Rollerball

Author(s):  
Andrew Nette

Rollerball, the Canadian-born director and producer Norman Jewison's 1975 vision of a future dominated by anonymous corporations and their executive elite, in which all individual effort and aggressive emotions are subsumed into a horrifically violent global sport, remains critically overlooked. What little has been written deals mainly with its place within the renaissance of Anglo-American science-fiction cinema in the 1970s, or focuses on the elaborately shot, still visceral to watch, game sequences, so realistic they briefly gave rise to speculation Rollerball may become an actual sport. Drawing on numerous sources, including little examined documents in the archive of the film's screenwriter William Harrison, this book examines the many dimensions of Rollerball's making and reception: the way it simultaneously exhibits the aesthetics and narrative tropes of mainstream action and art-house cinema; the elaborate and painstaking process of world creation undertaken by Jewison and Harrison; and the cultural forces and debates that influenced them, including the increasing corporate power and growing violence in Western society in late 1960s and early 1970s. The book shows how a film that was derided by many critics for its violence works as a sophisticated and disturbing portrayal of a dystopian future that anticipates numerous contemporary concerns, including ‘fake news’ and declining literary and historical memory. The book includes an interview with Jewison on Rollerball's influences, making, and reception.

Author(s):  
Maaheen Ahmed

Never before have comics seemed so popular or diversified, proliferating across a broad spectrum of genres, experimenting with a variety of techniques, and gaining recognition as a rich form of art. Openness of Comics examines this trend by taking up the philosopher Umberto Eco’s notion of the open work of art, according to which the reader–or listener or viewer, as the case may be–is offered several possibilities of interpretation in a cohesive narrative and aesthetic structure. The monograph delineates the visual, literary, and other medium-specific features used by comics to form open rather than closed works, focusing on the methods through which comics generate (or limit) meaning, as well as increase the scope of reading into a text. The analysis of a diverse group of Anglo-American and European (Franco-Belgian, German, Finnish) comics from key genre categories–fictionalized memories and biographies, adventure and superhero, noir, black comedy and crime, science fiction and fantasy–demonstrate the many ways in which comics generate openness by teasing genres codes and conventions while maintaining a cohesive structure. Analyzed comics include: Will Eisner’s The Contract with God Trilogy, Jacques Tardi’s It Was the War of the Trenches, Hugo Pratt’s The Ballade of the Salty Sea, Edmond Baudoin’s The Voyage,Grant Morrison and Dave McKean’s Arkham Asylum, Neil Gaiman’s Sandman, Alan Moore and Eddie Campbell’s From Hell, Moebius’ Arzach, Yslaire’s Cloud 99 series, and JarmoMäkilä’s Taxi Ride to Van Gogh’s Ear.


Author(s):  
Jack Fennell

This chapter comprises a wide-ranging survey of the often overlooked tradition of Irish science fiction. It begins by considering two proto-science fiction novels, Jonathan Swift’s Gulliver’s Travels (1726) and Samuel Madden’s Memoirs of the Twentieth Century (1733), after which consideration is given to prominent themes and recurring motifs, such as the mixture of science and spiritualism and the tension between tradition and modernity, in texts from the nineteenth and twentieth centuries, written in both the English and Irish languages. The final part of the chapter examines texts from the latter half of the twentieth century and the first decades of the twenty-first. Here, the emergence of subgenres such as Irish cyberpunk and tropes such as genetic engineering is discussed, as is the influence of Anglo-American science fiction, particularly that of the television and film variety, on contemporary Irish science fiction novelists.


Rollerball ◽  
2018 ◽  
pp. 7-20
Author(s):  
Andrew Nette

This introductory chapter provides an overview of Rollerball, the 1975 dystopian science fiction film of Canadian-born director and producer Norman Jewison. Rollerball was based on a short story in Esquire magazine, ‘Roller Ball Murder’, by William Harrison. While the increasingly extreme nature of reality television remains a central framework within which to critically analyse Rollerball, the election of Donald Trump as the 45th President of the United States in November of 2016 opens up new ways of watching the film and heightens other ways in which it remains relevant. The most obvious of these is Rollerball's depiction of unchecked corporate power. Another aspect of Rollerball's narrative highlighted by the Trump presidency is the rise of so-called ‘fake news’. This book examines how the film simultaneously exhibits the cinematic aesthetics of mainstream, exploitation, and art-house cinema, in the process transcending its commercial prerogative of action entertainment to be a sophisticated and disturbing portrayal of a dystopian future.


