Journal articles on the topic 'Science fiction films'
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Nandi, Shibasambhu. "Science Fiction and Film: An Analytical Study of Two Select Indian Movies." International Journal of English Learning & Teaching Skills 5, no. 4 (July 3, 2023): 3438–46. http://dx.doi.org/10.15864/ijelts.5407.
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Science fiction is a genre of art that caters to the popular taste of the people. It presents a world mixed with science and fictional elements. It can be taken as a microcosm of fictional literature. It uses to present unfamiliar and unknown things in a familiar and known way. It provides its diverse themes and issues not only in texts but also in films. When science fiction is adapted into movies, it is able to attract a large number of audiences specially the young generation of writers. Science fictional films cover the issues like future society, challenges created by scientific developments, human enhancement through science and technology, human-machine clash, hybrid identity, world of aliens, and Artificial Intelligences. There are many films in western countries covering the issue of science fiction. Production houses designed the films in such a way that it can make an appeal to the audience. Even in India, there are several science fiction films. From 1952 to the present, Indian cinema contributes a lot by producing one after another attracting films on the theme of science fiction. The present paper is going to analyze two films Koi...Mill Gaya and its sequel Krish 3 from the perspectives of science fiction. The paper will also try to present the history of science fiction films in India and in the West. It attempts to depict the science fictional elements and new techniques shown in the films. These films are the representations of future society which accepts the inhabitation of different beings like modified human, superhuman and aliens.
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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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Genovese, Michael A. "Politics and Science Fiction Films." News for Teachers of Political Science 46 (1985): 7–8. http://dx.doi.org/10.1017/s0197901900001793.
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The movie theatre may seem like an odd place for politics, but almost all movies could be considered “political.” Even stranger is the notion that those spacemen, monsters and aliens we are so accustomed to seeing in science fiction films may be more than just entertaining us, they may be conveying a political message. In fact, most science fiction films make deeply political statements about the society from which they emerge.Science fiction films provide a unique opportunity for movie makers to comment on the implications of both human and “non-human” behavior. Through science fiction, one can look ahead to the way the world “might” look if the right wing, left wing, scientific rationalists, corporations, etc., take over and create their own “Brave New World.” It is an opportunity to play out the implications of various political philosophies for all to see and evaluate.
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Yu, Lei. "Ecological Concerns and Insights in Science Fiction Films — A Case Study of The Wandering Earth." Journal of Research in Social Science and Humanities 3, no. 3 (March 2024): 56–60. http://dx.doi.org/10.56397/jrssh.2024.03.09.
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Science fiction films, as an artistic expression highlighting the relationship between future technology and human survival, often utilize grand story settings and fictional futuristic worlds to explore the connection between humanity and the environment. This paper takes the Chinese science fiction film The Wandering Earth as a case study, examining its focus on ecological issues and the presentation of ecological awareness within the narrative. The aim is to use science fiction cinema as a medium to provide audiences with insights into Earth’s ecology, guiding humanity towards profound reflections on environmental issues.
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Al-Mamori, Yasir Khudeir Obid. "Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia." Человек и культура, no. 2 (February 2022): 12–20. http://dx.doi.org/10.25136/2409-8744.2022.2.37817.
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The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.
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Kavut, İsmail Emre, and Elifnaz Olgaç. "The Technology of Fictional Space Designs in Dune Movies Investigation of Change in Time with Its Effect." Journal of Interior Design and Academy 3, no. 1 (July 19, 2023): 1–25. http://dx.doi.org/10.53463/inda.20230166.
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Cinema has been advancing continuously since its formation and intertwined with many disciplines. Technology also acts as a bridge between these disciplines, especially between science fiction cinema and architecture, the place of technology is undeniable. In this study, the change of fictional space designs over time with the effect of technology is discussed and how these developments affect cinema and fictional space designs are examined as "Dune 1984" and "Dune 2021" produced from the same novel from science fiction cinema. The interior spaces and structures in these films were determined and the subjects to be discussed were selected and turned into tables. A literature search of the subject was made, then the films were watched first, lastly interpreted by the interpreter according to the method of the research. The aim of the study is to be a source for studies on the relationship between science fiction and fictional spaces and the change of this relationship in the environment of technology.
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Kolodinskiy, Mikhail N. "Evolution of Dramaturgy of Fiction Popular Science Films." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 30–39. http://dx.doi.org/10.17816/vgik7330-39.
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The article treats the problem of using dramaturgy means in fiction popular science films. Plot constructions of the most popular genres are analyzed such as: melodrama, social drama in fiction kulturfilms of the twenties. As well as the phenomenon of the fiction popular science film of the new type - scientific-feature.
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Rojek, Patrycja. "Figura mitologicznej Kasandry w filmach science fiction." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 234–46. http://dx.doi.org/10.14746/i.2020.37.14.
