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Journal articles on the topic 'Science fiction cinema'

To see the other types of publications on this topic, follow the link: Science fiction cinema.

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

KILINÇARSLAN, Yasemin. "NEW TRENDS IN SCIENCE FICTION CINEMA AND GENETIC CINEMA." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 10 (March 30, 2016): 485. http://dx.doi.org/10.17361/uhive.20161016615.

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2

Sherryl Vint. "Possibilities for a Science-Fiction Cinema." Science Fiction Studies 43, no. 3 (2016): 563. http://dx.doi.org/10.5621/sciefictstud.43.3.0563.

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3

CENGIZ, GIZEM. "INTERWAR ERA IN SCIENCE FICTION CINEMA: DIESELPUNK." Akademik Sanat Dergisi 4, no. 8 (December 30, 2019): 40–49. http://dx.doi.org/10.34189/asd.4.8.003.

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4

Moey, Natalie. "Projecting Tomorrow: Science Fiction and Popular Cinema." Film Matters 8, no. 3 (December 1, 2017): 47–48. http://dx.doi.org/10.1386/fm.8.3.47_1.

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5

Landon, Brooks. "Science Fiction Cinema: between fantasy and reality." Historical Journal of Film, Radio and Television 31, no. 1 (March 2011): 144–47. http://dx.doi.org/10.1080/01439685.2011.553455.

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6

Moreno, Erika Tiburcio. "Red Alert: Marxist Approaches Science Fiction Cinema." Historical Journal of Film, Radio and Television 38, no. 3 (May 3, 2018): 682–83. http://dx.doi.org/10.1080/01439685.2018.1467903.

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7

Shail, Robert. "Terence Fisher and British science fiction cinema." Science Fiction Film & Television 2, no. 1 (April 2009): 77–90. http://dx.doi.org/10.3828/sfftv.2.1.5.

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8

YILDIRIM ŞAHİN, Emek. "SCIENCE FICTION IN RUSSIAN LITERATURE AND CINEMA." Avrasya Uluslararası Araştırmalar Dergisi 9, no. 26 (March 17, 2021): 296–312. http://dx.doi.org/10.33692/avrasyad.895999.

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9

Womack, Jeffrey. "Nuclear Weapons, Dystopian Deserts, and Science Fiction Cinema." Vulcan 1, no. 1 (2013): 70–85. http://dx.doi.org/10.1163/22134603-00101005.

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The article explores the relationship between science fiction cinema and nuclear weapons. It argues that the genre’s commercial success directly resulted from its appropriation of nuclear warfare themes and imagery, such as desert landscapes and nuclear blasts. The influence of nuclear weapons eventually permeated the genre as a whole, leading to the widespread appearance of such imagery in science fiction films that do not purport to deal with nuclear weapons or nuclear themes.

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10

Pariser, David, Leroy Dubeck, Suzanne Moshier, and Judith Boss. "Science in Cinema: Teaching Science Fact through Science-Fiction Film." Leonardo 26, no. 1 (1993): 85. http://dx.doi.org/10.2307/1575797.

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11

Leal, João Vitor Resende. "Unmasked Androids: Staring Faces in Science Fiction Cinema." Cinémas: Revue d'études cinématographiques 28, no. 1 (2017): 145. http://dx.doi.org/10.7202/1053859ar.

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12

Landy, Marcia, and Stanley Shostak. "Postmodernism as Folklore in Contemporary Science Fiction Cinema." Rethinking Marxism 6, no. 2 (June 1993): 25–45. http://dx.doi.org/10.1080/08935699308658053.

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13

Dudziński, Robert. "Fantastyka naukowa w polskim piśmiennictwie krytycznofilmowym przełomu lat pięćdziesiątych i sześćdziesiątych XX wieku." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 99–125. http://dx.doi.org/10.14746/i.2020.37.06.