2002 ◽  
Vol 4 (2) ◽  
pp. 127-139 ◽  
Author(s):  
Ian Patterson

This article addresses the increasingly popular approach to Freud and his work which sees him primarily as a literary writer rather than a psychologist, and takes this as the context for an examination of Joyce Crick's recent translation of The Interpretation of Dreams. It claims that translation lies at the heart of psychoanalysis, and that the many interlocking and overlapping implications of the word need to be granted a greater degree of complexity. Those who argue that Freud is really a creative writer are themselves doing a work of translation, and one which fails to pay sufficiently careful attention to the role of translation in writing itself (including the notion of repression itself as a failure to translate). Lesley Chamberlain's The Secret Artist: A Close Reading of Sigmund Freud is taken as an example of the way Freud gets translated into a novelist or an artist, and her claims for his ‘bizarre poems' are criticized. The rest of the article looks closely at Crick's new translation and its claim to be restoring Freud the stylist, an ordinary language Freud, to the English reader. The experience of reading Crick's translation is compared with that of reading Strachey's, rather to the latter's advantage.


Author(s):  
Christopher Hanlon

Emerson’s Memory Loss is about an archive of texts documenting Emerson’s intellectual state during the final phase of his life, as he underwent dementia. It is also about the way these texts provoke a rereading of the more familiar canon of Emerson’s thinking. Emerson’s memory loss, Hanlon argues, contributed to the shaping of a line of thought in America that emphasizes the social over the solipsistic, the affective over the distant, the many over the one. Emerson regarded his output during the time when his patterns of cognition transformed profoundly as a regathering of focus on the nature of memory and of thinking itself. His late texts theorize Emerson’s experience of senescence even as they disrupt his prior valorizations of the independent mind teeming with self-sufficient conviction. But still, these late writings have succumbed to a process of critical forgetting—either ignored by scholars or denied inclusion in Emerson’s oeuvre. Attending to a manuscript archive that reveals the extent to which Emerson collaborated with others—especially his daughter, Ellen Tucker Emerson—to articulate what he considered his most important work even as his ability to do so independently waned, Hanlon measures the resonance of these late texts across the stretch of Emerson’s thinking, including his writing about Margaret Fuller and his meditations on streams of thought that verge unto those of his godson, William James. Such ventures bring us toward a self defined less by its anxiety of overinfluence than by its communality, its very connectedness with myriad others.


Author(s):  
Richard Wigmans

This chapter describes some of the many pitfalls that may be encountered when developing the calorimeter system for a particle physics experiment. Several of the examples chosen for this chapter are based on the author’s own experience. Typically, the performance of a new calorimeter is tested in a particle beam provided by an accelerator. The potential pitfalls encountered in correctly assessing this performance both concern the analysis and the interpretation of the data collected in such tests. The analysis should be carried out with unbiased event samples. Several consequences of violating this principle are illustrated with practical examples. For the interpretation of the results, it is very important to realize that the conditions in a testbeam are fundamentally different than in practice. This has consequences for the meaning of the term “energy resolution”. It is shown that the way in which the results of beam tests are quoted may create a misleading impression of the quality of the tested instrument.