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The article reflects on how characters with the features of the mythological Cassandra function in science fiction films. Such references are part of the rich tradition of building fictional depictions of the near or distant future on the foundation of mythical stories. The study aimed to examine the considerable and complex meaning which Cassandra conveys through the ages and to determine its usefulness in constructing pop culture ideas about the current condition of humanity. In contemporary fiction, Cassandra is brought to the fore more often than in ancient sources, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.
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Deaca, Mircea Valeriu. "Science fiction films as gedanken experiments." Ekphrasis. Images, Cinema, Theory, Media 17, no. 1 (June 30, 2017): 99–118. http://dx.doi.org/10.24193/ekphrasis.17.7.
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Fang, Zhuxin. "A Functional Study of Film Sound Design in Science Fiction Films." SHS Web of Conferences 183 (2024): 01005. http://dx.doi.org/10.1051/shsconf/202418301005.
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As a form of art combining audio and visual, movie sound effect is an important element in building the story world of the movie. When sound films first appeared, they were recognized and welcomed by the public, and it is extremely important to use sound effects in narrative films so that the audience can have a better connection with the fictional world. As one of the popular cinema genres, science fiction movies were loved by the audience when they first appeared, attracting the audience's attention with brilliant special effects, but the role played by sound effects in them should not be neglected. The purpose of this paper is to analyze the role of sound effects in science fiction films, and will use Avatar, Inception, The Prestige and Gravity, the four films, respectively, to explain the three functions that sound effects have. They are to enhance the realism of the movie, to help complete the temporal construction of the movie and to express the inner world of the characters.
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Jiang, Wencheng. "A Study on the Construction of the National Media Image of American Science Fiction Films in the New Century." Advances in Humanities Research 3, no. 1 (November 20, 2023): 21–36. http://dx.doi.org/10.54254/2753-7080/3/2023016.
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As a significant genre of Hollywood blockbusters, science fiction films showcase the unbeatable technological prowess of the United States, serving as a vital avenue for international communication and the display of a powerful national image. Science fiction films have left a distinctive impression on audiences worldwide, portraying the United States as the global leader in technology, owing to the presence of real scientific research facilities, enigmatic scientific symbols, advanced research equipment, and extraordinary imagination within the genre. Since the turn of the century, American science fiction films have undergone a significant shift in their communication strategy, presenting a "hardcore Iron Man" national media image. This paper, employing agenda-setting theory and content analysis methodology, explores the specific pathways through which American science fiction films constructed the national media image from 2000 to 2019.
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Telotte, J. P. "Androids, Humanoids, and Other Science Fiction Monsters: Science and Soul in Science Fiction Films." Configurations 3, no. 1 (1995): 100–102. http://dx.doi.org/10.1353/con.1995.0002.
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Hess, Megan. "Gender in Science Fiction Films, 1964-1979." Film Matters 8, no. 3 (December 1, 2017): 49. http://dx.doi.org/10.1386/fm.8.3.49_1.
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Holloway, Mathilda. "Experimental science-fiction films as filmic heterotopia." Cross-cultural studies review 3, no. 5-6 (April 22, 2023): 151–66. http://dx.doi.org/10.38003/ccsr.3.5-6.7.
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This paper questions the concept of the possible heterotopia of cinema by making a creative reading of a corpus of contemporary experimental science-fiction films. We think heterotopia in direct relation to utopia. If utopia can be linked to a form of thought, then heterotopia would be a form of realised or achievable utopia. Heterotopian action would then allow us to experiment subversive, if not new social configurations, where utopian thought allows us to dream of better (or at least other) societies. We propose to look at these issues starting from experimental science-fiction films. The aesthetic and narrative resorts as well as the modes of production of works like Slow Action and Urth by Ben Rivers, Meteor by Mathias Müller and Christoph Girardet, Momoko Seto’s Planet Series or Jérôme Cognet’s Guerilla Hubble, indeed offer us with an audiovisual experience that invites us to re-evaluate our human relation to the world by appealing to our capacity for imagination and by stimulating our free will, notably through their staging of historicity and multiplicity.
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Kamrowska, Agnieszka. "Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 21–34. http://dx.doi.org/10.14746/i.2020.37.02.
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The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo.
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Liu, Shuyuan. "Using Science Fiction Films to Advance Critical Literacies for EFL Students in China." International Journal of Education and Literacy Studies 7, no. 3 (July 31, 2019): 1. http://dx.doi.org/10.7575/aiac.ijels.v.7n.3p.1.
