Course Syllabus

Future is Now: Science Fiction in Film, Literature and Video Games 

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Semester & Location:

Fall 2020 - DIS Copenhagen

Type & Credits:

Elective Course - 3 credits

Major Disciplines:

Literature, Film Studies, Media Studies

Faculty Member:

Morten Lykkegaard

Program Coordinator:

Katrine Trolle - ktr@dis.dk 

Time & Place:

TBA

 

“Hard times are coming, when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom – poets, visionaries – realists of a larger reality.”

Ursula K. LeGuin, speak at National Book Awards, 2014

 

Instructor: Morten Lykkegaard

Cand.mag. (History of Literature, Modern Culture and Philosophy, University of Aarhus, 2003). Former editor of Lettre Internationale. With DIS since 2013.

Email: mly@dis.dk

Description of Course

Science fiction is everything but purely escapism. The genre presents a “realistic speculation about possible future events” based on “the scientific method”, as author Robert A. Heinlein once said.

Looking at science fiction as a form of potential realism, vital to how we imagine our future and our present, we will explore topics such as space travel, environmental disasters, and the redefinition and disruption of our notions of sex, gender and social hegemonies.

Through works of science fiction in literature, film, tv series, comics, and video games, we will raise fundamental question regarding our existence and our world: What is possible? What are the social conventions and fundamental concepts we live by? What is ‘human’ or ‘non-human’? How are we to perceive time and death? What are the threats we face within, and why are we fascinated / terrified by the idea of a monstrous or alien ‘other’?

When we begin to wonder about possible worlds, we question our own.

Learning Objectives

By discussing and analyzing different approaches to the world of science fiction, the students will attain a basic understanding of the genre, how the understanding and reflection of the genre has changed over time, and, perhaps most important of all, which repercussions these reflections have had in relation to our current perception of our contemporary world, existentially, philosophically, religiously and politically.

The Course is Divided into Seven Main Modules

1. Why This World?

Early science fiction going all the way back to Johannes Kepler’s Somnium (1608) refuses to accept the world as it is, the limitations presented by the given. You look at the world and the universe and begin to wonder whether there might be other life forms out there, other worlds. You imagine and envision other possibilities, and you ask the troubling question: how would the possibility that there are other life forms out there, other worlds, impact our life on this particular planet?

2. Time and Death 

We are mortal beings. We all die. There is no way around it. But we dream and we hope that it could be different somehow. That we could defeat death and time, turn the terminal progress of time upside down. What would happen if we could? If we could “turn back time” and travel back to an earlier stage in our life, or perhaps even travel back to previous centuries, and also travel forward beyond the point where we were supposed to be long dead and gone, to the great vast future ahead? How would this affect our concept of death? Of the finality of life?

3. God and Soul

The question of whether a god or perhaps several gods might exist, and, as a consequence of that, whether human existence includes an everlasting soul or not, something which ensures us a higher existence beyond simple mortal biology, pervades many classic works of science fiction. What does it mean to be a human? Can a human exist without the notion of a God, a soul? And if we begin to question these categories, how uphold a distinction between the human and the non-human?

4. Technology

Robert A. Heinlein once defined science fiction as a “realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method.” This also separates science fiction from fantasy, the latter simply dealing with the impossible, the ‘fantastic’. Science fiction is potentially realistic and always relies on, as Heinlein points out, “the scientific method.” The genre is greatly fascinated by technology and the possibilities presented by advancements within this field. This is reflected in the creation of futuristic Utopias, emphasizing the wonders of technology, but also in Dystopian landscapes warning about the dangers of a too uncritical embrace of these advancements and the dire consequences this could lead to. 

5. The Monster / The ‘Other’

Technological advances can also bring us into contact with what we fear the most, i.e. the Other, either in the form of a scientific invention, such as depicted in Mary Shelley’s Frankenstein, or an extraterrestrial being, a monstrous alien from outer space. How are we to understand and deal with this ‘other’? Why this need to manifest it? And why are we still drawn towards the possible existence of these seemingly so terrifying beings, even though they chill us to the bone?

6. Political / Ethical

Some people may have a tendency to simply reject science fiction as a juvenile form of escapism but this would be a great mistake. As the world changes politically, technologically, science fiction creators feel compelled to take a political / ethical stance, warning about the consequences of this political system or this technological remedy taken to the next (potentially catastrophic) level. Orwell, for example, warned us against the severe consequences of certain totalitarian tendencies in the late 1940’s, in the aftermath of World War 2.

7. Cli Fi

In recent years environment issues relating to how we (mis)treat our one and only planet has played a more and more significant role in the world of science fiction. This has led to the invention of a new subgenre, cli fi, which zooms in on the apocalyptic scenario soon to be manifested if the current devouring of earth’s resources is allowed to simply continue without the necessary political precautions.

Required Texts

Literature

Johannes Kepler, Somnium (1608)

Mary Shelley, Frankenstein: Or the Modern Prometheus (1818)

Jules Verne, Journey to the Centre of the Earth (1864)

H.G. Wells, The Time Machine (1895)

Aldous Huxley, Brave New World (1932)

George Orwell, 1984 (1949)

Stanislav Lem, Solaris (1961)

Philip K. Dick, Do Androids Dream of Electric Sheep? (1968)

Margaret Atwood, The Handmaid’s Tale (1985)

Cormac McCarthy, The Road (2006)

Jeanette Winterson, The Stone Gods (2007)

Michel Houellebecq, Submission (2015)

Movies and TV Series (excerpts to be analyzed in class)

Georges Méliès (dir.), Le voyage dans la lune (1902)

Fritz Lang (dir.), Metropolis (1927)

Ishirō Honda (dir.), Godzilla (1954)

Francois Truffaut (dir.), Fahrenheit 451 (1966)

