Bibliografie tematiche / Science fiction cinema

Letteratura scientifica selezionata sul tema "Science fiction cinema"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 25 aprile 2022

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Articoli di riviste sul tema "Science fiction cinema"

1

KILINÇARSLAN, Yasemin. "NEW TRENDS IN SCIENCE FICTION CINEMA AND GENETIC CINEMA". INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, n. 10 (30 marzo 2016): 485. http://dx.doi.org/10.17361/uhive.20161016615.

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Sherryl Vint. "Possibilities for a Science-Fiction Cinema". Science Fiction Studies 43, n. 3 (2016): 563. http://dx.doi.org/10.5621/sciefictstud.43.3.0563.

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CENGIZ, GIZEM. "INTERWAR ERA IN SCIENCE FICTION CINEMA: DIESELPUNK". Akademik Sanat Dergisi 4, n. 8 (30 dicembre 2019): 40–49. http://dx.doi.org/10.34189/asd.4.8.003.

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Moey, Natalie. "Projecting Tomorrow: Science Fiction and Popular Cinema". Film Matters 8, n. 3 (1 dicembre 2017): 47–48. http://dx.doi.org/10.1386/fm.8.3.47_1.

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Landon, Brooks. "Science Fiction Cinema: between fantasy and reality". Historical Journal of Film, Radio and Television 31, n. 1 (marzo 2011): 144–47. http://dx.doi.org/10.1080/01439685.2011.553455.

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Moreno, Erika Tiburcio. "Red Alert: Marxist Approaches Science Fiction Cinema". Historical Journal of Film, Radio and Television 38, n. 3 (3 maggio 2018): 682–83. http://dx.doi.org/10.1080/01439685.2018.1467903.

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Shail, Robert. "Terence Fisher and British science fiction cinema". Science Fiction Film & Television 2, n. 1 (aprile 2009): 77–90. http://dx.doi.org/10.3828/sfftv.2.1.5.

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YILDIRIM ŞAHİN, Emek. "SCIENCE FICTION IN RUSSIAN LITERATURE AND CINEMA". Avrasya Uluslararası Araştırmalar Dergisi 9, n. 26 (17 marzo 2021): 296–312. http://dx.doi.org/10.33692/avrasyad.895999.

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Womack, Jeffrey. "Nuclear Weapons, Dystopian Deserts, and Science Fiction Cinema". Vulcan 1, n. 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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Pariser, David, Leroy Dubeck, Suzanne Moshier e Judith Boss. "Science in Cinema: Teaching Science Fact through Science-Fiction Film". Leonardo 26, n. 1 (1993): 85. http://dx.doi.org/10.2307/1575797.

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Tesi sul tema "Science fiction cinema"

1

Wood, Aylish. "Technoscience in the cinema : beyond science fiction". Thesis, University of Nottingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313246.

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Jones, Matthew William. "The British reception of 1950s science fiction cinema". Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-british-reception-of-1950s-science-fiction-cinema(b180c812-ec8b-4369-afe7-97da1bc14890).html.