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As a unique literary genre, science fiction can serve as a motivating text to develop students’ critical analytical skills and to promote critical thinking about new technology and its societal controversies under proper guidance. In the field of English as Foreign Language (EFL) learning, using science fiction films in the classroom affords EFL learners new language-learning experiences. This paper explains how films, as a multimodal resource in EFL classes, can enrich students’ multiliteracies—specifically how the science fiction genre can develop students’ critical literacies under careful meaning-making curriculum design. A preliminary study, taking 30 students in a foreign language high school in China, is reported in this paper. Findings reveal that carefully selected science fiction films such as I am Legend and Blade Runner can serve as pivotal sources for developing EFL learners’ literacy under the multiliteracies pedagogy. Such films can also connect students with Western ideology to reinforce their identity as participants in globalization. This study further suggests that key points in successful design of the course in an EFL classroom include posing critical questions to promote critical thinking and actively analyzing multimodal texts to uncover underlying meanings in source material.
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Wang, Youran. "An Analysis of the Development of Hollywood Science Fiction Films in Chinas Mainland Market in 2010s." Communications in Humanities Research 5, no. 1 (September 14, 2023): 196–200. http://dx.doi.org/10.54254/2753-7064/5/20230197.
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Hollywood science fiction movies have long been popular with audiences in the Chinese market, and even reached their peak before the outbreak of the Covid-19 pandemic. 2019 saw a record $4.25 billion box office for imported movies in Chinas mainland for Avengers IV: Endgame. However, after the 2019 epidemic, Hollywood movies are declining in the Chinese market. This paper attempts to provide a concise summary of the multifaceted social reasons behind the popularity of science fiction films, in order to find out the way to improve the current situation of Hollywoods science-fiction movies market in Chinas mainland. By investigating the literature, this paper analyzed the cause of the popularity of Hollywood science fiction films in China from 2010 to 2019, the analysis involves four aspects: politics, economy, society and technology. Through this analysis, it can be found that the popularity of Hollywood science fiction movies is closely related to those four macro factors.
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Chin, Kyung Il. "The Analogizing the City & Building Future by Analyzing Scene in the Science Fiction Films and the Human Action Desire." Advanced Materials Research 450-451 (January 2012): 1074–77. http://dx.doi.org/10.4028/www.scientific.net/amr.450-451.1074.
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We say that the future city will be an automatic system for human like a science fiction films which means the 'Ubiquitous City or Intelligent City'. Actually, so many science fiction movies contain the wish or demand of human life. Generally, they show the convenience things for human life, the ideal image of future city, the solution technology of human being, and so on. In this world, every built thing is the product of human desire. Meanwhile, the scientific scenes in the movies are also the product of human desire. The reason of the above, this study tries to analogize image of city future by analyzing scene in the science fiction films and human action desire to make the future image. Eventually, this study is going to make 'human life scenario' in the future city which consisted with mixed scientific scene in the science fiction films and sorted by human desire for forecasting the future city. This scenario may apply for forecasting the real future city.
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Zhou, Wei. "A Narratological Study of Streaming Science Fiction Films: The Case of “Dune”." SHS Web of Conferences 167 (2023): 01015. http://dx.doi.org/10.1051/shsconf/202316701015.
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As technology continues to advance, science fiction films are adopting new narrative forms. The Hollywood-produced film “Dune” follows the traditional narrative model while also absorbing elements from popular culture, thus becoming a new type of secular mythology. It takes the traditional narrative model one step further and becomes what Deleuze describes as a new paradigm of cinematic narrative, known as “pure optical and sound situations”. By studying the narrative logic and style of “Dune” through the theoretical paradigm of narratology, we can not only focus on the changes in the narrative content and form of science fiction films in the era of streaming media but also explore the aesthetic meaning of science fiction embedded within it.
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Ayhan, Kadir Jun. "Transferring Knowledge to Narrative Worlds: Applying Power Taxonomy to Science Fiction Films." International Studies Perspectives 21, no. 3 (December 3, 2019): 258–74. http://dx.doi.org/10.1093/isp/ekz024.
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Abstract Instructors of courses in international relations increasingly use films to facilitate students’ learning of abstract concepts and to deepen their understanding of theories. This paper introduces how the fictional universes presented in films can be utilized as platforms for students to learn about the application of analytical frameworks. This method aims to enhance students’ abilities to transfer learned knowledge to a different setting. Knowledge transfer requires skills that go beyond lower-order thinking. Higher-order thinking aids students’ retention of concepts, and enables them to apply what they have learned to new situations. This article illustrates an application of a power taxonomy in the narrative world of the non-historical science fiction films. This exercise can easily be transported to various political science, international relations, and other courses to help students learn various analytical concepts, frameworks, and theories.
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Bosman, Frank G. "Finding Faith between the Sciences: The Cases of ‘The Outer Worlds’ and ‘Mass Effect: Andromeda’." AUC THEOLOGICA 11, no. 1 (September 27, 2021): 145–61. http://dx.doi.org/10.14712/23363398.2021.8.