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The article is devoted to the Polish reception of science-fiction cinema; the statements of film critics from 1956–1965 were analysed. During this period, science fiction, previously absent from the screens of Polish cinemas for ideological and censorship reasons, returned to the repertoire and became the subject of press discussions and reviews. The analysis of articles devoted to this genre and published at the time allows reconstruction of the cultural context in which science-fiction productions operated. The article consists of three main parts. In the first of these, the author describes which science fiction films were present in Polish cinemas at the turn of the 1950s and 1960s. In the second part, he analyses press statements devoted to the history and aesthetics of the genre. The subject under consideration in the third part is the reception of two productions, which at the time enjoyed the greatest interest from contemporary critics: Godzilla (Gojira, 1954, dir. Ishirō Honda) and The Silent Star (Der schweigende Stern 1960, dir. Kurt Maetzig).

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14

Petit Pérez, Mª Francisca. "The cinema of science fiction in science education in secondary." Enseñanza de las Ciencias. Revista de investigación y experiencias didácticas 33, no. 1 (March 3, 2015): 267. http://dx.doi.org/10.5565/rev/ensciencias.1536.

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15

ERÇETİN, Arzu, and Tolga ERDEM. "1960-1970’LERDE BİLİMKURGU SİNEMASINDA MOBİLYA." Journal of Communication Science Researches 2, no. 2 (May 1, 2022): 64–83. http://dx.doi.org/10.7456/100202100/001.

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Cınema is a unique means of expression. Pictures and sounds are the elements of the language of cinema. One of the elements that support these elements is furniture, which is one of the working areas of the design concept. The cinema genre that is most intertwined with the design discipline is science fiction. In this research, the relationship between cinema and space is examined on the science fiction movies and series of 1960-70, when the theme of Space in the context of furniture was at its peak. Within the scope of the study, the effects of the furniture used on the spatial narratives in the science fiction movies and series in the 1960s and 1970s were examined by taking the Star Trek series and Star Wars movies into consideration. The aim of this study is to reveal how the concept of design, which is a multidimensional discipline, brings together different dimensions from cinema to product scale as a whole, and to create a resource for similar studies to be carried out.

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16

Hasumi, Shigehiko. "Fiction and the `Unrepresentable'." Theory, Culture & Society 26, no. 2-3 (March 2009): 316–29. http://dx.doi.org/10.1177/0263276409103110.

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In this article I argue that basic characteristics of the medium of cinema formed during the relatively brief era of silent movies continued to characterize film throughout the 20th century. Despite the development of talkies in the 1920s, sound was never truly integrated into the composition of cinema in the sense implied by the term `audiovisual'. This is a reflection not only of technological constraints but also of a fundamental ideological orientation that prohibited the direct representation of the voice. This `prohibition' of the voice is not a phenomenon confined entirely to cinema. Through a critique of the debate begun by Godard and Lanzmann on representation of the Auschwitz gas chambers in film, I consider how the issue of the `unrepresentable' must be extended beyond the issue of visual representation so as to also include the matter of representation in sound. It is only now that we have entered the 21st century that the `visibility' of this larger issue of representation is presented to us.

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17

Sey, J. "The terminator syndrome: Science fiction, cinema and contemporary culture." Literator 13, no. 3 (May 6, 1992): 13–20. http://dx.doi.org/10.4102/lit.v13i3.760.

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This paper examines the impact of contemporary technology on representations of the human body in American popular culture, focusing on James Cameron’s science fiction films The Terminator (1984) and The Terminator II - Judgment Day (1991) in both of which the key figures are cybernetic organisms (cyborgs) or a robot which can exactly imitate the human form . The paper argues that the ability of modern film technology’ to represent the human form in robotic guise undercuts the distinction between nature and culture which maintains the position of the human being in society. The ability of the robot or cyborg to be ‘polygendered’ in particular, undermines the position of a properly oedipalized human body in society, one which balances the instinctual life against the rule of cultural law. As a result the second Terminator film attempts a recuperation of the category of the human by an oedipalization of the terminator cyborg.

