She is the property of Malcolm "Mal" Reynolds ( Nathan Fillion), a former sergeant who served on the losing side of a civil war that ended six years before the series began. Serenity first appeared in the pilot episode of Joss Whedon's Firefly, which is set in the year 2517, in a star system humanity migrated to after using all of Earth's resources.
Two contiguous sets were built, between them containing the entirety of the ship's interior, which provided several advantages to the cast and crew during filming. The collaboration led to more consistency between the live-action and digital effects representations of Serenity than is usual in science-fiction works. The ship was designed by director Joss Whedon, production designer Carey Meyer, and visual effects supervisor Loni Peristere. The ship is the main setting it appears in all fourteen episodes, the film, and several comics. Set in the 26th century, the series follows the nine-person crew of the Firefly-class vessel, a small transport ship, as they earn a living through various legal and illegal means. Firefly / Serenity (hereafter F/S) thus has a more comprehensively developed imaginary universe and ‘back‐story’ than many other films, making it a richer and more fruitful text with which to engage.Serenity is a fictional spacecraft that appears in Joss Whedon's Firefly television series and related works.
The film Serenity is a sequel to the short‐lived American television series Firefly, which was cancelled after only 14 episodes. Feminist science fiction offers the ability to reconceptualise what is gendered in our world and what it means to be gendered and a gendered being.
Through utopias and dystopias, science fiction extrapolates the ‘consequences of present social and technological trends’ and allows us to recognise that the configurations of our own contemporary societies are also historically constructed, rather than natural or inevitable ( Crawford 2003, 198). British Journal of Politics & International Relations Wiley Īs Jutta Weldes (2003 ) and other contributors to her edited collection have demonstrated, in the imagination of different, ‘other’ worlds, science fiction offers us resources with which to critique our own. Neta Crawford discusses five features that she considers distinctive of feminist utopian science fiction: a focus on critiquing and re‐imagining gender through the characteristics and preoccupations of the text a broadened conceptualisation of the political the depiction of emotions as a valid source of power/knowledge an attention Firefly / Serenity (hereafter F/S) thus has a more comprehensively developed imaginary universe and ‘back‐story’ than many other films, making it a richer and more fruitful text with which to engage. Firefly/Serenity: Gendered Space and Gendered Bodies Firefly/Serenity: Gendered Space and Gendered BodiesĪs Jutta Weldes (2003 ) and other contributors to her edited collection have demonstrated, in the imagination of different, ‘other’ worlds, science fiction offers us resources with which to critique our own.
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