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Science fiction, as a genre, has always been a place for religion, either as an inspirational source or as a part of the fictional universe. Religious themes in science fiction narratives, however, also invoke the question of the relationship, or the absence thereof, between religion and science. When the themes of religion and science are addressed in contemporary science fiction, they are regularly set in opposition, functioning in a larger discussion on the (in)comparability of religion and science in science fiction novels, games, and films. In the games The Outer Worlds and Mass Effect Andromeda, this discussion is raised positively. Involving terminology and notions related to deism, pantheism, and esoterism, both games claim that science and religion can co-exist with one another. Since digital games imbue the intra-textual readers (gamer) to take on the role as one of the characters of the game they are reading (avatar), the discussion shifts from a descriptive discourse to a normative one in which the player cannot but contribute to.
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Fisher, Mark. "The Lost Unconscious: Delusions and Dreams in Inception." Film Quarterly 64, no. 3 (2011): 37–45. http://dx.doi.org/10.1525/fq.2011.64.3.37.
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An analysis of Christopher Nolan's science-fiction thriller, Inception, which relates it to Nolan's previous films and argues that the film's multilayered nest of worlds and strangely cold action sequences relate to the commodification of the psyche.
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Levin, Luciano Guillermo, and Daniela De Filippo. "Films and Science: quantification and analysis of the use of Science Fiction films in scientific papers." Journal of Science Communication 13, no. 03 (September 22, 2014): A07. http://dx.doi.org/10.22323/2.13030207.
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The purpose of this study is to quantify the use of science fiction films in academic papers as well as to analyse the patterns of use of those films indexed in international databases, using the ISI Web of Science database. Twenty films were selected from recognised sources. Films referenced in the scientific literature were detected and, with quantitative methodologies, we classified their genres, the journals of publication and the disciplines they belong to. Finally, we performed a detailed study of each paper in which selected films were found, to observe and categorise specifically the ways such film references are used.
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Jacobsson, Andreas. "Remembering the Future: Sion Sono’s Science Fiction Films." Nordic Journal of English Studies 19, no. 4 (November 22, 2020): 169. http://dx.doi.org/10.35360/njes.607.
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Ruppersburg, Hugh. "THE Alien Messiah in Recent Science Fiction Films." Journal of Popular Film and Television 14, no. 4 (January 1987): 158–66. http://dx.doi.org/10.1080/01956051.1987.9944222.
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Andriano-Moore, Stephen. "2010s Hollywood science fiction: Telling China’s stories well to the world." Journal of Contemporary Chinese Art 10, no. 3 (November 1, 2023): 337–54. http://dx.doi.org/10.1386/jcca_00088_1.
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Since the founding of the People’s Republic of China, film has been regulated in terms of Mao Zedong’s proclamation that ‘art serves politics’. This article argues that in the 2010s, Hollywood science fiction films serve Chinese politics as nationalistic propaganda and nation branding as part of the soft power initiatives of China’s public diplomacy efforts of ‘going global’ and ‘telling China’s stories well’ in exchange for access to China’s lucrative box office. While most Hollywood films do not include any representations of China, this article identifies a trend in Hollywood science fiction films from the 2010s where entities of China play major roles in the narrative. The article applies narrative and textual analysis to illuminate national image building in five Hollywood films: 2012 (2009), Transformers: Age of Extinction (2014), RoboCop (2014), Arrival (2016) and Pacific Rim: Uprising (2018). These films realize the goal of China’s film policy for positive images of China, such as the world’s leading political and industrial power. The depictions of China are shown to reflect the Made in China 2025 initiative for securing global dominance in technology and manufacturing and links these depictions to the China Dream. The article concludes with a comparative analysis of the Chinese science fiction films Reset (2017) and Shanghai Fortress (2019) and finds that the Hollywood films contain the same national images and narrative roles of China as these domestic films. While this article sheds light on one case of the impact of China on the content of one nation’s films, it is just a small example of the impact of China’s film policy on national cinemas as there are 22 countries with Chinese co-production agreements resulting in over five hundred Sino-foreign co-production revenue-sharing films in the 2010s from countries around the world whose content has been regulated by the Chinese government.
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Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.
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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”
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McCullough, John. "A Los Angeles Science Fiction Sublime." Space and Culture 17, no. 4 (November 2014): 410–20. http://dx.doi.org/10.1177/1206331214543872.
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This article discusses representations of Los Angeles in science fiction films in the context of the aesthetic tradition of the sublime. The article argues that a Los Angeles science fiction sublime is achieved through representations that feature nature and culture hybrids, elaborate design and special effects (including the destruction of Los Angeles monuments), and detective narratives that provide labyrinthine investigations that challenge our understanding of identity, history, and being. Given that these tendencies have gained prominence only since 1980, the article considers postmodernism as an aesthetic category that can help us understand how Los Angeles spaces are integrated in the neoliberal world system.
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Dong, Fuwen, and Yuqi Ruan. "Globalization and Commercial Analysis of Science Fiction Films: Observing Regional Markets, Production Costs, and Marketing Strategies." Highlights in Business, Economics and Management 22 (December 27, 2023): 201–7. http://dx.doi.org/10.54097/2r7zg094.
