Out There is a lonesome, desperate attempt to survive alone and lost in space. By presenting events out of chronological time and returning to the time before and after a child is born, the film ultimately raises crucial questions about the ethics of reproduction, the quality of life, and issues of consent.In terms of gameplay mechanics, little has changed, but let me throw in a brief overview for those who haven’t played it before. The temporal shifts in the film rely on repositioning or reorienting both Louise and the viewer to the “not-yet” reproductive body and the “not-yet” child. At the end of the film's narrative, the main character Louise Banks (Amy Adams), is “not-yet” pregnant, is “not-yet” a parent, and has “not-yet” lost a child. Importantly, the constant hovering over the threshold of life in the film complicates the timeline of reproduction. The prolepsis, which punctuates the main narrative, emphasises the reversibility and irreversibility of life that does “not-yet” exist. When Barbara Duden (1992) calls the unborn foetus a “not-yet”, she describes the process by which the foetus achieves a legal status, and the precarious nature of ascribing life or personhood. The viewer is encouraged to empathise with the complexity of birth, life, and death as part of Louise's lived-body experience, but is finally confronted with the uncertainty of maternity, pregnancy and the unborn.
The presence of the unborn as a subtext in the film problematises Iris Marion Young's (2005) notion of pregnant embodiment as a subjective lived-body experience. Pregnancy, the pregnant body, and the physical, experiential nature of birth, commonly heavily gendered in film, are misleading focal points in the narrative. The prolepsis in Denis Villeneuve's Arrival emphasises the cyclical nature of the film's narrative and anchors human reproduction as a central theme. O resultado inclui uma exegese abrangente das problemáticas geradas pelas narrativas e um extenso debate sobre o tema. Em todo o artigo, discutimos estas interfaces híbridas de literatura, cinema e ciência, pesquisando a diegese específica dos enredos, as elucidações dos próprios autores, bem como vários textos que tratam da filosofia do tempo. Tanto no texto literário como no fílmico, a glossopeia é explorada como instrumento narrativo sobre a qual a percepção de tempo da raça alienígena é construída e explicada em conexão com a poderosa metáfora proporcionada pelo princípio do menor tempo de Fermat. Heptapod B e a metafísica do tempo-Interfaces híbridas de literatura, cinema e ciência Resumo Neste artigo, pretendemos promover uma análise sobre uso da língua artificial Heptapod B em História da sua vida (1998) de Ted Chiang e sua adaptação fílmica, A chegada (2016), escrita por Eric Heisserer e dirigida por Denis Villeneuve em relação à visão dos autores quanto à metafísica do tempo.
The result consists of a comprehensive exegesis of the problematics generated by the narratives and an extensive philosophical debate on the subject. Throughout the article, we discuss these hybrid interfaces of literature, cinema and science, researching the stories' specific diegeses, the writers' own elicitations as well as various texts on the Philosophy of time.
In both literary and filmic texts, the glossopoeia is used as a plot device upon which the alien race's time perception is constructed and explicated in connexion with the strong metaphor provided by Fermat's principle of least time. In this paper, we intend to promote an analysis of the use of the artificial language Heptapod B in Story of Your Life (1998) written by Ted Chiang and in its filmic adaptation, Arrival (2016), written by Eric Heisserer and directed by Denis Villeneuve in relation to the authors' views on the metaphysics of time. Categorically speaking, this essay designates the highly interactive, embodied procedures involved in the production of subjectivity under a rubric of three: apocalypse, a solution to the non-zero-sum game and a planetary event of post-anthropocentric ramifications language, a new use of symbols in affective and transformational communicativity and temporality, a remembering of the future and a vision of self-destiny. To invoke such an experience, we draw on specific narrative elements in Ted Chiang’s “Story of Your Life” as well as its cinematic adaptation, Arrival, to elucidate how subjectivity can become reconstructed, existentially, through language and time in very precise, yet nonlinear ways. What kind of event could destabilize, simultaneously, planetary trajectories and existential subjectivities? We argue that an encounter with an alien logic has the power to irrevocably dislodge common sense thinking from conventional spaces that have been molded into representational thought.
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