Postcyberpunk unitopia: a comparative study of cyberpunk and postcyberpunk
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Tarih
2006
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Bilgi Üniversitesi
Erişim Hakkı
Attribution-NonCommercial-NoDerivs 3.0 United States
info:eu-repo/semantics/openAccess
info:eu-repo/semantics/openAccess
Özet
1998 yılında Lawrence Person yazdıgı manifestoyla, 1990’ların baslarından itibaren siberpunk türünün göstermeye basladıgı degisimin yenibir alt-türe isaret ettigini öne sürerek, bu yeni türü ‘postsiberpunk’ olarak adlandırmayı önerdi. Bu tezin amacı bu türsel sapmanın isaret ettigi radikaldegisimi, çaga rengini veren sosyal degisim baglamında ele alaraktartısmaktır. Bu tartısma postsiberpunk olarak kabul edilmesini önerdigim dört filmüzerinden gelismektedir: Gattaca (Andrew Niccol, 1997), Code 46 (MichaelWinterbottom, 2003), Girl from Monday (Hal Hartley, 2005) and The Island(Michael Bay, 2005). Tartısmaya zemin olusturacak temel saptama, aynımatrisin sürekli etkilesim halindeki düzensiz bilesenleri gibi, siberpunkaiçkin olan her seyin özünde kaos ve düzensizlik oldugu, buna karsıt olarakpostsiberpunkın tahayyül ettigi gelecekte her seyin düzen ve birlik üzerine kurulu oldugudur. Filmler, imgeledikleri dünyalardaki sosyal yapılanma vetoplumsal kültürdeki farklılılar ekseninde, temel olarak iki kuramcının; NeilPostman ve Michel Foucault’nun düsüncelerinin sundugu persfektifçerçevesinde ele alınmıstır. Bu çerçevede, yeni siber teknolojilerin panoptik benzeri yapılanmalarıyla tahakküm kuran merkeziyetçi otoritenin, nasıl postsiberpunkın dünyasında kaosu yok ederek görünürde ütopik bir toplumdüzeni sagladıgı tartısılmaktadır. Bu tartısma aynı zamanda 1980’lerden günümüze siberkültürün gelisimi ve algılanısı konusunda da verimli birtartısma zemini saglamayı amaçlamaktadır.
In early 1990s, a new wave emerged within the cyberpunk genre andin 1998 it was detected by Lawrence Person as “postcyberpunk.” The aim ofthis study is to discuss this generic deflection and inquire its characteristicswithin the context of social environment of the era.The subject of the study is established around four films which I claimthat should be considered as postcyberpunk: Gattaca (Andrew Niccol,1997), Code 46 (Michael Winterbottom, 2003), Girl from Monday (HalHartley, 2005) and The Island (Michael Bay, 2005). Through comparingthese films with their cyberpunk ancestors, it is argued in the thesis thatwhile the essence of cyberpunk is chaos and disorder -an oceanic flowresembling the multiple interacting elements of the matrix-, in the world ofpostcyberpunk order is re-established and chaos is eliminated by amonolithic system of centralized power which is exercised through panopticstructures of new cyber technologies.This study discusses this backlash in the imaginary world of the films interms of philosophy of culture and social ordering, mainly through theguidance of Neil Postman’s and Michel Foucault’s ideas and hopes toprovide an insight on the reception and the evolution of Cyberculturethrough the 1980s to today.
In early 1990s, a new wave emerged within the cyberpunk genre andin 1998 it was detected by Lawrence Person as “postcyberpunk.” The aim ofthis study is to discuss this generic deflection and inquire its characteristicswithin the context of social environment of the era.The subject of the study is established around four films which I claimthat should be considered as postcyberpunk: Gattaca (Andrew Niccol,1997), Code 46 (Michael Winterbottom, 2003), Girl from Monday (HalHartley, 2005) and The Island (Michael Bay, 2005). Through comparingthese films with their cyberpunk ancestors, it is argued in the thesis thatwhile the essence of cyberpunk is chaos and disorder -an oceanic flowresembling the multiple interacting elements of the matrix-, in the world ofpostcyberpunk order is re-established and chaos is eliminated by amonolithic system of centralized power which is exercised through panopticstructures of new cyber technologies.This study discusses this backlash in the imaginary world of the films interms of philosophy of culture and social ordering, mainly through theguidance of Neil Postman’s and Michel Foucault’s ideas and hopes toprovide an insight on the reception and the evolution of Cyberculturethrough the 1980s to today.
