticapitalist, antimanagerialism,
and anti-GM” while also remaining, as Richard Dyer draws our
attention to, “anti-feminist, racist, species-ist, and decidedly
not queer” (Dyer 2015, 19). Nothing fundamental has changed
in terms of the Jurassic universe’s ideological coordinates since
Crichton’s original, in which, as Briggs and Kelber-Kaye point
out: “[w]hat is interesting — and anti-feminist — […] is the
story of reproduction he links it to, one in which ‘good’ repro-
duction takes place in white nuclear families where gender roles
are properly adhered to, and ‘bad’ reproduction takes place in
Third World families” (Briggs and Kelber-Kaye 2000, 97).15 In
15 As a corollary to the Frankenstein parallel, it is noteworthy that in Fallen
World, both human and dinosaur relations revolve around motherhood:
Blue, the good velocirapter that ends up saving them, is brought from
the island to serve as a mother so that the deadly new weapon clones can
imprint on her, while it is the young granddaughter, who turns out to be
back to the
book Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna"
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Title
- Siting Futurity
- Subtitle
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Author
- Susan Ingram
- Publisher
- punctumbooks
- Location
- New York
- Date
- 2021
- Language
- English
- License
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Size
- 12.6 x 20.2 cm
- Pages
- 224
- Keywords
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Category
- Geographie, Land und Leute
Table of contents
- Preface 11
- Introduction 19
- 1. (Re)Forming Vienna’s Culture of Resistance: The Proletenpassions @ #Arena 39
- 2. Converting Kebab and Currency into Community on Planet #Ottakring 57
- 3. Lazarus’s Necropolitical Afterlife at Vienna’s #Volkstheater 81
- 4. Hardly Homemad(e): #Schlingensief’s Container 101
- 5. From Grand Hotels to Tiny Treasures: Wes Anderson and the Ruin Porn Worlds of Yesterday 119
- 6. Capitalism, Schizophrenia, and #Vanlife: The Alpine Edukation of Hans Weingarter 143
- 7. #Hallstatt: Welcome to Jurassic World 161
- Bibliography 189
- Filmography 215