Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Standard

Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara. / Wennerscheid, Sophie.

I: Journal of Scandinavian Cinema, Bind 11, Nr. 1, 2021, s. 31-48.

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Harvard

Wennerscheid, S 2021, 'Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara', Journal of Scandinavian Cinema, bind 11, nr. 1, s. 31-48. https://doi.org/10.1386/jsca_00036_1

APA

Wennerscheid, S. (2021). Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara. Journal of Scandinavian Cinema, 11(1), 31-48. https://doi.org/10.1386/jsca_00036_1

Vancouver

Wennerscheid S. Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara. Journal of Scandinavian Cinema. 2021;11(1): 31-48. https://doi.org/10.1386/jsca_00036_1

Author

Wennerscheid, Sophie. / Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara. I: Journal of Scandinavian Cinema. 2021 ; Bind 11, Nr. 1. s. 31-48.

Bibtex

@article{004f4b714fce45cfb28356b374e9422c,
title = "Things don{\textquoteright}t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson{\textquoteright}s epic space poem Aniara and the science fiction film Aniara",
abstract = "While Harry Martinson{\textquoteright}s epic space poem Aniara (1956) has received little attention outside Sweden over the last half-century, several new adaptations have appeared in recent years, most notably the 2018 science fiction film Aniara. This article explores the reason for this renewed interest and argues that, in addition to ecocritical aspects, it is the interest in human‐machine relations that has contributed to the rediscovery. Drawing on Jane Bennett{\textquoteright}s notion of thing-power, the article focuses on the spaceship Aniara{\textquoteright}s artificial intelligence, Mima. Both in Martinson{\textquoteright}s text and the film adaptation, Mima is depicted as a sentient machine that does not show empathy with suffering humans but rather with the suffering of nature, epitomized in crying stones. Analysing the motif of the crying stones in more detail, the article seeks to contribute to the discussion about emotional attachment between humans, technology and nature.",
author = "Sophie Wennerscheid",
year = "2021",
doi = "10.1386/jsca_00036_1",
language = "English",
volume = "11",
pages = " 31--48",
journal = "Journal of Scandinavian Cinema",
issn = "2042-7891",
publisher = "Intellect Ltd.",
number = "1",

}

RIS

TY - JOUR

T1 - Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara

AU - Wennerscheid, Sophie

PY - 2021

Y1 - 2021

N2 - While Harry Martinson’s epic space poem Aniara (1956) has received little attention outside Sweden over the last half-century, several new adaptations have appeared in recent years, most notably the 2018 science fiction film Aniara. This article explores the reason for this renewed interest and argues that, in addition to ecocritical aspects, it is the interest in human‐machine relations that has contributed to the rediscovery. Drawing on Jane Bennett’s notion of thing-power, the article focuses on the spaceship Aniara’s artificial intelligence, Mima. Both in Martinson’s text and the film adaptation, Mima is depicted as a sentient machine that does not show empathy with suffering humans but rather with the suffering of nature, epitomized in crying stones. Analysing the motif of the crying stones in more detail, the article seeks to contribute to the discussion about emotional attachment between humans, technology and nature.

AB - While Harry Martinson’s epic space poem Aniara (1956) has received little attention outside Sweden over the last half-century, several new adaptations have appeared in recent years, most notably the 2018 science fiction film Aniara. This article explores the reason for this renewed interest and argues that, in addition to ecocritical aspects, it is the interest in human‐machine relations that has contributed to the rediscovery. Drawing on Jane Bennett’s notion of thing-power, the article focuses on the spaceship Aniara’s artificial intelligence, Mima. Both in Martinson’s text and the film adaptation, Mima is depicted as a sentient machine that does not show empathy with suffering humans but rather with the suffering of nature, epitomized in crying stones. Analysing the motif of the crying stones in more detail, the article seeks to contribute to the discussion about emotional attachment between humans, technology and nature.

U2 - 10.1386/jsca_00036_1

DO - 10.1386/jsca_00036_1

M3 - Journal article

VL - 11

SP - 31

EP - 48

JO - Journal of Scandinavian Cinema

JF - Journal of Scandinavian Cinema

SN - 2042-7891

IS - 1

ER -

ID: 276810570