Vector 287: Some films from Cameroon and SA/Canada

By Dilman Dila

Last year, after a long wait, I got a chance to see Jean-Pierre Bekolo’s Naked Reality, which he describes as an afrofuturistic/sci-fi. Shot in black and white, it is a time-travel tale in which the protagonist searches for her identity, this being allegorical for a continent’s search for its identity. Like his earlier films, including Les Saignantes (2005), it does not use visual effects or mise-en-scène to portray the future. But while strong storytelling with an offbeat style carried his previous works, Naked Reality turned out to be difficult to watch. Its website suggests it “is a new science-fiction interactive and collaborative cinema concept where we make feature films with a story as usual but take out certain aspects like sets, music, dialogues, costumes…” While there is a call for collaboration, it is not clear if it would mean re-editing this film. What made it drag was the miming, the near complete lack of sets, and the attempt to compensate using overlays, where two video clips are blended together – kind of the cinematographic equivalent of Instagram filters – creating a style more suitable to music videos. If ten years ago a lack of props or effects could be a consequence of low budget, today, more resources are available to a filmmaker, especially in a collaborative venture, and there is free software to achieve photorealistic visual effects.

One such software is Unity. In 2016, the company behind it made a short film, Adam (available on YouTube), to showcase its cinematic creation tools and to test out the graphical quality achievable. Adam is short and sweet to look at, though does not have much of a story. The main protagonist, a prisoner, wakes up in a robot’s body along with scores of others. They meet a mystical figure, who leads them away into a bleak horizon. In 2017, Unity partnered with Neill Blomkamp – the South African director well-known for District 9 – to make two sequels to Adam, where we learn of a government called The Consortium, which harvests the body parts of prisoners but, rather than kill them, puts their brains in robots, for unknown but possibly legal or even mercantile reasons. I like the series so far, and although both plot and character development are still thin, it is a visual joy.

Neill will be making more episodes of Adam alongside other short films in his own Oats Studios, which he set up to develop ideas without years of waiting for Hollywood. The first film he made was Rakka, set in a dystopian, post alien-invasion world. The obsession of seeing aliens as the evil other echoes colonialist era fears (e.g. H.G Well’s War of the Worlds) but also resonates with anti-immigration sentiments of today. Rakka features Sigourney Weaver, whose great performance failed to save the film from a clichéd plot that does not add anything new to an alien invasion narrative.

I thought other Oats Studios films would be similar, but was pleasantly surprised. Firebase starts off like an alien-contact film, and ends up something like a revenge-ghost story, with US soldiers in Vietnam encountering something called the River God. Like the other shorts from Oats Studios, Firebase could develop into a feature film, and a recent tweet from Neill suggests he is planning to crowdfund its production – this might explain its abrupt and unresolved ending.

amosZygote is the film I liked the most. Though it also seems to be the first twenty minutes of a feature, it works beautifully as a stand-alone short. It’s a sick horror, a good old-fashioned monster tale redolent of Frankenstein, and it may be difficult for some people to watch. I liked the monster very much because it reminded me of Amos Tutuola’s My Life in the Bush of Ghosts, and the awesome “flash-eyed mother,” which is a ghost made up of “millions of heads which were just like a baby’s head,” each with two hands and two eyes that shone day and night. Zygote gripped me right from the start, and the suspense did not relent. It is set in an asteroid mining operation, and the story opens with two survivors from a catastrophe that is never fully explained, though we deduce it coincided with the creation of the monster. One survivor is a slave, an orphan bought in her infancy, and the other a synthetic human, who sacrifices himself to help the orphan escape. Like most of Neil’s films, this one is very entertaining, and yet still packs in social issues, in this case genetic engineering and a critique of corporate capitalism.

