By Neil Badmington
Alien Chic offers a cultural historical past of the alien because the Fifties, asking ourselves why our attitudes to extraterrestrial beings have shifted from worry to affection, and what this may let us know approximately how we now see ourselves and others.
Neil Badmington explores our dating with extraterrestrial beings, inscribed in motion pictures resembling The struggle of the Worlds, Mars Attacks!, Mission to Mars and Independence Day; and the way thinkers akin to Descartes, Barthes, Freud, Lyotard and Derrida have conceptualised what it skill to be human (and post-human).
Alien Chic examines the the concept that of posthumanism in an age while the traces among what's human and what's non-human are more and more blurred through advances in technology and know-how, for instance genetic cloning and engineering, and the advance of AI and cyborgs.
Questioning even if our present embracing of all issues 'alien' - within the type of extraterrestrial instruments or abduction narratives, for example - stems from a wish to reaffirm ourselves as 'human', this is often an unique and thought-provoking contribution to the learn of posthumanism.
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Additional info for Alien Chic: Posthumanism and the Other Within
The meal is prepared, and the family sits to eat. Almost immediately, however, an argument breaks out when Graham refuses to allow grace to be said. ‘I’m not wasting one more minute of my life on prayer’, he declares. ’ Before long, three of the four people present at the table are in tears. ‘I hate you…’, Morgan tells his father. ’ But the division is quickly overcome, as Morgan, Bo and Merrill leave their seats to embrace Graham. From this point onwards, the Hesses stand united against the invaders.
The scene ends with another image of the DNA pattern. The filmic practice here is unusual for Mission to Mars, which habitually uses long shots38 and deep focus to maintain clarity and consistency within the frame and across different planes. The scene, that is to say, stands out from the main body of the film, and I want to suggest that in this moment of emphasis the film lays bare its difference from the humanist invasion narratives of the 1950s. Developments in genetics have prompted something of a shift in the way that the human race understands and represents itself.
America. Leadership. ’65 On the last count, Dole was, for once in his life, absolutely right. IT LIVES 51 Independence Day does not take long to establish its principal point of reference. Indeed, before the first ten minutes have elapsed, there have been two explicit references to the era of Eisenhower. Marty is the first to make the connection, saying of the media’s response to the appearance of alien spacecraft in the skies that ‘every station’s making like it’s the 1950s’. And, just in case the allusion were not clear enough, the following scene opens with a group of characters watching The Day the Earth Stood Still (dir.