Thesis (M.A.) from the year 2006 in the subject Film Science, grade: 1,3, University of Cologne (Englisches Seminar), 42 entries in the bibliography, language: English, abstract: In this paper, I want to examine Kubrick's work for the notion of man interacting with machines and relate it to various theoretical models that also deal with the relation of man and machine. I chose the term 'machine' as a generic term for any theory applying technological, mechanical or machinic ideas, most of which using the machine as a metaphor for sociological, philosophical or psychoanalytic approaches. At the same time, I want to illustrate on the basis of Kubrick's work how the theoretical discourse on this topic has changed in the course of time. Being initially cut down to a very literal understanding of machines as actual physical devices, the 20th century discourse about technology has shown that the demarcation line between what is nature and what is technology is not as easily drawn as it might appear. Man is inseparably bound up with his tools and culture as a whole could be regarded as some kind of machinery. Thus, a great part of both this paper and Kubrick's work deals with the notion of a cultural machine. Another part, however, will leave the narrow view of the machine as a strictly cultural metaphor. Recent philosophical currents like the work of Deleuze, Maturana and the academic gender discourse try to evolve a new coining of the term 'machinic' that goes beyond rigid dualistic notions. I will try to show that these ideas can be found in Kubrick's films as well.
Seminar paper from the year 2005 in the subject American Studies - Literature, grade: 1,0, University of Cologne, course: Between Chance and Adaptation. Reverberations of the Theory of Evolution in Ethnology, Literature and History, 19 entries in the bibliography, language: English, abstract: Classic evolutionary theory always looks backwards. Darwin, his predecessors and successors put forward their theories by comparing present organic records with those of the past. Indeed some ideas of social evolution are imbued with a certain kind of perspective into the future, believing in an ongoing progression of human societies. Still, in order to prove the accuracy of those ideas, one had to rely on evidence taken from history or from cultures which were believed to be primitive and thus representing former states of societies. Science fiction's view goes quite in the opposite direction: Here, the present marks the point of view from where we look into the future of society, the future of mankind. The following paper examines the notions of evolution we can find in William Gibson's work. I will try to deal with the question how we can perceive an evolution of the human race in his novels and what other ideas of evolution Gibson incorporates into his work. Starting off with the query whether there is to find any sort of biological evolution in Gibson's work, the second chapter will deal with the picture of nature Gibson draws. How does he describe nature (meaning organic beings or biological environments), or to put it more correctly, how is nature conceived through the eyes of his protagonists? Then I will take a closer look at the dualistic relationship of nature and technology. What importance has technology for the societies Gibson sketches, and what effect has technology on their inventors? The main topic of this chapter will be the investigation of nature's and technology's evolutionary features in Gibson's work: How does the human species develop and which way doe
Thesis (M.A.) from the year 2006 in the subject Film Science, grade: 1,3, University of Cologne (Englisches Seminar), 42 entries in the bibliography, language: English, abstract: In this paper, I want to examine Kubrick's work for the notion of man interacting with machines and relate it to various theoretical models that also deal with the relation of man and machine. I chose the term 'machine' as a generic term for any theory applying technological, mechanical or machinic ideas, most of which using the machine as a metaphor for sociological, philosophical or psychoanalytic approaches. At the same time, I want to illustrate on the basis of Kubrick's work how the theoretical discourse on this topic has changed in the course of time. Being initially cut down to a very literal understanding of machines as actual physical devices, the 20th century discourse about technology has shown that the demarcation line between what is nature and what is technology is not as easily drawn as it might appear. Man is inseparably bound up with his tools and culture as a whole could be regarded as some kind of machinery. Thus, a great part of both this paper and Kubrick's work deals with the notion of a cultural machine. Another part, however, will leave the narrow view of the machine as a strictly cultural metaphor. Recent philosophical currents like the work of Deleuze, Maturana and the academic gender discourse try to evolve a new coining of the term 'machinic' that goes beyond rigid dualistic notions. I will try to show that these ideas can be found in Kubrick's films as well.
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