Inspired by the real-life case of the Gainesville Ripper, Scream was influenced by Williamson’s passion for horror films, especially Halloween (1978).
The soundtrack by Marco Beltrami was cited as “[one] of the most intriguing horror scores composed in years”. The score has since earned “cult status”. Scream marked a change in the genre as it cast already-established and successful actors, which was considered to have helped it find a wider audience, including a significant female viewership.
Scream was credited with revitalizing the slasher genre in the 1990s, which was considered to be almost dead following an influx of direct-to-video titles and numerous sequels to established horror franchises of the 1970s and 1980s. Scream‘s success spawned a series of sequels. (wiki)
Scream (also known as Scream 5) is a 2022 American slasher film directed by Radio Silence(Matt Bettinelli-Olpin and Tyler Gillett). It is the fifth installment in the Scream film series. Though billed as a relaunch of the film series, the film is a direct sequel to Scream 4 (2011) and is the first film in the series to not be directed by Wes Craven, following his death in 2015. The film is dedicated to Craven at the beginning of the closing credits.
The film stars Melissa Barrera, Kyle Gallner, Mason Gooding, Mikey Madison, Dylan Minnette, Jenna Ortega, Jack Quaid, Jasmin Savoy Brown, and Sonia Ammar, alongside Roger L. Jackson, Marley Shelton, Skeet Ulrich, Courteney Cox, David Arquette, and Neve Campbell, who reprise their roles from previous installments. The film takes place twenty-five years after the original Woodsboro murders, when yet another Ghostface appears and begins targeting a group of teenagers who are each somehow linked to the original killings. Similar to previous entries, Scream combines the violence of the slasher genre with elements of black comedy and “whodunit” mystery to satirize the trend of reboots and legacy sequels. The film also provides commentary on fandom culture and the divide between “elevated horror” and classic slasher films.
Scream was praised by critics for honoring Craven’s legacy and offering thoughtful meta-commentary on horror films, with some calling it the best of the Scream sequels. The development of a sequel was announced in February 2022. (wiki)
‘Shanzhai’ from Cantonese slang, refers to the production of fake goods in China, which enjoy an anti-authoritarian-like dissemination across the global market. Starting with mobile phones, now fashion brands are subverted in this way, with many women at the helm of design and production. Fashioning China looks at the women designers simultaneously subverting and reinforcing the nationalist-developmentalist, masculinist and technocratic dream of brands that are ‘Made in China’.
Broadening the digital labor debate beyond typical masculine and techno-utopic readings, Sara Liao studies the precarious practices of women trying to create sustainable and creative lives, vividly illustrating a fashion culture that exists online as a significant part of the digital economy.
Drawing on material from interviews, participant observation, archives, policy documents, films and advertisements, Liao takes a multi-disciplinary approach to the topic, charting out the politics of intellectual property rights, globalization, technocracy, patriarchy and nationalism in a non-Western context.
A study of Samuel Butler, cybernetics and emerging technology in Shenzhen, China.
Absolutely love this book – "Future Mutation; technology, shanzai, and the evolution of species". pic.twitter.com/zYn1Xxu4fD
“A brilliant and empathetic guide to the far corners of global capitalism.” –Jenny Odell, author of How to Do Nothing
From FSGO x Logic: stories about rural China, food, and tech that reveal new truths about the globalized world
In Blockchain Chicken Farm, the technologist and writer Xiaowei Wang explores the political and social entanglements of technology in rural China. Their discoveries force them to challenge the standard idea that rural culture and people are backward, conservative, and intolerant. Instead, they find that rural China has not only adapted to rapid globalization but has actually innovated the technology we all use today.
From pork farmers using AI to produce the perfect pig, to disruptive luxury counterfeits and the political intersections of e-commerce villages, Wang unravels the ties between globalization, technology, agriculture, and commerce in unprecedented fashion. Accompanied by humorous “Sinofuturist” recipes that frame meals as they transform under new technology, Blockchain Chicken Farm is an original and probing look into innovation, connectivity, and collaboration in the digitized rural world.