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18

Zepke, Stephen. "Beyond cognitive estrangement: The future of science fiction cinema." NECSUS. European Journal of Media Studies 1, no. 2 (January 1, 2012): 91–113. http://dx.doi.org/10.5117/necsus2012.2.zepk.

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19

Eliot Chayt. "Revisiting Italian Post-Neorealist Science-Fiction Cinema (1963–74)." Science Fiction Studies 42, no. 2 (2015): 322. http://dx.doi.org/10.5621/sciefictstud.42.2.0322.

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20

Majsova, Natalija. "Russian science fiction literature and cinema: a critical reader." Studies in Russian and Soviet Cinema 12, no. 3 (August 30, 2018): 262–64. http://dx.doi.org/10.1080/17503132.2018.1511256.

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21

Suppia, Alfredo Luiz. "Science Fiction in the Brazilian Cinema: A Brief Overview." Film International 6, no. 2 (April 2008): 6–13. http://dx.doi.org/10.1386/fiin.6.2.6.

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22

Mortimer, Claire. "Science Fiction Cinema and 1950s Britain: Recontextualizing Cultural Anxiety." Historical Journal of Film, Radio and Television 39, no. 1 (January 2, 2019): 202–4. http://dx.doi.org/10.1080/01439685.2018.1524555.

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23

Paz, Mariano. "Vox politica: acousmatic voices in Argentinean science fiction cinema." New Review of Film and Television Studies 9, no. 1 (March 2011): 15–27. http://dx.doi.org/10.1080/17400309.2011.521715.

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24

Guerrero, Edward. "Aids as Monster in Science Fiction and Horror Cinema." Journal of Popular Film and Television 18, no. 3 (October 1990): 86–93. http://dx.doi.org/10.1080/01956051.1990.10662021.

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25

Rocha, Thaís Mendes, Josie Agatha Parrilha da Silva, and Bettina Heerdt. "O uso dos filmes de ficção científica para o ensino de ciências com enfoque ciência, tecnologia e sociedade: uma revisão sistemática da literatura." Revista Brasileira de Educação em Ciências e Educação Matemática 5, no. 1 (April 30, 2021): 129–51. http://dx.doi.org/10.33238/rebecem.2021.v.5.n.1.26935.

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Resumo: Esta revisão sistemática da literatura teve como objetivo identificar a forma que os filmes de ficção científica (FC) abordam questões do ensino das Ciências e o enfoque Ciência, Tecnologia e Sociedade (CTS). A pesquisa utilizou bancos de dados com os seguintes descritores: “Ensino de Ciências, CTS, Ficção Científica e Cinema”. Os resultados evidenciaram que desde a década de 1980, os filmes de FC são utilizados como recurso metodológico no ensino de Ciências, mas ainda são escassos os estudos que relacionam o CTS com os filmes de FC. Nas quatro pesquisas encontradas, entre 2012 e 2019, a articulação dos três componentes da tríade CTS, raramente ocorre de forma coerente com os referenciais, prevalecendo o realce na ciência, ou em tecnologia e, majoritariamente, na sociedade, sobrelevando as questões socioambientais.Palavras-chave: Ensino de Ciências; Enfoque CTS; Arte e Ciência; Cinema; Filmes de Ficção Científica. The use of scientific fiction films for teaching sciences with a focus on science, technology and society: a systematic review of literatureAbstract: This systematic review of the literature aimed to identify the way that science fiction films (SF) address issues of science teaching and the focus on Science, Technology and Society (STS). The research used databases with the following descriptors: “Science Teaching, STS, Science Fiction and Cinema”. The results showed that, since the 1980s, SF films have been used as a methodological resource in science teaching, but there are still few studies relating STS to SF films. In the four researches found, between 2012 and 2019, the articulation of the three components of the STS triad, rarely occurs in a coherent manner with the references, with emphasis on science or technology and, mainly, on society, prevailing, raising socioenvironmental issues.Keywords: Science teaching; Focus on STS; Art and Science; Movie theater; Science fiction

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26

Kowalczyk, Marcin. "Mózg jako nowy wszechświat – wokół Incepcji Christophera Nolana." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 207–20. http://dx.doi.org/10.14746/i.2020.37.12.

