Dune & the Deeper Meaning of Sci Fi
Posted: Sat Oct 23, 2021 7:05 am
This could go in the Art-forms section, but perhaps warrants some discussion here, on the power of story-making ...
Soul_of_Shu wrote: ↑Sat Oct 23, 2021 7:05 am This could go in the Art-forms section, but perhaps warrants some discussion here, on the power of story-making ...
I'm looking forward to viewing it. I don't recall having read the book, at the height of its popularity being more obsessed with spy novels like The Spy Who came in from the Cold, and other literature depicting more the anti-hero types—and from that obsession almost immediately transgressing further into the anti-hero, sexus-plexus-nexus world according to Henry Miller, in the The Rosy Crucifixion trilogy. When the original Lynch film came out I was living isolated from such cultural phenomena on a small island where I could barely pull in a signal from CBC radio, while access to films was a daydream. So knowing nothing of the story, I'm wondering if given the hero's name being Paul, if there are any parallels to that biblical 'anti-hero' figure, who set out into the dunes of the desert on the road to and from Damascus.AshvinP wrote: ↑Sat Oct 23, 2021 2:17 pmI saw this movie (without ever reading the books), and without giving anything away, it fits the esoteric, archetypal Christ involutionary-evolutionary journey to a "T". It is definitely worth the 2.5 hrs (3 with previews) to watch in IMAX theater.
It is true, all imaginative stories, especially in sci-fi/fantasy/horror, are variations of this same [true] story and different aspects of it from different spatiotemporal angles. But this rendition is like a scene-for-scene retelling, and encompsses many of the things we are writing about here in terms of 'higher cognition'. It is really fascinating.
Soul_of_Shu wrote: ↑Sat Oct 23, 2021 4:10 pmI'm looking forward to viewing it. I don't recall having read the book, at the height of its popularity being more obsessed with spy novels like The Spy Who came in from the Cold, and other literature depicting more the anti-hero types—and from that obsession almost immediately transgressing further into the anti-hero, sexus-plexus-nexus world according to Henry Miller, in the The Rosy Crucifixion trilogy. When the original Lynch film came out I was living isolated from such cultural phenomena on a small island where I could barely pull in a signal from CBC radio, while access to films was a daydream. So knowing nothing of the story, I'm wondering if given the hero's name being Paul, if there are any parallels to that biblical 'anti-hero' figure, who set out into the dunes of the desert on the road to and from Damascus.AshvinP wrote: ↑Sat Oct 23, 2021 2:17 pmI saw this movie (without ever reading the books), and without giving anything away, it fits the esoteric, archetypal Christ involutionary-evolutionary journey to a "T". It is definitely worth the 2.5 hrs (3 with previews) to watch in IMAX theater.
It is true, all imaginative stories, especially in sci-fi/fantasy/horror, are variations of this same [true] story and different aspects of it from different spatiotemporal angles. But this rendition is like a scene-for-scene retelling, and encompsses many of the things we are writing about here in terms of 'higher cognition'. It is really fascinating.
Also speaking of anti-hero types, as it happens, I have read another book mentioned in the above video titled Snow Crash, a wonderful hoot of a novel telling a surrealistic juxtaposition twixt ancient><futuristic, social-satire tale through a character named Hiro Protagonist ... and truly I could not stop laughing.
An interesting quote about the intentions of the author:AshvinP wrote: ↑Sat Oct 23, 2021 2:17 pmSoul_of_Shu wrote: ↑Sat Oct 23, 2021 7:05 am This could go in the Art-forms section, but perhaps warrants some discussion here, on the power of story-making ...
I saw this movie (without ever reading the books), and without giving anything away, it fits the esoteric, archetypal Christ involutionary-evolutionary journey to a "T". It is definitely worth the 2.5 hrs (3 with previews) to watch in IMAX theater.
It is true, all imaginative stories, especially in sci-fi/fantasy/horror, are variations of this same [true] story and different aspects of it from different spatiotemporal angles. But this rendition is like a scene-for-scene retelling, and encompsses many of the things we are writing about here in terms of 'higher cognition'. It is really fascinating.
Lou Gold wrote: ↑Sat Oct 30, 2021 1:32 amAn interesting quote about the intentions of the author:AshvinP wrote: ↑Sat Oct 23, 2021 2:17 pmSoul_of_Shu wrote: ↑Sat Oct 23, 2021 7:05 am This could go in the Art-forms section, but perhaps warrants some discussion here, on the power of story-making ...
I saw this movie (without ever reading the books), and without giving anything away, it fits the esoteric, archetypal Christ involutionary-evolutionary journey to a "T". It is definitely worth the 2.5 hrs (3 with previews) to watch in IMAX theater.
It is true, all imaginative stories, especially in sci-fi/fantasy/horror, are variations of this same [true] story and different aspects of it from different spatiotemporal angles. But this rendition is like a scene-for-scene retelling, and encompsses many of the things we are writing about here in terms of 'higher cognition'. It is really fascinating.
[Frank] Herbert said many times that Dune’s central theme is the “dangers of the superhero.” In a piece of that name, republished in Tim O’Reilly’s The Maker of Dune, Herbert claims that “the original spark” of the novel was his conviction that “superheroes are disastrous for mankind,” and a desire to dramatize how the mythmaking impulse that crowns a hero inevitably conjures a toxic, totalitarian social system of “demagogues, fanatics, con-game artists . . . [and] innocent and not so innocent bystanders.”
Here's an interesting uncommon review from the Left: The Socialist Dune I guess we will have to read the book or wait for Part 2 to evaluate it more completely. Meanwhile, I certainly enjoyed the audio-visual adventure of the first part.
Pearson wrote:Dune’s dour, self-lacerating tone is what allows the novel to “move within” itself and its own heroic pretensions. Stilted dialogue, caustic asides, and other sour notes dampen ostensibly epic and exciting plot elements, recasting Paul’s “hero’s journey” as a descent into cynical self-destruction, as when Paul turns to his companion Stilgar, in a moment of triumph, to find his friend has “become a worshipper,” a mere “creature” ruined by Paul’s own ambition. By poisoning its feast of fascist aesthetics, the novel strives to put us off the taste for good.