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Abstract (sommario):
Scholarship on 1950s American science fiction cinema has tended to explore the relationship between these films and their domestic contexts of production and reception. They are often characterised as reflections of US anxieties about communism and nuclear technology. However, many such films were exported to Britain where these concerns were articulated and understood differently. The ways in which this different national context of reception shaped British interpretations of American science fiction cinema of this era has not yet been accounted for. Similarly, although some research has addressed 1950s British science fiction, this scholarship has been comparatively concise and has left gaps in our knowledge about the domestic reception of these films. Unable to draw on a British reception history of domestic and US 1950s science fiction cinema, debates about the genre have sometimes been underpinned by the presumption that western audiences responded to these films in a uniform manner. This thesis seeks to complicate our understanding of the genre by suggesting the specificity of the British reception history of science fiction cinema during the 1950s. The paucity of documentary evidence of British responses to 1950s science fiction films makes an audience study impossible. Within the intellectual framework of the New Film History, this thesis instead employs a contextually- activated approach to reception. Making extensive use of archival sources, newsreels, newspapers, magazines and other such documentary evidence, it explores some of the different contexts in which 1950s science fiction cinema was received in Britain and suggests how these factors might have shaped the interpretation of the genre. The thesis examines the interplay between American and British 1950s science fiction cinema and the British public understanding of communism, immigration, nuclear technology and scientific advancement. It contributes to our knowledge of these films by demonstrating that Britons did not necessarily understand 1950s science fiction cinema in the same way as Americans because they were party to a differently inflected series of public debates. It exposes the flexibility of the metaphors utilised by the genre during this period and their susceptibility to reinterpretation in different national contexts. This research makes visible, in a more extensive manner than has yet been accomplished, the specificity of the British reception history of 1950s science fiction cinema, and thereby provides a means to resist assumptions about the similarity of western audiences during this decade. Its conclusions call for further research into other national reception histories of these films, so that they too are not overshadowed by the better known American history of the genre, and into the possibility that the British reception history of other genres might similarly have been obscured.
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Beck, Gregory. "The city in the image of science fiction cinema". Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/71379.

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Warton, John Phillips. "The aesthetics of destruction in contemporary science fiction cinema". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25992.

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Abstract (sommario):
Mass destruction imagery within the science fiction film genre is not a new cinematic development. However, a swell of destruction-centred films has emerged since the proliferation of digital technologies and computer-generated imagery that reflect concerns that extend beyond notions of spectacle. Through illusionistic realism techniques, the aesthetics of mass destruction imagery within science fiction cinema can be seen as appropriating the implied veracity of other film traditions in order to create a baseline of visual credibility, even to the extent of associating its own fantastical fictions with recent historic destruction events. This thesis investigates the representation of mass destruction across the spectrum of contemporary science fiction films emerging from around the world by examining the various methods employed to affect the spectator. The study is divided into four sections: realism, spectacle, sublimity, and correlation. It is structured so as to escalate from the establishment of a baseline of vraisemblance of the spectator’s empirical understanding of the world, to new representations of death and destruction, whereby visual aesthetic correlations emerge between science fiction and historical fact. My study attempts to contribute to the current discourse on science fiction cinema by focusing on the relationship between the aesthetics of realism and spectacle and their impact on spectatorial affect. By re-defining notions of film realism and the cinematic sublime, and through close textual analyses of a number of contemporary science fiction films, the intent of this paper is to present a greater understanding of the complicated inherencies borne by mass destruction spectacle.
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Taylor, Aaron E. N. "World without end, historicity and the contemporary science fiction cinema". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0034/MQ57688.pdf.

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Taylor, Aaron E. N. (Aaron Edward Nicholas) Carleton University Dissertation Film Studies. "World without end: historicity and the contemporary science fiction cinema". Ottawa, 2000.

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Mather, Philippe. "L'eloignement cognitif : vers une semiologie du cinema de science-fiction". Paris 3, 1995. http://www.theses.fr/1995PA030125.

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Cette these cherche a determiner les modes d'articulation des concepts d'eloignement et de cognition dans un corpus de six films americains communement decrits comme appartenant au genre de la science-fiction, des points de vue syntaxique, semantique et pragmatique. La cognition represente le contenu de la fiction, et plus precisement la connaissance proposee par le biais d'une experience de la pensee s'inspirant de la methode scientifique, experience fictionnelle qui constitue egalement une reflexion critique sur le referent implicite du monde fictif, soit le contexte social et historique de la genese du texte. Quant a l'eloignement, c'est le parametre formel du genre, qui se manifeste d'abord sur un plan macro-discursif : la sciencefiction propose des mondes eloignes, c'est-a-dire differents du monde du lecteur ; le plan micro-duscursif concerne les effets de defamiliarisation crees par diverses figures de style
This thesis attempts to determine how the twin concepts of cognition and estrangement are articulated in a group of six american films commonly described as belonging to the sciencefiction genre, from syntactic, semantic and pragmatic points of view. Cognition represents the fiction's content, specifically the knowledge offered by a thought experiment inspired by the scientific method, which also constitutes a critical comment on the implied referent, the social and historical context of the fiction's origin. Estrangement is the genre's formal parameter, which first manifests itself on a macro-discursive level : science-fiction creates estranged worlds, that is to say, different from the reader's world ; the micro-discursive level concerns the defamiliarization created by various stylistic figures
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Swarbrick, Josephine. "The Monstrous Masculine: Male Metamorphosis in Contemporary Science Fiction Cinema". Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672043.

