The Future is Female*: On Queer Futures and Alien Transcendence in Science Fiction Cinema and Beyond

This essay was originally published in Issue 1 of The Film Atlas.

To be alien is an affective mode. It is to sense (or to be taught through violence) that the thick walls of gender and continents and skin are too restrictive. To feel alien – that is, to find oneself on the side of the oppressed – is to embody an unsettlement, a dislocation, to negotiate a fervent and infinite incongruence between body and subject. It is a rejection of fixity. In this sense it is a productive force. Both Under the Skin and Her gender their extra-human futuristic subjects female, despite the fact that neither subject is predisposed to an earthly gendered anatomy.

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Neon Hauntings: Gender, Bodies and Terrain in Blade Runner

This essay was originally published in Slate Film & Moving Image Journal (April 12th, 2016)

Just as architecture is never devoid of signification or of discourse, the female body is always a site upon which a complex politics is at work. The nostalgic-dystopic politics of Ridley Scott’s Blade Runner are mapped explicitly onto the film’s neon-lit landscape, and are articulated through the bound or bloodied female bodies that inhabit it.

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Prospero and Yellow String: Carré's Embers

This review was originally published in the Berlin Film Journal (October 8th, 2015).

Like all good science fiction, Claire Carré’s Embers transcends its genre. It does not bask in its temporality nor its teleology, rather, it renders fragments of experience visceral and haunting without weighing itself down with plot drive and resolution.

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