Therefore, the fantastic can point to something that is shown or appears as a reproduction of reality, that is, as an image or provoking a reaction of amazement, delight, horror, etc., through the show (Güemes Suárez, 2016, p. In fact, «fantastic», in its etymological origin, comes from the Latin noun phantasia, which is taken, in turn, from the Greek words «appearance», «spectacle» and «image». A space where the concept of «imagination» inevitably connects with that of «image». In this way, imagining the fantastic leads us to tolerate what is placed in front of us in its different modes of artistic expression by suspending disbelief.
70) said that the task of the imagination is to establish a «courageous tolerance of everything fantastic». Chapter 3 in Alien Legacies: The Evolution of the Franchise (Oxford UP): I will demonstrate how, by the close of ALIEN: COVENANT, David’s arc reveals that all creators––divine, mortal, or otherwise––must have questionable motives supported by an extreme moral relativism David is not a monstrous aberration, nor simply evil or mad, but takes his place in a pantheon of equally dubious gods and fathers. ALIEN: COVENANT is the most complex, demonstrating the fractal pattern within its own narrative at the same time as building on the patterns sustained over the three films, focusing on the relative position of creator in an unending chain of creator-created/father-son relationships. PROMETHEUS contains a double-pronged binary––the competing ideologies of religion-nature versus science-technology––examining how each notion of creation presents a different moral calculus for the creator. ALIEN deals with the simplest binary, between male and female, subverting the human pattern of creation through the introduction of male birth. The pattern here is that each of these films sets up and problematizes a familiar binary related to creation, then establishes a pattern of iteration with increasing complication, such that the thematic structure constitutes a metaphor of fractal geometry. Gordon Slethaug, in BEAUTIFUL CHAOS (2000), explains that fractals occur, in literature and geometry, when replications show an “infinite nesting of pattern within pattern, repetition across scales” (110). Connecting David’s development to this pattern is important as it provides the fuller context within which his character should be interpreted.
#Dark academia notion covers android#
The fractal pattern of themes that emerges from this approach allows a better apprehension of the themes’ multi-layered and refractional interconnections, which culminate in the character arc of the genocidal android David. This chapter will suggest a reading of the trilogy through the lens of chaos theory as applied metaphorically to literature. These three films develop themes related to the potential dark side of (pro)creation, highlighting the role of death in the cycle of life.
Ridley Scott, who directed the seminal film ALIEN (1979), returned to the franchise some 30 years later with the prequels PROMETHEUS (2012) and ALIEN: COVENANT (2017) which further examine the origin and evolution of the lethal xenomorph.
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