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Aquesta tesi investiga la construcció i representació del monstre masculí en el cinema de ciència ficció contemporani. El monstre masculí en aquest cas és un home que experimenta una metamorfosi que trenca els binaris com, per exemple, masculinitat/feminitat, jo/altre i humà/maquina. Els cinc capítols examinen cince figures de masculinitat monstruosa: el mutant, el ciborg subjugat, el ciborg poderós, l’alienígena i el transhumà. Al cap i a la fi, la tesi pregunta per què els personatges masculins pateixen transformacions profunds, i normalment dolorosos, tan sovint a la gran pantalla.
Esta tesis investiga la construcción y la representación de los monstruos masculinos en el cinema de ciencia ficción contemporáneo. El monstruo masculino en este caso es un hombre que experimenta una metamorfosis que resulta en la confusión de las categorías binárias cómo, por ejemplo, masculinidad/feminidad, humano/maquina o yo/otro. Los cinco capítols consideran cinco figuras de monstruos masculinos: el mutante, el cíborg subyugado, el cíborg-villano poderoso, el alienígena y el transhumano. La pregunta central de la tesis es por qué los hombres padecen transformaciones corporeales y psicológicas— y muchas veces dolorosas— tan frecuentamente en la gran pantalla.
This dissertation investigates the construction and representation of the monstrous masculine in contemporary science fiction cinema. That is to say, men who undergo a striking metamorphosis resulting in the blurring of binaries such as masculine/feminine, human/machine and self/other. A close-reading of key films and a consideration of their historical and socio-cultural contexts serves to identify and explore the mechanisms at work in the formation of male monsters as well as examining the growing presence and influence of technology and posthuman ideas in the portrayal of monstrous men. The five chapters consider five recurrent figures of monstrous masculinity: the mutant, the disempowered cyborg, the cyborg super villain, the alien and the transhuman. Ultimately, the thesis addresses the question as to why masculine characters so often undergo profound, often painful, corporeal and psychological transformations.
Universitat Autònoma de Barcelona. Programa de Doctorat en Teoria de la Literatura i Literatura Comparada
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Haciomeroglu, T. Nihan. "Reconstruction Of Architectural Image In Science Fiction Cinema: A Case Study On New York". Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609545/index.pdf.

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This thesis interrogates the interrelation between architecture and science fiction cinema to understand the fictional and representative power of architecture. Since cinema embraces both physical and representative aspects of architecture it is convenient to carry out the research through the mediation of cinema. To accomplish this goal science fiction genre is particularly chosen where architectural image can break its commonly acknowledged facet and can reconstruct to participate in the narrative. The architectural image is intended to be interpreted through the concept of city and architectural components in science fiction cinema. To create a mutual language, a world wide known city &
#8211
New York City &
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is selected as the case study subject
that the research is developed upon. Initially the study is based on the discussion over cinema architecture relationship from an architect&
#8217
s point of view. Subsequently architectural image in architecture and cinema is studied under several categories. Twenty four science fiction movies with various plots are chosen where all the movies are either located in New York City or in a fictional city inspired by it. By analyzing these movies through architectural concepts it is aimed to gain understanding to key points in architectural design.
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Green, Caroline Ann. ""She has to be controlled" : exploring the action heroine in contemporary science fiction cinema". Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3052.