DILMAN DILA IS THE AUTHOR OF A CRITICALLY ACCLAIMED COLLECTION OF SHORT STORIES, A KILLING IN THE SUN. HE HAS BEEN LISTED IN SEVERAL PRESTIGIOUS PRIZES, INCLUDING THE GERALD KRAAK AWARD (2016), BBC INTERNATIONAL RADIO PLAYWRITING COMPETITION (2014), AND THE COMMONWEALTH SHORT STORY PRIZE (2013). HIS FILMS INCLUDE WHAT HAPPENED IN ROOM 13 (2007), WHICH HAS ATTRACTED OVER SIX MILLION VIEWS ON YOUTUBE, AND THE FELISTAS FABLE (2013), NOMINATED FOR BEST FIRST FEATURE AT AFRICA MOVIE ACADEMY AWARDS (2014), AND WINNER OF FOUR MAJOR AWARDS AT UGANDA FILM FESTIVAL (2014). HIS SECOND FEATURE FILM IS HER BROKEN SHADOW (2017), A SCIFI SET IN A FUTURISTIC AFRICA. MORE OF HIS LIFE AND WORKS ARE AT DILMANDILA.COM

Near Future Fictions Salon: Virtual Persons

Extruded Bodies & Phantom Flesh by Andrew Wallace

Virtual Futures’ March 2018 Near Future Fictions Salon explored the theme of Virtual Persons

Virtual Futures grew out of a series of conferences in the mid-90s that sought to develop a new discipline that would confront the technologisation of culture. Its latest incarnation is a regular ‘Salon’, where philosophical, scientific and creative thinkers combine discussion, performance and fiction to explore current and potential technological extensions of the human condition.

The Near Future Fictions Salons place science fiction centre stage, with previous guest participants including Alan Moore, Pat Cadigan, Gwyneth Jones, Hari Kunzru and Geoff Ryman.

Monday’s event explored the theme of ‘Virtual Persons’:

The digital world is a personality playground that offers us an unprecedented ability to curate and create a public persona – but what does this ability mean for the future of personhood? [from http://www.virtualfutures.co.uk]

Opening keynote by performance artist Stelarc

Stelarc took part in the original Virtual Futures conferences at Warwick University in the 90s. His work explores alternative anatomical architectures, interrogating issues of agency, identity and the post-human. He has performed with a mechanical third hand, a stomach sculpture and a six-legged walking robot; while Fractal Flesh, Ping Body and Parasite are internet performances that explore remote and involuntary choreography. Most recently, he has harnessed surgery and stem-cell technology to grow an ear on his arm.

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Stelarc and Andrew Wallace

Continue reading “Near Future Fictions Salon: Virtual Persons”

Vector 287: Fashion and SF

zero history gibsonBy Ricardo Suazo

Given that 2017 saw the launch of various SF blockbusters, when looking for the best of fashion one would be forgiven for turning to these highly visual, big budget productions. Wonder Woman, Blade Runner, Star Trek and Star Wars all made a return to our screens. However, the year’s most significant SF-related fashion events are to be found elsewhere. This is because in most cases the fashion references from these productions rely on a retro-futuristic vision, one which emphasises a post-apocalyptic, hyper-sexualised, Amazonian aesthetic.

An alternative would be to look to the catwalk, to the work of designers like Iris Van Herpen, Rick Owens or Comme des Garçons, all of whom share a reputation for futuristic, SF-inspired fashion. Whilst interesting, these proposals are not new, and certainly not representative of the mood in the industry. If anything, the fashion industry seems to be falling out of love with digital technologies. For example Hussein Chalayan’s Spring-Summer 2018 collection (shown in September 2017) was a commentary on how digital technologies can veil individual identity. This was only a year after the London-based designer showed a collection – in collaboration with Intel – which included accessories that could ‘read’ the wearer’s emotions and transform them into visuals displayed on a large screen. Continue reading “Vector 287: Fashion and SF”

Interview with Larissa Sansour

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‘In the Future, They Ate From the Finest Porcelain’ by Larissa Sansour and Søren Lind.

