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Titlebook: Reading Westworld; Alex Goody,Antonia Mackay Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springe

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Flies in the Face: Entomology and the Mechanics of Becoming-Living in ,ne of the first indicators that Dolores is not-quite- human and initiates the role of the fly as a being with the ability to discern the boundary between the living and non-living. As the series progresses, the fly continues to act as a harbinger, signaling moments of slippage between the organic an
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,’s Archideology and the Impossibility of Freedom,e park’s ideology—one Žižek would characterise as an “archideological” fantasy, where we are split between self-awareness and unconscious fantasy. If the human bodies are indeed “mechanised” by . ideology, rather than read the relationship between androids and humans as Other, my methodology propose
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A Mere Instrument of Production: Representing Domestic Labour in ,not only because of recent debates around gender, power and the “economics of consent” but also because . intersects with those debates through its creative representation of a structural power that is striated by gendered social relations. For its hosts—those “mere instrument of production”—. en
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,Escaping the Robot’s Loop? Power and Purpose, Myth and History in ,’s Manufactured Frontier,erest in the power of history to raise the consciousness of disempowered peoples. As a twenty-first-century TV show about robots, . is burdened by the plots and tropes that have dominated over two centuries of stories about robots and automata, including the 1973 film of the same name. Like its robo
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,I-n-I Re-member Now: A Rastafari Reading of HBO’s ,limpsests to be written upon by hegemonic forces who constantly erase their memories, thus denying them a past and a sense of self. But Nigerian Nobel Prize winning playwright Wole Soyinka argues forcefully in his seminal play, . that “Memory is Master of Death, the chink in his armour of conceit,”
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