10 Jan. Our Futures.

Featured Image: Blade Runner 2049

Housekeeping

  • 1. Any problems accessing any of the class sites?
  • 2. Any newly admitted students with questions?

First Week Video W/S, Part I

A. Sample First Week Video

B. Sample First Week Video

After we review the First Week Video Assignment and watch a couple of sample videos, we are going to respond to the following as a class:
  • 1. What portion of the student’s verbal argument was most successful and why?
  • 2. What portion of the student’s visual/electronic argument was most successful and why?
  • 3. Given what you learned from your experience last semester, what do you want to do differently in your video this semester OR for those of you who have made one video already, what advice would you give to students who have not made one yet?

First Week Video Workshop, Part II

Get out the draft of your video script, read over it, and take 6-7 minutes to answer the following:
  • 1. What mode/assignment do you anticipate proving most challenging?
  • 2. WHY, i.e. what example from your past supports the expectations you articulate above?
  • 3. How do you plan to overcome the challenge you anticipate facing?

First Week Video Workshop, Part III

Get into groups based on the mode you plan to discuss in your video and discuss your response to the following:
  • How will you use the affordances of video as a mode (i.e., foreground/background, framing subjects, shot size/location, alignment, lighting, sound, animation, titles, etc.) to reinforce the goals of the argument?

Why Do All Our Futures, Have No Future?

Let’s just chat about these questions as a group:

  • 1. How does Lapore define Utopia and Dystopia? How do these genres/practices of conceptualization conceive of the past, present, and future?
  • 2. According to Lapore how does dystopian fiction respond to the present conditions in which is written? More specifically, to what “present-day dilemma[s]” does Lapore argue newly published dystopian novels respond (5)?
  • 2. Near the end of her essay, Lapore argues, “This move [i.e., turning dreams to nightmares] isn’t new or  daring; it is, instead, very old. The question is whether it is all used up” (6). What are some examples of old utopias/dystopias? 
  • 3.Given that these forms of conceptualizing the world are really old, do you agree that they are “all used up” (6)? If yes, should we abandon them? If not, why not?
  • 4.What are some examples of your favorite recently released movies, TV shows, or games set in the future? Does Lapore’s account describe the text you cite?

Lapore, “A Golden Age for Dystopian Fiction” (1-9)

Directions

Keep the following questions in mind as you read Jill Lapore’s , “A Golden Age for Dystopian Fiction” (1-9). The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

What are some examples of recently released movies, TV shows, or games set in the future?

Are those futures good or bad? What makes the future worlds in the new media you cite good or bad?

Why are there so few children in the books and movies that Lapore cites her in her article?

Why is life so boring for the inhabitants of the fictional worlds that Lapore cites her in her article?

What is a dystopia? According to Lapore, why do dystopias follow utopias?

To what strains of just prior social and cultural production does Lapore argue the current crop of dystopian fiction respond?

When did authors first begin to write utopian worlds? When and why did dystopian worlds emerge?

To what “present-day dilemma[s]” do newly published dystopian novels respond (5)?

Near the end of her essay, Lapore argues, “This move [turning dreams to nightmares] isn’t new or  daring; it is, instead, very old. The question is whether it is all used up” (6). What do you think? Is the form of the nightmare future “all used up”?

How do we deal with the problem that the plans we make for the future or worlds we build now can/always do lead to disaster? In other words, how do we deal with the fact that “utopias contain their own dystopias” (6)?

What accounts for the overlap between Utopia/Dystopia and American teenagers?

What does Lapore mean when she says, “Every Dystopia is a history of the future” (8)?