Larissa Sansour is an artist working across video, photography, sculpture and installation, often to create political artworks that explore life in Palestine. Our cover image for Vector No. 287 is taken from her recent film installation, ‘In the Future, they Ate from the Finest Porcelain’, a collaboration with the artist Søren Lind.

An interview with Larissa Sansour first appeared in the same issue, Spring 2018.

Vector: In an interview for “Reorient”, you talk about how your piece uses SF to address the ongoing trauma that is both national and personal. The film swerves away from a documentary approach, yet you leave room for it to be interpreted as a realistic narrative by using a framing device common to 19th and early 20th century SF. It is possible to imagine our world just off screen. On the soundtrack we hear a conversation between a woman and her therapist – they can be in the here‑and‑now; the visual narrative of the film can be interpreted to describe an imaginary world of the patient’s mind, her dreams, her hopes, fears and fantasies. Was this ambiguity intentional? Was there a decision not to commit fully to science fiction?

Larissa Sansour: Working with science fiction offers a lot of malleability in how I choose to comment on present day issues. There is a tendency when addressing heated or urgent political topics to fall into an already established and non-flexible discourse. One then generally has to accept the premise of the arguments that preceded your contribution. Science fiction helps me posit a new equation in which a new approach to can be formulated. So, the trauma, fear and fantasies are intended to occupy the blurry space between fantasy and reality and, like in most of my work, to question the basis of our understanding of what reality means. In In the Future They Ate From the Finest Porcelain, this focus is very much on historical narratives, and how much of that is really based on truth value.

The anachronism in the film is also very intentional. It is hard to talk about the Palestinian trauma without addressing several tenses. The Palestinian psyche seems to be planted in the catastrophic events of 1948 and is tied to a constant projection of the future, yet the present is in a constant limbo. Continue reading “Interview with Larissa Sansour”

Exclusive Vector interview with Glasgow DJ Sofay

 

 

Glasgow-based DJ Sophie Reilly, aka ‘Sofay’, talks about her love of science fiction and the connections that exist between some of her favourite records and novels such as Ursula Le Guin’s ‘The Left Hand of Darkness’ and Stanislaw Lem’s ‘Solaris’:

The video was produced by Vector editors and is hosted on the new Vector’s YouTube channel.

You can listen to Sophie’s set for NTS radio on Soundcloud:

SF and Art: ‘Is This Planet Earth?’

‘Is This Planet Earth?’ a sci-fi/eco exhibition by nine contemporary artists

By Angela Kingston

‘Is This Planet Earth?’ is an art exhibition that is intended not for humans but for aliens. They visit us in the future but arrive too late to see nature in reality. Life on earth – wiped out by global warming, mass-extinction and contamination – now exists only in the imaginations of artists.

Halina Dominska has created a large-scale silicone sculpture with hanging fronds or stamens. These ‘breathe’ as visitors approach, and ‘pant’ as we get closer. There’s a video by Helen Sear, of a hallucinatory pool of water, and at the same time a quivering, single-celled organism. It seems to want to pull you in…

Dominska
Halina Dominska
Bound To
2016

Katherine Reekie has painted pictures of laboratory specimens: seaweeds that eyeball us; birds with insect limbs; children’s toys mixed up with animal and vegetable DNA. The final, mangled life forms on earth? Seán Vicary has animated some limpet shells, to make them dance. But what if their patterns and shapes have always, unknown to us, been a form of cryptic communication? Patrick Coyle will conduct a tour of a futuristic water-bottling plant, the ‘Wrecksome Flottlesam Statiom’: radioactivity has seeped into the water supply and pure water is a luxury item.

Reekie.jpg
Katherine Reekie
Specimen Creatura
2013

Salvatore Arancio presents us with mossy growth and fungal flesh, all of it exaggerated in scale and made in lushly coloured ceramic. Alfie Strong provides a pile of soft sculptures with photos of rocks with red shadows, navy-coloured water and wrong-looking plants. A soundtrack by Jason Singh features bird-song, croaking frogs, a babbling brook and more. But all these noises were actually made by Jason, a beatbox artist.  Dan Hays has painted some dazzling, pixelated landscapes – they are highly technological and perhaps even cyborgian in feel.