FSG Originals × Logic dissects the way technology functions in everyday lives. The titans of Silicon Valley, for all their utopian imaginings, never really had our best interests at heart: recent threats to democracy, truth, privacy, and safety, as a result of tech’s reckless pursuit of progress, have shown as much. We present an alternate story, one that delights in capturing technology in all its contradictions and innovation, across borders and socioeconomic divisions, from history through the future, beyond platitudes and PR hype, and past doom and gloom. Our collaboration features four brief but provocative forays into the tech industry’s many worlds, and aspires to incite fresh conversations about technology focused on nuanced and accessible explorations of the emerging tools that reorganize and redefine life today.
How did China’s mass manufacturing and “copycat” production become transformed, in the global tech imagination, from something holding the nation back to one of its key assets? Prototype Nation offers a rich transnational analysis of how the promise of democratized innovation and entrepreneurial life has shaped China’s governance and global image. With historical precision and ethnographic detail, Silvia Lindtner reveals how a growing distrust in Western models of progress and development, including Silicon Valley and the tech industry after the financial crisis of 2007-8, shaped the rise of the global maker movement and the vision of China as a “new frontier” of innovation.
Lindtner’s investigations draw on more than a decade of research in experimental work spaces–makerspaces, coworking spaces, innovation hubs, hackathons, and startup weekends–in China, the United States, Africa, Europe, Taiwan, and Singapore, as well as in key sites of technology investment and industrial production–tech incubators, corporate offices, and factories. She examines how the ideals of the maker movement, to intervene in social and economic structures, served the technopolitical project of prototyping a “new” optimistic, assertive, and global China. In doing so, Lindtner demonstrates that entrepreneurial living influences governance, education, policy, investment, and urban redesign in ways that normalize the persistence of sexism, racism, colonialism, and labor exploitation.
Prototype Nation shows that by attending to the bodies and sites that nurture entrepreneurial life, technology can be extricated from the seemingly endless cycle of promise and violence.
Cover image: Courtesy of Cao Fei, Vitamin Creative Space and Sprüth Magers
This volume reflects on the meaning and the implications of Yuk Hui’s notion of cosmotechnics, which opens up an anti-universalist and pluralist perspective on technology beyond the West.
Martin Heidegger’s famous analysis of the essence of technology as enframing and as rooted in ancient Greek techne has had a crucial influence on the understanding and critique of technological society and culture in the twentieth century. However, it is still unclear to what extent his analysis can also be applied to the development of technology outside of ‘the West’, e.g. in China, Africa and Latin America, particularly against the backdrop of receding Western domination and impending global ecological disaster. Acknowledging the planetary expansion of Western technology already observed by Heidegger, yet also recognizing the existence of non-Western origins of technical relationships to the cosmos, Yuk Hui’s notion of cosmotechnics calls for a rethinking – in dialogue with postcolonialism and the so-called ontological turn in contemporary anthropology – of the question concerning technology which challenges the universality still present in Heidegger (as well as in Simondon and Stiegler) and proposes a radical technological or rather cosmotechnical pluralism or technodiversity. The contributors to this volume critically engage with this proposal and examine the possible implications of Hui’s cosmotechnical turn in thinking about technology as it becomes a planetary force in our current age of the Anthropocene.
With its emergence as a global power, China aspires to transform from “made in China” to “created in China”. Mobilised as a crucial source for solid growth and “soft power,” creativity has become part of the new China Dream. This anthology engages with the imperative of creativity by aligning it to three interrelated phenomena: boredom, shanzhai, and digitisation. How does creativity help mitigate boredom? Does boredom incubate creativity? How do shanzhai practices and the omnipresence of fake stuffs challenge notions of the original and authentic? Which spaces for expressions and contestations has China’s fast-developing digital world of Weixin, Taobao, Youku and Internet Plus Policy opened up? Are new technologies serving old interests? Essays, dialogues, audio-visual documents and field notes, from thinkers, researchers, practitioners and policy-makers, contribute to explore, examine and problematize what is going on in China now, ultimately to tease out its implication to our understanding of “creativity”.
TimeSpace Warps 