Gene Rodenberry et.al., Star Trek (1966)

Stanley Kubrick (dir.), 2001: A Space Odyssey (1968)

Franklin J. Schaffner (dir.), Planet of the Apes (1968)

Tarkovskij (dir.), Solaris (1972)

George Lucas (dir.), Star Wars (1977)

Ridley Scott (dir.), Alien (1979)

John Carpenter (dir.), The Thing (1982)

Ridley Scott (dir.), Blade Runner (1982)

Robert Zemeckis (dir.), Back to the Future (1985)

Terry Gilliam (dir.), Brazil (1986)

Steven Spielberg (dir.), Jurassic Park (1993)

Tim Burton (dir.), Mars Attacks (1996)

Lars von Trier (dir.), Melancholia (2011)

Black Mirror (2011- )

Christopher Nolan (dir.), Interstellar (2014)

Matt & Ross Duffer (dir.), Stranger Things (2016-17)

Comics

Alex Raymond, Flash Gordon (1934-44)

Jerry Siegel & Joe Shuster, Superman (1938)

Weird Science / Weird Fantasy (1950-54)

Stan Lee & Jack Kirby, The X-Men (1963)

Pierre Christin & Jean-Claude Mézières, Valérian and Laureline (1972- )

Moebius, Le Garage Hermétique (The Airtight Garage) (1976-79)

Alexandro Jodorowsky & Moebius, John Difool (1980-88)

Hayao Miyazaki, Nausicaä of the Valley of the Wind (1982)

Kelly Sue DeConnick & Valentine De Landro, Bitch Planet (2017)

Computer Games

Computer Space (1971)

Space Invaders (1978)

Doom (1993)

Halo (2001- )

Mass Effect (2007)

Approach to Teaching

Each lecture will begin with a presentation of a given subject, either by me or a student. This presentation will typically lead into a class discussion. Group work and various exercises where students can elaborate upon their views and arguments based on the lecture and/or discussion in class will also form a vital element in this class. Given the variety of the subjects, lectures will include the presentation of many different forms of cultural expression, including film, visual aids, digital media, etc.

Expectations of the Students

I expect the students to have done the reading in order to participate in an open and engaged discussion about the given subjects. Students are also encouraged to discuss works presented in class that they have not necessarily prepared for in advance. I also expect students to draw upon personal aesthetic experiences and discuss these in a reflective, analytical, and critical manner. Remember, you don’t necessarily have to agree with what your teacher is saying. It will not affect your grade negatively to contradict your teacher as long as your arguments are solid and well-reflected. 

Grading

Assignment 

Percent

Engaged participation

25 %

Early term exam

25 %

Oral presentation

20 %

Term paper

30 %

Engaged Participation

The course is not a lecture class, but relies heavily on class discussion, informed by an in-depth, critical reading of the assigned texts. It is crucial to be able to analyze and criticize the argument put forth in the reading. Sharing a merely intuitive and personal opinion can be a useful starting-point, but is not sufficient. Students must be able to relate their points of view to an academic and research- based argument. Overall grades will depend on engaged, informed, and highly active participation in class discussion. I strongly emphasize you to be critical in discussions and please do not be afraid to contradict what I am saying or present a different perspective on the topic we are discussing/analyzing.

Participation Grade Policy

Active class participation throughout the semester: A / A-

Occasional participation: B

Little or no participation: C

Early Term Exam

The test consist of questions of relatively simple facts, questions of a more complex character, and questions to be answered with a short essay. The early term exam takes place in class.

Oral Presentation

The students will be asked to deliver an oral presentation on a given subject related to the content of the course. The oral presentation will be supplemented by a written page presenting the content and objective of the oral presentation. This page will be given to me on the day of the presentation. The oral presentation should not take more than 10-15 minutes. Students may very well include power points, visual aids, and film excerpts etc. that are relevant for the presentation. Please refrain from too general a presentation of the topic and focus instead on your specific perspective/analysis. What do you find interesting and compelling about the topic that you are presenting? What is your critical take on this topic?

Research Paper

Each student will produce a research project in form of a topic paper that reflects the theme of the course from one of a range of disciplines: history, sociology, literature, philosophy, or cultural studies. Throughout the semester, the students’ reflection process will become increasingly individualized as they find texts that fit into the research project that will be completed at the end of the semester as their topic paper. The paper is expected to be research-based, amount to max. 1500 words, and rely on a clear thesis relating to the world of science fiction. 

As the first preparatory stage for this paper, a 200-250 word project proposal (in prose) is due. The proposal describes the problem that will be discussed in the final paper, provides a brief literature overview, and raises the key questions guiding the research process. Furthermore, a bibliography is to be added, which includes both the assigned texts that are the starting point for the research process, as well as (minimum) additional five peer-reviewed academic articles or book chapters taken from research-based academic publications that are not part of the required or recommended course reading. Please do not hesitate to make use of the DIS library for this portion of the paper: https://disabroad.org/copenhagen/student-resource/academic-resources/library-resources/.

All assignments are to be handed in on the due date. Not meeting the requirements regarding word count, or handing in assignments late could affect the grade substantially. 

Classroom Etiquette

The use of distracting devices (smartphones, iPads, laptops, etc.) is strictly prohibited during class. Failure to comply will adversely affect participation grades. Use of laptops for the purpose of note-taking requires prior consultation with the professor. Students should refrain from all other computer activities, as they prove distracting to themselves and fellow students. Mobile phones and other electronic devices should of course be turned off and stored away. In some lessons based on exercises etc. laptops may be allowed.

Academic Regulations  

Please make sure to read the Academic Regulations on the DIS website. There you will find regulations on:

 

DIS - Study Abroad in Scandinavia - www.DISabroad.org

 

Course Summary:

Date Details Due