The exhibition ‘Is This Planet Earth?’ is a work of science fiction. It pays homage to visionary sci-fi writers and filmmakers who conjured with apocalyptic landscapes and creatures (J.G. Ballard, John Wyndham, Douglas Trumbull, to name just a few). And it assumes, for a moment, sci-fi’s ecological mantel, challenging us to stop and think, as this planet’s supreme consumers and polluters.

Curator: Angela Kingston

 

Queer Muslim Futurism: Alif Para La Revolución

Imagining a Queer Muslim Futurism 

From the interview with Zulfikar Ali Bhutto [GARAGE]

What are you working on right now?
I’m working on a few new projects, including Queer Muslim Futurism, which is about creating future queer landscapes through a Muslim lens. The narrative is about my drag character who, as a rebel leader, talks about contemporary politics in a future that signals a different dimension. This is a world in which the marginalized fights back. I create future guerrilla Muslim drag warriors on the front of resistance and blur the line between a revolutionary and a terrorist. The gaze of the Muslim male subject is queered, not in a docile way but to challenge the Western perspective of Muslim maleness. I’m doing films and performances in which gender and sexuality are undefined and identities are left unclear.

via Queer Muslim Futurism: Alif Para La Revolución

Vector 287: Best of 2017

Coming soon to BSFA members!

 

Cover Vector287_Final Small
Cover image: Larissa Sansour and Søren Lind, from ‘In the Future, They Ate from the Finest Porcelain’

 

Inside Vector 287:

An interview with Larissa Sansour by Polina Levontin and Jo Lindsay Walton, plus a review of Larissa Sansour’s work.

TV in 2017 by Molly Cobb and So Mayer.

Film in 2017 by Nick Lowe, Andrew Wallace, Dilman Dila, Cheryl Morgan, Ali Baker, Paul March-Russell, Amy C. Chambers, Lyle Skains, Gary Couzens, and Dev Agarwal. 

Ricardo Suazo reflects on SF inspired trends in fashion, and Martin McGrath takes a close look at three panels from Avengers #8.

Games and AR are covered by Erin Horáková, Susan Gray, and Jon Garrad.

With also have an extensive section on audio and podcasts in 2017 with Peter Morrison, Erin Roberts, Laura Pearlman, Victoria Hooper and Tony Jones.

And of course three Recurrent columns with Paul Kincaid, Andy Sawyer and Stephen Baxter, plus the Torque Control editorial by Jo Lindsay Walton.

This one’s a bumper issue — 80 pages! If you’re not a BSFA member yet, why not sign up now?

Call for poems

 The call opens on 19th February and ends on 1st April 2018.

Poets are invited to send in up to 3 poems about the future, to be considered for an anthology launching in January 2019. The anthology will be edited by Suzannah Evans and Tom Sastry.

The guidelines explain: ‘A future poem could be a warning, a protest, a promise of salvation or a prediction of the end of the world. It could be a short history of everything or a snapshot from the 25th century kitchen sink.’

Suzannah Evans, editor, says: ‘I’d like to read poems that are: inventive, paranoid, animatronic, intergalactic, revolutionary and empathetic. There’s definitely room for darkness. I’ve got a lot of time for poems that seem silly but are deadly serious, and vice versa, and a special respect for poems which manage to be both at once.’

Tom Sastry, editor, adds: ‘I’m excited to read poems about imaginary catastrophes, dystopian nightmares and the glimpse our strangest fears give us into our craziest selves. I hope the call will attract funny poems, mythic poems, loud and quiet poems and poems in which ridiculous fears have real consequences.’

The submissions guidelines are available on the publisher’s website: https://theemmapress.com/about/submissions/