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The Production of Hypermobility: Dig...

Smith-Casanueva, Brent M.

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The Production of Hypermobility: Digital Media and Science Fiction Television in the Long 1990s.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Production of Hypermobility: Digital Media and Science Fiction Television in the Long 1990s./
Author:	Smith-Casanueva, Brent M.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	258 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-03, Section: A.
Contained By:	Dissertations Abstracts International80-03A.
Subject:	American studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10812504
ISBN:	9780438373211

The Production of Hypermobility: Digital Media and Science Fiction Television in the Long 1990s.
Smith-Casanueva, Brent M.

The Production of Hypermobility: Digital Media and Science Fiction Television in the Long 1990s. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 258 p.

Source: Dissertations Abstracts International, Volume: 80-03, Section: A.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2018.

This item must not be sold to any third party vendors.

The Production of Hypermobility explores the connections between the fantastic space travel technologies imagined in Science Fiction Television and the development of new digital media technologies within the context of shifts in late global capitalism during the 1990s. My dissertation probes these connections through charting the emergence of a new mode of mobility production, which I term "hypermobility," that emerged in this historical period. The production of hypermobility, I argue, must be understood as a specific historical arrangement or articulation of discursive, technological, economic, and political forces. Crucially, despite the utopian claims of digital media celebrants, these forces operated in a way that ensured hypermobility was not a democratic and egalitarian resource but rather a heavily stratified mode of mobility production structured by the hegemonic interests of white hetero-patriarchal capitalism. I draw the contours of this articulation through telling two inter-connected stories. One of these stories is about how new digital media technologies developed in the 90s contributed to a shifting configuration of space-time and the production of new modes of global mobility. The other is focused on the ways in which conflicting ideas about these shifts were examined in the imaginative universes of science fiction television. Together these stories help to illuminate the complex dialectical development of hyper-mobility within the historical context of late global capitalism and shifting ideological configurations within the United States in the "long 90s" between the end of the cold war and the 9/11 attacks.

ISBN: 9780438373211Subjects--Topical Terms:

2122720
American studies.

The Production of Hypermobility: Digital Media and Science Fiction Television in the Long 1990s.
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500 $a Publisher info.: Dissertation/Thesis.
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502 $a Thesis (Ph.D.)--State University of New York at Stony Brook, 2018.
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520 $a The Production of Hypermobility explores the connections between the fantastic space travel technologies imagined in Science Fiction Television and the development of new digital media technologies within the context of shifts in late global capitalism during the 1990s. My dissertation probes these connections through charting the emergence of a new mode of mobility production, which I term "hypermobility," that emerged in this historical period. The production of hypermobility, I argue, must be understood as a specific historical arrangement or articulation of discursive, technological, economic, and political forces. Crucially, despite the utopian claims of digital media celebrants, these forces operated in a way that ensured hypermobility was not a democratic and egalitarian resource but rather a heavily stratified mode of mobility production structured by the hegemonic interests of white hetero-patriarchal capitalism. I draw the contours of this articulation through telling two inter-connected stories. One of these stories is about how new digital media technologies developed in the 90s contributed to a shifting configuration of space-time and the production of new modes of global mobility. The other is focused on the ways in which conflicting ideas about these shifts were examined in the imaginative universes of science fiction television. Together these stories help to illuminate the complex dialectical development of hyper-mobility within the historical context of late global capitalism and shifting ideological configurations within the United States in the "long 90s" between the end of the cold war and the 9/11 attacks.
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