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In Noir Urbanisms Ranjani Mazumdar does a thoroughly persuasive analysis of three noir fringe movies on Bombay/Mumbai: Being Cyrus, Dombivli Fast, and No Smoking are, Mazumdar argues, dystopic fragments of cinema about urbanity.
By explaining grim contemporary circumstances as the outcome of the capitalist system and showing how the dystopic effects swirling in our collective unconscious relate, directly and indirectly, to the logics of capitalism, historical materialists demonstrate the explanatory power of totalizing.
So are we doomed to a dystopic future after all--a Hunger Games-like society where a tiny but powerful elite lives in luxury and splendor while the masses toil and starve?
A topos" means a place (topos) that does not exist: "If the modern, and the postmodern itself by way of a utopic syntaxis, and the postmodern expresses itself by means of a dystopic parataxis [these are some of the well-known modern and postmodern positions in both theories] the metamodern, it appears exposes itself through a-topic metaxis" (Vermeulen, Akker 2010: 12).
Let's not become too Orwellian or dystopic - markets form where we want to buy and if they are there to serve us that can be a good thing.
His insights, borne of personal research, have been consistently dystopic but unerringly prophetic.
Their paranoid fear of a possible dystopic future prevents us from addressing our actual dystopic present," Steward added after the commercial break.
Margaret Atwood's Oryx and Crake (2003) is a dystopic projection of sociocultural proclivities that mark life in much of today's connected world.
Against--tacitly assumed and often partially articulated--informational idealism, against the mainstreaming of technolibertarianism, and against what Weber describes as "darkly dystopic visions of the Internet-enabled society as one in which computer code leads to a radically privatised, perfectly regulated, tightly controlled world," (43) many recent attempts to theorise free and open source software offer a more sociologically circumspect assessment of its cultural significance.
There is neither purely utopic liberation or dystopic deficiency through the replacement of forms of traditional subjectivation by technological subjectivation.
This dark side is not just an exaggerated dystopic view of cities, such as those expressed by Mike Davis or what Ruth Glass called "cliches of urban doom," but rather a massive grinding poverty affecting millions of urban residents.
The Last Man" is an intriguing novel of a dystopic world and what ti means to be human.