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In an age of unprecedented connectivity and cultural exchange, the world of cinema has undergone a paradigm shift that transcends borders and challenges traditional notions of storytelling and commercial success. Central to this transformation is the genre of science fiction films, which has emerged as a captivating canvas for exploring futuristic visions and probing the boundaries of human imagination. The interplay between globalization and the commercial dynamics of science fiction films has sparked a new era of creativity, collaboration, and cross-cultural resonance within the film industry. Furthermore, the pursuit of blockbuster visuals, often associated with Hollywood productions, has led to substantial shifts in production costs. These costs, in turn, wield a direct influence over the scale and quality of science fiction films, shaping their narrative depth and technological prowess. As the cinematic landscape extends its boundaries, effective marketing strategies have emerged as a linchpin for success. Striking the delicate balance between global outreach and localized engagement is paramount, as it dictates how a film resonates with its audience and finds its place in the global arena. In conclusion, a profound comprehension of these intricate and interwoven dynamics is indispensable for filmmakers, studios, and scholars seeking to navigate the ever-evolving global tapestry of science fiction cinema.
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Akbar, Danu Ilham. "An Analysis of Narrative Structure in Interstellar and Ready Player One." Humanitatis : Journal of Language and Literature 10, no. 1 (December 25, 2023): 93–108. http://dx.doi.org/10.30812/humanitatis.v10i1.2855.
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This article explores science fiction films, a popular genre known for its depiction of technology as a symbol of the future. The future depicted in these science fiction films is a sign of hope and critics of a particular social problem. Using Interstellar and Ready Player One as case studies, this research aims to explore the broader and deeper meanings conveyed through the narrative structure of the films, including language, issues discussed, and the use of other elements. The analysis uses a qualitative method, which involves observing the movie, recording important data, and connecting the narrative with visual aspects. The research reveals how narrative and visual elements complement each other to create a memorable cinematic experience. The results show that Interstellar is identified as a science fiction film rooted in scientific principles, with a focus on space exploration and time dilation. Ready Player One, on the other hand, leans more towards fantasy, incorporating virtual reality and magical elements. Despite this difference, both movies are considered science fiction, as fantasy shares elements with the genre.
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Bökös, Borbála. "Human-Alien Encounters in Science Fiction: A Postcolonial Perspective." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 189–203. http://dx.doi.org/10.2478/ausfm-2019-0010.
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Abstract An (un)conventional encounter between humans and alien beings has long been one of the main thematic preoccupations of the genre of science fiction. Such stories would thus include typical invasion narratives, as in the case of the three science fiction films I will discuss in the present paper: the Invasion of the Body Snatchers (Don Siegel, 1956; Philip Kaufman, 1978; Abel Ferrara, 1993), The Host (Andrew Niccol, 2013), and Avatar (James Cameron, 2009). I will examine the films in relation to postcolonial theories, while attempting to look at the ways of revisiting one’s history and culture (both alien and human) in the films’ worlds that takes place in order to uncover and heal the violent effects of colonization. In my reading of the films I will shed light on the specific processes of identity formation (of an individual or a group), and the possibilities of individual and communal recuperation through memories, rites of passages, as well as hybridization. I will argue that the colonized human or alien body can serve either as a mediator between the two cultures, or as an agent which fundamentally distances two separate civilizations, thus irrevocably bringing about the loss of identity, as well as the lack of comprehension of cultural differences.
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Rabkin, Eric S. "Science Fiction and the Future of Criticism." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 457–73. http://dx.doi.org/10.1632/003081204x20488.
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Science fiction, ranging from films to industrial design to world's fairs, is a cultural system no more confined to literature than love is to love letters. From its self-recognition in 1926, science fiction has involved commercial and social realities most obviously visible in fandom and the hundreds of annual science fiction conventions. This system includes many types of consumers and producers, even collaboratively self-correcting volunteer bibliographers. Collectively, science fiction fandom, the first organized fandom, has created vast informational resources that allow not only reference but also statistical inquiry. The Genre Evolution Project (http://www.umich.edu/~genreevo/) shows that these social structures and resources potentiate, in an age of widespread computer networking, the transformation of criticism from acts of isolated scholars working with narrowly defined subjects to collaborative projects drawing on human and informational resources across disciplinary boundaries. Science fiction points to a future in which criticism will be more systematic, collaborative, and quantitative.
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Han, Jiaoran. "An Exploration of the Genre of Korean Space Science Fiction Movies — Taking the Movie Space Sweepers as an Example." Studies in Art and Architecture 3, no. 2 (June 2024): 87–94. http://dx.doi.org/10.56397/saa.2024.06.18.