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The article shows the growing interest of science fiction cinema in the human brain and related concepts, such as mind or consciousness. Nowadays, when distant space travel seems unreachable, artists find the exploration potential of the brain very promising. Thus, the main thesis of this analysis says that the brain has become for science fiction cinema the new universe. An excellent example of this paradigm shift is Inception (dir. Christopher Nolan, 2010). In the movie, the mind is depicted as a physical and accessible place, where we can find a lot of mysteries to solve. The characters travel to the deepest parts of subconsciousness because the processes inside the brain are the key to understanding and changing the real world. The article also shows how the director uses the achievements of science fiction cinema and, at the same time, that he postulates a new way of considering the issues relevant to modern neuroscience.

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27

Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 177–93. http://dx.doi.org/10.1386/eapc_00024_1.

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Edward Said’s dogmas of Orientalism are a succinct summary of western perceptions of the East, which reveal an essentially racist discourse that also speaks to the westerner’s self-perception. While there is a tendency in fiction film to polarize attitudes as either friendly or hostile, for reasons of narrative economy and to enhance dramatic conflict, this article argues that it is possible to measure the behaviour of fictional characters on a continuum describing intercultural sensitivity to assess how these characters appear to respond to the idea of cultural differences, broadly ranging from the most ethnocentric views to more ethnorelative ones. Since the intercultural development continuum (IDC) is structured as five developmental stages, it provides a finer psychological template than Orientalist binaries, offering a more nuanced view of character motivations and attitudes. The IDC scale is ideally suited to narrative analysis as it usefully describes successive stages that characters may exhibit throughout the course of a story depicting intercultural exchanges. The IDC allows the analyst to gauge the degree of conformance of any given film to Said’s aforementioned dogmas, particularly those films that either express an ambivalent attitude or appear superficially more enlightened or accommodating of difference. This model will be illustrated with a number of case studies selected from a filmography focusing on western representations of Singapore in film and television, from 1940 to 2015, including titles such as the Bette Davis plantation melodrama The Letter, the science fiction thriller Hitman: Agent 47 and the Australian period TV series Serangoon Road.

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28

Gadelha Parente, Lucas. "Da Zona enquanto espaço pregnante." Revista Prumo 4, no. 7 (November 15, 2019): 124–37. http://dx.doi.org/10.24168/revistaprumo.v4i7.1132.

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The present article results from research around the concept of Zone in what refers to a boundary, symbolic and urban space that activates multiple networks of meaning according to its use in social history, literature, cinema, urbanism and theory of art. Secondly, the text deals with the stalker as a character who traces the paths of the Zone. The article analyzes its emergence in Soviet science fiction, in modern cinema, and its unfolding in theoretical discussions, relating both to cyberspace and to a number of contemporary pedestrian practices. Key-Words: cyberspace; misery belt; science fiction; urbanism.

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29

Lakkad, Abhishek Vikas. "Cultural imaginaries of science: A brief history of Indian science-fiction cinema." Studies in South Asian Film & Media 6, no. 2 (October 1, 2015): 105–20. http://dx.doi.org/10.1386/safm.6.2.105_1.

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30

Carneiro, Gabriel. "Red alert: Marxist approaches to science fiction cinema – Aproximações entre ficção científica e marxismo." Significação: Revista de Cultura Audiovisual 44, no. 48 (December 19, 2017): 223. http://dx.doi.org/10.11606/issn.2316-7114.sig.2017.137803.

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O texto aponta os principais aspectos e abordagens do livro de ensaios Red alert: Marxist approaches to science fiction cinema, organizado por Alfredo Suppia e Ewa Mazierska, que busca relacionar filmes de ficção científica e a filosofia marxista.

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31

Pawel Frelik. "“Visions of the Future”: A Conference on Global Science Fiction Cinema." Science Fiction Studies 39, no. 2 (2012): 357. http://dx.doi.org/10.5621/sciefictstud.39.2.0357.