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In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without Organs’ proposed by Gilles Deleuze and Félix Guattari can be activated to provide a more positive set of readings of active women on screen. These readings are not limited by discussions of sex or gender, but discuss the body in terms of its increased capacities as it interacts with the world around it. I do not argue for a Deleuzian analysis of cinema as such, because this project is concerned with aspects of representation which did not form part of Deleuze’s philosophy of cinema. Rather I use Deleuze and Guattari’s work to explore alternative ways of reading the active women these franchises present and the benefits they afford. Through these explorations I demonstrate, however, that applying the Deleuzoguattarian ‘method’ is a potentially risky undertaking for feminist theory. Deconstructing notions of ‘being’ and ‘identity’ through the project of becoming may have benefits in terms of addressing ‘woman’ beyond binaristic thought, but it may also have negative consequences. What may be liberating for feminist film theory may be also be destructive. This is because through becoming we destabilise a position from which to address potentially ideologically unsound treatments of women on screen.
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Libri sul tema "Science fiction cinema"

1

The Biology of Science Fiction Cinema. Jefferson, N.C: McFarland, 2001.

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E, Moshier Suzanne, e Boss Judith E, a cura di. Science in cinema: Teaching science fact through science fiction films. New York: Teachers College Press, 1988.

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Science fiction cinema: Between fantasy and reality. Edinburgh: Edinburgh University Press, 2007.

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Tanya, Krzywinska, a cura di. Science fiction cinema: From outerspace to cyberspace. London: Wallflower, 2000.

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author, Cull Nicholas John, a cura di. Projecting tomorrow: Science fiction and popular cinema. London [England]: I.B. Tauris, 2013.

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Science fiction cinema: Between fantasy and reality. New Brunswick, N.J: Rutgers University Press, 2007.

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Klippel, Heike, Bettina Wahrig e Anke Zechner, a cura di. Poison and Poisoning in Science, Fiction and Cinema. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64909-2.

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Magerstädt, Sylvie. Body, Soul and Cyberspace in Contemporary Science Fiction Cinema. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137399410.

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Cinema e fantascienza. Bologna: Archetipolibri, 2012.

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Doctorow, Cory. Pirate Cinema. New York: Tor Teen, 2012.

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Capitoli di libri sul tema "Science fiction cinema"

1

Baker, Brian, e Nicolas Tredell. "Science Fiction Cinema". In Science Fiction, 139–58. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-47445-2_9.

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Bould, Mark. "Cult science fiction cinema". In The Routledge Companion to Cult Cinema, 59–68. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-8.

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Cordoba, Antonio. "Spanish science fiction film in times of emergency". In Contemporary European Cinema, 51–64. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Cultural politics of media and popular culture: Routledge, 2018. http://dx.doi.org/10.4324/9781315122427-4.

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Hantke, Steffen. "Science fiction cinema between arthouse and blockbuster". In Contemporary American Science Fiction Film, 109–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189961-7.

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Paz, Mariano. "Dystopia Redux: Science Fiction Cinema and Biopolitics". In European Cinema in the Twenty-First Century, 299–315. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33436-9_17.

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Näripea, Eva. "Work in Outer Space: Notes on Eastern European Science Fiction Cinema". In Work in Cinema, 209–26. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370860_11.

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Roberts, Adam. "Science Fiction Screen Media 1960–2000: Hollywood Cinema and Television". In The History of Science Fiction, 264–94. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230554658_12.

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Roberts, Adam. "SF Screen Media, 1960–2000: Hollywood Cinema and TV". In The History of Science Fiction, 383–419. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_13.

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Orbaugh, Sharalyn. "Frankenstein and the Cyborg Metropolis: The Evolution of Body and City in Science Fiction Narratives". In Cinema Anime, 81–111. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983084_5.

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Magerstädt, Sylvie. "Introduction: Ethical Questions in Contemporary Science Fiction Films". In Body, Soul and Cyberspace in Contemporary Science Fiction Cinema, 1–6. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137399410_1.

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