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Although Korean science fiction films started late and developed slowly, the Korean film industry is developed and has never stagnated in the exploration of film genres. The movie Space Sweepers is South Korea’s first exploration and attempt at the science fiction sub-genre of space science fiction. Since its launch on the streaming media platform Netflix in February 2021, it has topped the global movie popularity list for five consecutive days and won 29 countries. It ranks first in broadcasts in the region, and it has also made space science fiction a genre trend in South Korea. This article will take the movie Space Sweepers as an example to sort out South Korea’s development path for the space science fiction film genre, and analyze the reasons for Space Sweepers’ global success.
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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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YALÇIN, Çağrı, and Elif ÖZDOĞLAR. "ARCHITECTURAL ANALYSIS OF THE DUNE MOVIES." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (March 15, 2023): 221–36. http://dx.doi.org/10.31567/ssd.870.
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When the works of science fiction cinema from the past to the present are examined, space designs that are often designed inspired by architectural movements and designed in accordance with the targeted time period of production are seen. If it is not possible to produce all or some part of these space designs technologically in today's conditions, it is defined as fictional space design. In line with the technological developments and innovations experienced since the first emergence of cinema, fictional space designs continue the process of evolution. It can be seen that one of the biggest factors that has accelerated the evolutionary processes of science fiction and fictional space since the first examples is its interaction with art movements. When science fiction is mentioned, the first thing that comes to mind is the future, advances in technology, a future society developed from existing paradigms. Sci-Fi is usually depicted in a way that makes a statement about current issues related to the future, society, the environment, politics, economics and religion, or questions them with the problems posed by the progress of science in various fields. The art and architectural movement inspired by a cinema work can be seen in all product and space designs within the scope of the film. By showing diversity most of the time, it incorporates style and design approaches from different architectural movements and offers an eclectic aesthetic integrity to the audience. For example, in the works of science fiction cinema, within the fiction of the same planet, living in the same time zone or different from each other, which belong to the same race or species, socio-cultural and Economic, the political administration of the societies differ from each other according to geographical and spatial designs-a lot of and it can be seen in production. One of the most important examples is the Dune productions. In this research, architectural analyses of Dune films in terms of fictional space will be performed.
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Xinyi, Ma, and Hua Jing. "Humanity in Science Fiction Movies: A Comparative Analysis of Wandering Earth, The Martian and Interstellar." International Journal of Linguistics, Literature and Translation 4, no. 1 (January 30, 2021): 210–14. http://dx.doi.org/10.32996/ijllt.2021.4.1.20.
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Wandering Earth, released in 2019, is regarded as a phenomenal film that opens the door to Chinese science fiction movies. The Chinese story in the film has aroused the resonance of domestic audiences, but failed to get high marks on foreign film review websites. In contrast, in recent years, science fiction films in European and American countries are still loved by audiences at home and abroad, such as The Martian and Interstellar, which have both commercial and artistic values. It can be seen that the cultural communication of western science fiction movies is more successful than that of China. Taking the above three works as examples, this paper analyzes the doomsday plot, the beauty of returning home and the role shaping of scientific women in science fiction movies from the perspective of the organic combination of “hard-core elements of science fiction” and “soft value in humanity”, in an attempt to help the foreign cultural communication of domestic science fiction movies. As an attempt to facilitate the global development of Chinese science fiction, this paper concludes that certain Chinese traditional cultural spirit needs further spreading, that Chinese science fiction and humanity should be combined in a more natural way, and that in particular, female character need in depth and multi-dimensional interpretation.
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Sladek, Karel. "Future Ethical Challenges as Portrayed in Science Fiction Films." Communications - Scientific letters of the University of Zilina 20, no. 1A (May 31, 2018): 27–31. http://dx.doi.org/10.26552/com.c.2018.1a.27-31.
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Gaycken, Oliver. "Science is Fiction: The Films of Jean Painleve (review)." Modernism/modernity 9, no. 1 (2002): 195–96. http://dx.doi.org/10.1353/mod.2002.0008.
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Hladki, Janice. "Hazardous Futures and Damned Embodiments: Disability and White Masculinization in Science Fiction Film." Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4 14, no. 4 (October 1, 2020): 453–67. http://dx.doi.org/10.3828/jlcds.2020.30.
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Drawing on critical disability interrogations of the “human,” this article explores how frameworks of normalization shape conceptions of human qualification and disqualification in two science fiction films. It examines how representations of the contaminated, injured, unstable, and mutated body produce discourses of, and social anxieties about, abnormalization and monstrosity. The films The Thing (1982) and Deadpool (2016), both characterized by science fiction cult popularity, are linked through multiple concerns for human futurity, including the dangers of monstrous disability and the need to redeem damaged and infected bodies. Bringing disability together with gender and race, the article argues that white able-bodied masculinization in the films, including aspects of militarism and colonialism, focuses on human qualification and on securing a future made non-hazardous by a masculinity recuperated from vulnerability and disability.
