From Kevin Moore:

Dear Professor Miller,

 

I hope this note finds you well, the state of the world these days notwithstanding. I’ve been an interested follower of your work and email list for some time, and want to pass along an article that might be of note to you and your readers. In a podcast interview you gave last fall, you mentioned in an aside the film Contagion as a “propaganda film.” I suspect you may already know all this history, but I just want to pass along to you an article I recently published documenting the film’s original influence agenda. It also addresses the very weird set of PSAs created in collaboration with Columbia’s Mailman School of Public Health last spring, “reuniting” the film’s cast. Here is the link if you are interested:

 

https://www.mdpi.com/2076-0752/9/4/112/htm

 

Thank you for all your recent work and commentary. I, too, teach a course on propaganda, and your Bernays edition (and introduction) is a core touchstone for us. Again, I hope you are as well as possible amid this challenging (and weird) time.

 

All best,

Kevin Moore


Readapting Pandemic Premediation and Propaganda: Soderbergh’s Contagion amid COVID-19

https://www.mdpi.com/2076-0752/9/4/112/htm

by 

Program in Writing and Rhetoric, Stanford University, 590 Escondido Mall, Stanford, CA 94305-3069, USA
Arts 2020, 9(4), 112; https://doi.org/10.3390/arts9040112
Received: 22 September 2020 / Revised: 28 October 2020 / Accepted: 30 October 2020 / Published: 3 November 2020
(This article belongs to the Special Issue The Art of Adaptation in Film and Video Games)
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Abstract

Steven Soderbergh’s pandemic thriller Contagion (2011) was trending strongly on streaming services in the US in the early days of COVID-19 restrictions, where the fiction took on an unforeseen afterlife amid a real pandemic. In this new context, many viewers and critics reported that the film seemed “uncanny,” if not prophetic. Frameworks such as Priscilla Wald’s notion of the “outbreak narrative,” as well Richard Grusin’s “premediation,” may help to theorize this affective experience on the part of viewers. Yet the film was also designed as a public health propaganda film to make people fear and better prepare for pandemics, and the present account works to recover this history. Although the film takes liberties with reality, in particular by proposing an unlikely vaccine-development narrative, Soderbergh and screenwriter Scott Z. Burns consulted prominent scientists and policymakers as they wrote the film, in particular Larry Brilliant and Ian Lipkin. These same scientists were consulted again in March 2020, when an effort spearheaded by Columbia University’s Mailman School of Public health reunited the star-studded cast of Contagion, who created at home a series of public health announcement videos that might be thought of as a kind of re-adaptation of the film for the COVID-19 era. These public service announcements touch on key aspects of pandemic experience premediated by the original film, such as social distancing and vaccine development. Yet their very production as “work-from-home” illustrates how the film neglected to address the status of work during a pandemic. Recovering this history via Contagion allows us to rethink the film as a cultural placeholder marking a shift from post-9/11 security politics to the pandemic moment. It also becomes possible to map the cultural meaning of the technologies and practices that have facilitated the pandemic, which shape a new social order dictated by the fears and desires of an emerging work-from-home class.
Keywords: Contagion; propaganda; pandemic; premediation; Steven Soderbergh; Scott Z. Burns



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