Landscapes

&

Historical Context

Audience Expectations for Sci-Fi:

• Look • space ships/robots/city-scapes

• Story • tech/future/utopia/dystopia

• Budget • set design/costuming

Audience Expectations guided by Historical Context:

• Thatcher• Recession• Political Unrest• Discussion Cold War “Ending”

US dominance

• Look

• Story

• Budget

Critical Dystopia

• Analyzing contemporary issues– Current to the series’ release; often cyclical repetition

• Maintaining possibility for change– Corruption, marginalization, social mobility

• Questions government structures– Focuses on weaknesses of the system; shows how the

system can be fought

• Provides a sense of hope

Missing the Beat

• Expectations and Historical Context affect Financial Success and thereby program viability

• Narrative, empathy, and sociology yes

• Look, Budgets no

Invasion TV

ContextLookBudgetStory

Invasion Action

• Rural to City and Government to Individual

• Disrupts existing, contemporary world

• Mostly focused on battles at Invasion’s beginning

• Ideal vs Cult

• Safe Haven vs Dictatorship

PowerPrivilegeInstitutional PowerReligion Congregating

Invasion Effects

• Relationships, systems, morals are vulnerable but not caused by invasions

• Invasions separate humanity into those who can change and those who give in/up

• Disorder and heightened conflict as effect of invasion

Paranoia amplified; authority and conformity both challenged and negotiated

NO FIXED IDEOLOGY among different forms of Invasion Narrative

Cultural Relativism

The text is posing that ideologies are flexible because of texts’ origins (authors bio, historical context, market). It refers to the trope of

cultural relativism. In brief:

Meaning, moral beliefs etc. are always and can ONLY be created and derived from WITHIN a social system

in connection to its own contexts!