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Troiani, Igea. "Sci-fi Eco-Architecture: science fiction, sustainability and design studio." Architectural Research Quarterly 16, no. 4 (December 2012): 313–24. http://dx.doi.org/10.1017/s1359135513000201.
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In the summer of 2009, while on vacation in Italy, I lay on a deck chair on a beach under the scorching sun reading Ecology of Fear: Los Angeles and the Imagination of Disaster. I had taken Mike Davis's book as holiday reading after becoming interested in attitudes to sustainability as represented in films through supervising the unpublished dissertation ‘The Science and Fiction of Sustainable Living’. The dissertation analysed approaches to the green movement of the 1970s versus those held today. It did this through the study of ecological science fiction movies made during the two periods. As someone grounded in humanities research, using film studies research methods rather than conventional building science methods seemed to me an engaging, original approach to sustainability. The dissertation compared the 1972 American environmental science fiction film Silent Running to the 2007 British science fiction film Sunshine. During this supervision, the student gave me a copy of the films. Because Silent Running resonated with me, I took it on that same Italian holiday and watched it again. I recall thinking that Silent Running offered a departure point for an alternative kind of sustainable design studio. Then and there, I selected a film clip that I screened – in the background and without volume – at studio presentations to students held in September 2009.
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Longden, Kenneth. "China Whispers: The Symbolic, Economic, and Political Presence of China in Contemporary American Science Fiction Film." Open Cultural Studies 2, no. 1 (September 1, 2018): 151–61. http://dx.doi.org/10.1515/culture-2018-0014.
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Abstract China has long been present in Western science fiction, but largely through notions of Orientalism and depictions as the 'Yellow Peril'. However, with China's new ascendancy and modernization over the last 15 years, along with its investment and collaboration with Hollywood in particular, contemporary film in general, and contemporary science fiction in particular, has embraced this new China in ways hitherto unseen before. This essay examines three contemporary western/American science fiction films which each represent and construct China in slightly different ways, and in ways which reveal the West, and Hollywood's reappraisal of the relationship with China and its emerging 'Soft Power.'.
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Cameron, Allan. "Science Fiction's Facial Optics." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 8–31. http://dx.doi.org/10.1353/cj.2024.a919189.
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abstract: In science fiction films involving space travel, the face is often linked aesthetically and conceptually not only with the flat surface of the screen interface but also the spherical environments of the helmet, the spacecraft, and the planetary atmosphere. I explore the relations between eye, face, and screen in Stanley Kubrick's 2001 and its successors, showing how they use facial-optical motifs to mediate encounters between human subjectivity and unfathomable otherness. Ultimately, investigating the ethical dimensions of space exploration cinema's aesthetics of roundness, I argue that recent films display a turning inward and a contraction of both ethical and ontological spheres.
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Fleming, David H., and William Brown. "Through a (First) Contact Lens Darkly: Arrival, Unreal Time and Chthulucinema." Film-Philosophy 22, no. 3 (October 2018): 340–63. http://dx.doi.org/10.3366/film.2018.0084.
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Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival (2016) is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a “third synthesis” of time, and that which J. M. E. McTaggart named the a-temporal “C series” of “unreal” time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have dominated the planet, to the “chthulucene,” in which humans no longer exist on the planet at all.
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Ding, Zichen. "Exploring the Development of Soft Science Fiction Films in the Chinese Film Market: Taking Dune 2 as an Example." Advances in Economics, Management and Political Sciences 102, no. 1 (July 25, 2024): 238–43. http://dx.doi.org/10.54254/2754-1169/102/2024ed0070.
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Following the cessation of the COVID-19 pandemic, the Chinese film industry has experienced a resurgence, leading to fresh prospects for the Chinese science fiction film market. On March 8, 2024, the Chinese mainland will host the release of Dune 2, which has garnered significant popularity in the Chinese science fiction cinema market. The goal of this study was to investigate whether the popularity of the Dune series of movies in the Chinese film market persists. The objective of this study was to investigate the potential influence of the Dune series of movies on the Chinese science fiction film industry. This article provided an in-depth examination of the film "Dune 2" as a specific example. This analysis utilized the distinctive attributes of the "Dune 2" film series, as well as the commercial performance and value demonstrated in the Chinese film market. It combined fundamental business theory and cinematic art knowledge to conduct a thorough examination and observation. The study yields three key outcomes: the successful adaptation of movies based on popular intellectual properties, achieved by appropriately innovating the original IP; the advancement in filming technology, which propels the growth of science fiction movies by establishing a dedicated technology park for the film industry; the influence of film music on the coherence of movie narratives, through the creation of music that aligns with the unique style of each film. This study aimed to investigate the attributes of the Chinese science fiction film market and offers recommendations for the advancement of Chinese science fiction films.
