10th-12th September 2020, University of Augsburg, Germany
Author Ian McEwan's recent claim that science fiction isn't political enough is not only elitist, it couldn't be further from the truth. Finally, the fantastic, whether it is science fiction, fantasy, gothic or horror, has always been political, as it allows us to design alternatives to our reality. It doesn't matter whether it's the dystopian warnings of works like George Orwell's 1984 or Margaret Atwood's Handmaid's Tale and their adaptation into the TV series of the same name that resonate in times of #metoo and Trump. Alternate histories such as Man in the High Castle keep their audience in suspense, as does Harry Potter's allegories of fascism, which serve as an inspiration for political protest against right-wing extremist voices, especially for younger generations. Star Trek's humanistic utopia remains popular after more than 50 years, and the franchise's (yet) newest series, Star Trek: Discovery, is in many ways its most political yet. Especially when you consider the controversial voices that oppose their claims to inclusion, that bring to light a part of the fandom that wants to dismiss the fantastic as pure escapism free of any political ideology.
Fantastic works have also been used directly for propaganda: be it political (like Ayn Rand's Atlas Shrugged), or religious (think Scientology founder L. Ron Hubbard or Tim LaHaye's Left Behind series). Jurassic Park warned of the dangers of science in times of capitalism, Tolkien's works are not only eco-critical but also anti-fascist, and Doctor Who not only fights the Daleks (a clear Nazi allegory) but recently visited Rosa Parks. Climate fiction, a genre originally promoted by authors of classic science fiction, has also proven that popular culture works can not only depict ecopolitical commitment, but also actively fuel it.
We invite submissions on all forms and genres of fantasy and its engagement with the political, whether your focus is on literature, film, television, or immersive media such as video games or theme parks.
In general, any paper on the Fantastica can be submitted (open track), but we particularly welcome discussion of topics such as:
- political ideology in works of the fantastic and their fan products
– the relevance of fantastic works to resistance movements
– Utopias, dystopias and other visions of the future
– Depiction/representation of minorities in the fantasy and their political implications
– Debates on the political in the fantastic, including transnational differences and similarities
Please send synopses (300 words) (in German or English) and short biographies (150 words) by January 15, 2020 to gff2020conference@gmail.com.
The GFF provides two travel grants of 250 euros each to doctoral candidates or students. Please indicate in your application if you would like to be considered for this position.
A conference homepage with detailed information will follow in the coming months; follow us on Twitter at @GFF_11th.