Technical Legality: Law, Technology and Science Fiction
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"Technical Legality: Law, Technology..." refers background in this paper
...Lawrence Friedman suggests that science fiction’s aliens and alien invasion narratives provide a window into political and legal controversies surrounding both immigration and race.(165) Following the republican emphasis in the law as literature scholarship, Anna Lorien Nelson and John S. Nelson examine feminist science fiction, and particularly Ursula Le Guin’s Left Hand of Darkness (1969),(166) to ‘suggest that post-modern institutions have no need to embrace the modern pathos of bureaucracy’....
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...165 Friedman (1989), pp 1590–1591. 166 Le Guin (1973). 167 Nelson and Nelson (1999), p 653....
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...76 Friedman (1989), pp 1598–1603. 77 Hart (1961), pp 109–112. 78 On the development of law and culture from the emergence of cultural studies, see Sarat et al (2005), p 3. 79 Hart (1961), p v; Hutchinson (1995), p 788. 80 Macaulay (1987), p 186. 81 MacNeil ‘maps’ many of the key scholars during this period. See MacNeil (2007), pp 6–8. 82 A point made by Leslie Moran, Emma Sandon, Elena Loizidou and Ian Christie in their recent edited volume: Moran et al (2004), p xiii. 83 For example Christine A. Corcos (1997b) examined Ghostbusters (1984) (Reitman, Ghostbusters, (Columbia Pictures, 1984)) as informing the popular attitudes to environmental regulation....
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...334 For other articulations of this scholarship, see Friedman (2001)....
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"Technical Legality: Law, Technology..." refers background in this paper
...114 For the study of myth in science fiction studies generally, see Scholes and Rabkin (1977), pp 165– 169; George (2000) (frontier myths in 1950s films)....
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...In this, George S. Robinson was a lone voice in his opposition to the positivism of international space law and space law scholarship: Jurisprudentially inclined minds should be ripe for the opportunity, not simply to extend the usual anthropocentric legal positivism into the arena of man-in-space, but to grasp the significance of viewing and evaluating the social relationships of man in a totally controlled environment.94 Robinson’s law and [cybernetic]society re-conceptualising found little support.95 It stands as testimony to what space law scholarship was not: it was not a literature that engaged with technical legality and questioned modern law in technology’s light....
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...In 1968 George P. Smith II located artificial insemination and the future prospect of IVF in ‘[t]he shadowy predictions of Huxley and Orwell [that] can no longer be dismissed as blurred and unrealistic’.16 George J. Annas and Sherman Elias expressed more expansively that: 6 Wells (1954)....
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...Herbert George Wells is universally acclaimed as major god in the science fiction pantheon.(165) Long-lived (1866–1946) and prolific, Wells’ oeuvre can be divided into three groups.(166) The first are his late nineteenth century scientific romances, of which The Time Machine (1895),(167) The Island of Dr Moreau (1896),(168) The Invisible Man (1897),(169) War of the Worlds (1898)(170) and The First Men on the Moon (1901)(171) are the...
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...Fritz Lang’s Metropolis (1927),118 Stanley Kubrick’s 2001: A Space Odyssey (1968),119 Ridley Scott’s Blade Runner (1982)120 and even George Lucas’s Star Wars (1977)121 regularly make it on to critics’ lists.122 As Susan Sontag observed in 1965, it seems that that science fiction is more at home with the moving image than with the written word.123 For Annette Kuhn, this wider acceptance of science fiction cinema comes because of the medium’s visual and visceral enactment of technological futures: ‘the medium fitting, if not exactly being, the message’.124 This dimension of science fiction seems to be encapsulated in Broderick’s definition of science fiction as involving ‘specific … attention to the object in preference to the subject’....
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