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32

McGowan, Todd. "Hegel and the Impossibility of the Future in Science Fiction Cinema." Film-Philosophy 13, no. 1 (December 2009): 16–37. http://dx.doi.org/10.3366/film.2009.0002.

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33

Sharma, Kamayani. "Archeology of an experiment: The science-fiction cinema of Pramod Pati." Studies in South Asian Film & Media 6, no. 2 (October 1, 2015): 147–64. http://dx.doi.org/10.1386/safm.6.2.147_1.

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34

Bould, Mark. "Book Review: Alien Zone II: The Spaces of Science-Fiction Cinema." Public Understanding of Science 9, no. 3 (July 2000): 341–42. http://dx.doi.org/10.1177/096366250000900307.

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35

Jr., Jack Boozer,. ": Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema . Annette Kuhn." Film Quarterly 45, no. 1 (October 1991): 61–63. http://dx.doi.org/10.1525/fq.1991.45.1.04a00230.

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36

Merás, Lidia. "European Cyberpunk Cinema." Arts 7, no. 3 (August 30, 2018): 45. http://dx.doi.org/10.3390/arts7030045.

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Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed at adult audiences and co-produced with other European countries, they epitomise a type of European film. In addition, they share a number of narrative premises. Set in the near future, Renaissance and Metropia depict a dystopian Europe. Recycling motifs from non-European science fiction classics, they share similar concerns with interconnectivity, surveillance, immigration, class, the representation of women, as well as the obsession with beauty and physical perfection. This article will analyse their themes and aesthetics in order to explore how European popular cinema promotes a certain idea of European cultural identity within the limits of an industry whose products are targeted at a global market.

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37

Maksym W., Kyrchanoff. "SciFi Cinema as one of Spatial Localizations of Military Images in American Mass Culture." Humanitarian Vector 16, no. 5 (November 2021): 77–86. http://dx.doi.org/10.21209/1996-7853-2021-16-5-77-86.

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War is one of the most popular topics in modern mass culture. The author analyzes the features of the perception of war in modern science fiction cinema. The purpose of this article is to analyze the representation of war in American science fiction as a form of historical memory in mass culture. The author uses inventionism methods to analyze the images of war in the film production of mass culture as “invented traditions” of the consumer society. The range of perception of war and military experience in popular culture is analyzed. Modern global film industry and national film industries regularly address military themes in the world or national contexts, producing films that actualize military experience of nations and states. The film industry segments that specialize in the production of science fiction and fantasy films also do not ignore the military theme. It is supposed that popular culture offers a variety of images of war, including militarism, violence, military collective trauma, and military political psychosis. The author believes that military theme in popular culture arose as a result of reflection on real military conflicts, and the creators of the pop-cultural project could reject the war or idealize it. The author believes that military science fiction in modern American mass culture actualizes the values of pacifism or militarism as reflections of the left or right preferences of the creators of such cultural product for the consumer society. Science fiction films actualize various forms of war, including global military clashes, civil conflicts, aggression, intervention and genocide. Popular culture is becoming the main sphere of existence of the memory of war because military conflicts of science fiction series can be perceived in the consumer society as more real than the historical wars of the past. Military images of mass culture are supposed to actualize various forms of war memory, including memory as trauma, memory as marginalization, and memory as nostalgia which idealize war.

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38

Vaziri, Persheng. "Iranian Documentary Cinema between Reality and Fiction." Middle East Report, no. 225 (2002): 53. http://dx.doi.org/10.2307/1559353.

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39

Abdel-Radi, Prof Dr Nahed. "Science Fiction Cinema in Science Education and the Development of Future Thinking Visions....Aspirations." Journal of Research in Curriculum Instruction and Educational Technology 7, no. 3 (July 1, 2021): 165–87. http://dx.doi.org/10.21608/jrciet.2021.181582.