Author(s):  
Stuart Bell

Abstract “Lambeth Palace is my Washpot. Over Fulham have I cast my breeches.” So declared the novelist and secularist H. G. Wells in a letter to his mistress, Rebecca West, in May 1917. His claim was that, because of him, Britain was “full of theological discussion” and theological books were “selling like hot cakes”. He was lunching with liberal churchmen and dining with bishops. Certainly, the first of the books published during Wells’s short “religious period”, the novel Mr. Britling Sees It Through, had sold very well on both sides of the Atlantic and made Wells financially secure. Geoffrey Studdert Kennedy (“Woodbine Willie”) wrote that, “Everyone ought to read Mr. H. G. Wells’s great novel, Mr. Britling Sees It Through. It is a gallant and illuminating attempt to state the question, and to answer it. His thought has brought him to a very real and living faith in God revealed in Jesus Christ, and has also brought relief to many troubled minds among the officers of the British Army.” Yet, Wells’s God was explicitly a finite God, and his theology was far from orthodox. How can we account for his boast and for the clerical affirmation which he certainly did receive? This article examines and re-evaluates previous accounts of the responses of clergy to Wells’s writing, correcting some narratives. It discusses the way in which many clergy used Mr. Britling as a means by which to engage in a populist way with the question of theodicy, and examines the letters which Wells received from several prominent clerics, locating their responses in the context of their own theological writings. This is shown to be key to understanding the reaction of writers such as Studdert Kennedy to Mr. Britling Sees It Through. Finally, an assessment is made of the veracity of Wells’s boasting to his mistress, concluding that his claims were somewhat exaggerated. “Lambeth Palace is my Washpot, Over Fulham have I cast my breeches.” Mit diesen Worten erklärte der literarisch außergewöhnlich erfolgreiche und entschieden säkular denkende, kirchenkritische Schriftsteller und Science-Fiction-Pionier Herbert George Wells seiner Geliebten, dass seinetwegen Großbritannien “full of theological discussion” sei. Nicht ohne Eitelkeit schrieb er es seinem im September 1916 mit Blick auf den Krieg geschriebenen und stark autobiographisch gefärbten Roman Mr. Britling Sees it Through von knapp 450 Seiten zu, dass theologische Bücher reißenden Absatz fänden. Auch war er stolz darauf, liberale Kleriker zum Lunch zu treffen und von Bischöfen zum abendlichen Dinner eingeladen zu werden. In einer kurzen Phase seines Lebens war – oder inszenierte sich – Wells als ein frommer, gläubiger Mensch. Sein damals veröffentlichter Roman Mr. Britling Sees It Through verkaufte sich sowohl in Nordamerika als auch im Heimatland so gut, dass der Autor nun definitiv finanziell gesichert war. Der anglikanische Priester und Dichter Geoffrey Studdert Kennedy, der im Ersten Weltkrieg Woodbine Willie genannt wurde, weil er verletzten und sterbenden Soldaten in den Phasen der Vorbereitung auf den Tod Woodbine-Zigaretten anbot, empfahl die Lektüre von Wells’ “great novel” Mr. Britling mit den Worten: “It is a gallant and illuminating attempt to state the question, and to answer it. His thought has brought him to a very real and living faith in God revealed in Jesus Christ, and has also brought relief to many troubled minds among the officers of the British Army.” Allerdings war H. G. Wells’ Gott ein durchaus endlicher Gott, und seine Theologie war alles andere als orthodox. Wie lassen sich dennoch seine evidente Prahlerei und die emphatische Zustimmung zu seinem Roman in den britischen Klerikereliten erklären? Im Aufsatz werden zunächst einige ältere Deutungen der Zustimmung führender Kleriker zu Wells’ Roman untersucht und einige der dabei leitenden Deutungsmuster kritisch infrage gestellt. Deutlich wird, dass nicht wenige anglikanische Geistliche Mr. Britling dazu nutzten, um höchst populistisch das umstrittene Theodizeeproblem anzusprechen. Auch werden die Briefe prominenter Geistlicher an Wells analysiert, mit Blick auf ihre eigenen Publikationen. Diese Reaktionen haben stark Studdert Kennedys Haltung zu Mr. Britling Sees It Through beeinflusst. Besonders aufrichtig war Wells mit Blick auf sich selbst allerdings nicht. Die Selbstinszenierung gegenüber seiner Geliebten war einfach nur peinliche Übertreibung.


Designs ◽  
2021 ◽  
Vol 5 (3) ◽  
pp. 42
Author(s):  
Eric Lazarski ◽  
Mahmood Al-Khassaweneh ◽  
Cynthia Howard

In recent years, disinformation and “fake news” have been spreading throughout the internet at rates never seen before. This has created the need for fact-checking organizations, groups that seek out claims and comment on their veracity, to spawn worldwide to stem the tide of misinformation. However, even with the many human-powered fact-checking organizations that are currently in operation, disinformation continues to run rampant throughout the Web, and the existing organizations are unable to keep up. This paper discusses in detail recent advances in computer science to use natural language processing to automate fact checking. It follows the entire process of automated fact checking using natural language processing, from detecting claims to fact checking to outputting results. In summary, automated fact checking works well in some cases, though generalized fact checking still needs improvement prior to widespread use.


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