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Tucherman, Ieda. "Fabricando corpos: ficção e tecnologia." Comunicação Mídia e Consumo 3, no. 7 (September 23, 2008): 77–92. http://dx.doi.org/10.18568/cmc.v3i7.71.
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Desdobramento dos extensos estudos da autora sobre a ficção científica no cinema como narrativa representativa do mundo contemporâneo, o artigo enfoca especificamente as questões relacionadas ao corpo humano e à tecnologia que emergem dos filmes desse gênero nascido sob o signo da cultura visual médica. As narrativas fílmicas contemporâneas de ficção científica abrem espaço para reflexões sobre as sociedades atuais em mutação e para questionarmos até que ponto, diante da profunda interação homem-máquina, permanecemos ainda humanos.
Palavras-chave: Ficção científica; cinema; tecnociência; corpo; subjetividade.
ABSTRACT
This article draws on my extensive studies on science fiction cinema as a form of narrative which represents contemporary world. The work focus specifically the questions related with the human body and the technology which emerges from sci fi films generated under the sign of medical visual culture. Contemporary filmic science fiction narratives give way to refletions over present mutating societies and to questioning how far, given the deep human-machine interaction, we are still human.
Keywords: Science fiction; cinema; technoscience; body; subjectivity.
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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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Haney, Jennifer J., Claire Havice, and Jerry T. Mitchell. "Science or Fiction: The Persistence of Disaster Myths in Hollywood Films." International Journal of Mass Emergencies & Disasters 37, no. 3 (November 2019): 286–305. http://dx.doi.org/10.1177/028072701903700303.
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Hollywood continues to be both profitable and successful in attracting audiences to witness displays of death and destruction on the silver screen. Tornadoes, earthquakes, tsunami hazards, and climate change are among the most recent hazards portrayed in disaster films. The purpose of our research was to systematically collect and analyze physical, social, and temporal data from twelve disaster films to build upon past studies examining the portrayal of disaster. Our findings indicate a clear shift from those identified in earlier studies, with disaster myths (e.g. the importance of death tolls; technology as the only solution) appearing more than previously. Further, current trends in the disaster film genre indicate a shift toward unpredictable, widespread events and a defenseless humanity.
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Hossaert, Clément. "Shimmer et Chimère. Genre, transe et rimes à l’ère de l’anthropocène dans Annihilation de Jeff Vandermeer et Alex Garland." Articles avec comité de lecture, spécial (October 7, 2021): 29–48. http://dx.doi.org/10.7202/1082342ar.
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L’ambition de cet article est de proposer une lecture d’Annihilation à l’orée des théories féministes, et sur la science-fiction populaire, Donna Haraway, Christine Cornea et Vivian Sobchack parmi d’autres, ainsi que d’utiliser la « rime » comme nouvel outil de conceptualisation de la référence au cinéma. Le film d’Alex Garland propose un épissage à la fois de créatures et de thèmes chers aux films à la croisée de la science-fiction et de l’horreur, tels qu’Alien et The Thing. Une lecture de ces références et leur nature unique nous permet de dégager une définition singulière de la science-fiction.
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Xiong, Ruoyan. "The Use of Game Elements in Hollywood Science Fiction Films, Taking Ready Player One and Free Guy as Examples." Communications in Humanities Research 3, no. 1 (May 17, 2023): 435–42. http://dx.doi.org/10.54254/2753-7064/3/20220398.
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Film and game integration is a new phenomenon in today's multimedia era, and Hollywood science fiction films become a good carrier for the use of game elements with advanced production technology and virtual visual presentation. Based on current research, this paper uses the method of image analysis to explore the use of game rule elements and goal elements in two representative science fiction films, namely, Ready Player One and Free Guy. It looks into the formulaic effect of the rule elements on films world construction and their innovativeness in terms of humanistic worldviews. Furthermore, it considers the set of layered characteristics of the goal elements in the films narrative structures, especially the infinite narrative. Finally, by analyzing the individual cases of the two films and reflecting critically on the presentation of the films, it is concluded that in order to realize the integration of film, game and audience, the wide dissemination of the game spirit, and the subversion and reconstruction of the video world, it is necessary to make trade-offs and innovations. Directly using game elements gives positive inspiration for the creation of future film-game fusion works.
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Racięski, Bolesław. "Przyszłość już była. Dystopie w najnowszym kinie science fiction Ameryki Łacińskiej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 167–75. http://dx.doi.org/10.14746/i.2020.37.10.
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This paper examines the various ways in which contemporary Latin American science fiction films contest the neocolonial and neoliberal narratives, dominant in the region since the 20th century. I identify and examine strategies that filmmakers employ to challenge the common understanding of such notions as time, modernity and technological progress. I outline the visions of dystopias presented in the examined films, while also analyzing the counter-narratives introduced by filmmakers, which are mostly focused on creating a new, hybrid identity for a future citizen.