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40

Addison-Smith, Helen. "E.T. Go Home: Indigeneity, Multiculturalism and ‘Homeland’ in Contemporary Science Fiction Cinema." Papers: Explorations into Children's Literature 15, no. 1 (January 1, 2005): 27–35. http://dx.doi.org/10.21153/pecl2005vol15no1art1257.

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Readings of films involving alien invasions do not take into account the fact that in many science fiction films, notably 'E. T', aliens are benign and friendly, are trapped in human societies, and desire above all to return to their homelands. A key to understanding such good aliens is the idea of the 'Indian', a figure widely used in the US to encode ideas about home, belonging and identity, often through the deployment of New Age discourses.

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41

Näripea, Eva. "Aliens and time travellers: Recycling national space in Estonian science-fiction cinema." Studies in Eastern European Cinema 1, no. 2 (January 2010): 167–82. http://dx.doi.org/10.1386/seec.1.2.167_1.

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42

Pierson, M. "CGI effects in Hollywood science-fiction cinema 1989-95: the wonder years." Screen 40, no. 2 (June 1, 1999): 158–76. http://dx.doi.org/10.1093/screen/40.2.158.

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43

Paz, Mariano. "South of the future: an overview of Latin American science fiction cinema." Science Fiction Film & Television 1, no. 1 (April 2008): 81–103. http://dx.doi.org/10.3828/sfftv.1.1.7.

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44

Melnyk, George. "African science fiction cinema: Wanuri Kahiu’s 21-minute film Pumzi (2009)." Short Film Studies 11, no. 2 (September 1, 2021): 221–31. http://dx.doi.org/10.1386/sfs_00057_1.

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This article examines Kenya’s first science fiction film, Pumzi (2009), a 21-minute short. The film has attracted extensive academic commentary. This study discusses the academic response and its ideological focus. Using six related categories that help place films in their historical context ‐ Anthropos, Topos, Chronos, Logos, Techne and Genos ‐ it seeks to widen the appreciation of the film’s contribution to the genre and to highlight the visual achievement of its auteur, Wanuri Kahiu.

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45

Robert Rushing. "The Weight of History: Immunity and the Nation in Italian Science-Fiction Cinema." Science Fiction Studies 42, no. 2 (2015): 339. http://dx.doi.org/10.5621/sciefictstud.42.2.0339.

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46

Nama, Adilifu. "R Is for Race, Not Rocket: Black Representation in American Science Fiction Cinema." Quarterly Review of Film and Video 26, no. 2 (March 9, 2009): 155–66. http://dx.doi.org/10.1080/10509200600737812.

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47

Jo, Sunghuun. "The Study of Technoscientific Spatialization of Time in Science Fiction Time Leap Cinema." Korean Society of Culture and Convergence 41, no. 3 (June 30, 2019): 291–328. http://dx.doi.org/10.33645/cnc.2019.06.41.3.291.

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48

Boozer,, Jack. "Review: Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema by Annette Kuhn." Film Quarterly 45, no. 1 (1991): 61–63. http://dx.doi.org/10.2307/1212689.

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49

Constable, Catherine. "Surfaces of Science Fiction: Enacting Gender and “Humanness” in Ex Machina." Film-Philosophy 22, no. 2 (June 2018): 281–301. http://dx.doi.org/10.3366/film.2018.0077.

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This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity as a key mechanism for the enactment of “humanness”. The reading of Ex Machina (Alex Garland, 2014) will explore the aesthetics of film's mise-en-scène with its plurality of textured and reflective surfaces. It will trace the performative constructions of gender and humanness that intersect across the film, before finally focussing on the ending as a way of addressing key issues at stake in the conceptualisation of surface readings.

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50

Kelley, N. Megan. "“The Future’s So Bright, I Gotta Wear Shades”: Globality and Our Common Dystopian Eco-Apocalyptic Science Fiction Streaming Future." New Global Studies 15, no. 2-3 (June 9, 2021): 227–54. http://dx.doi.org/10.1515/ngs-2021-0011.

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