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The Medium Is the Monster: Contents

The Medium Is the Monster
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Notes

table of contents
  1. Cover
  2. Acknowledgments
  3. Introduction
  4. 1. Technology, Frankenstein, and . . . Canada?
  5. 2. Refocusing Adaptation Studies
  6. 3. Frankenstein and the Reinvention of “Technology”
  7. 4. The Medium Is the Monster: McLuhan’s “Frankenpheme” of Technology
  8. 5. Monstrous Adaptations: McLuhanesque Frankensteins in Neuromancer and Videodrome
  9. 6. “Technology Implies Belligerence”: Pattern Propagation in Canadian Science Fiction
  10. 7. Is It Live or Is It Deadmau5? Pattern Amplification in Canadian Electronic Dance Music
  11. 8. Monster Mines and Pipelines: Frankenphemes of Tar Sands Technology in Canadian Popular Culture
  12. Conclusion
  13. References
  14. Index

Contents

Acknowledgements

Introduction

1. Technology, Frankenstein, and . . . Canada?

2. Refocusing Adaptation Studies

3. Frankenstein and the Reinvention of “Technology”

4. The Medium Is the Monster: McLuhan’s “Frankenpheme” of Technology

5. Monstrous Adaptations: McLuhanesque Frankensteins in Neuromancer and Videodrome

6. “Technology Implies Belligerence”: Pattern Propagation in Canadian Science Fiction

7. Is It Live or Is It Deadmau5? Pattern Amplification in Canadian Electronic Dance Music

8. Monster Mines and Pipelines: Frankenphemes of Tar Sands Technology in Canadian Popular Culture

Conclusion

References

Index

Annotate

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