Journal articles: 'American Science fiction'

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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.

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González, Aníbal. "La ciencia ficción latinoamericana y el arte del anacronismo: "Otra" ciencia ficción es posible." Revista de Estudios Hispánicos 58, no. 1 (2024): 145–61. http://dx.doi.org/10.1353/rvs.2024.a931923.

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Abstract: This essay seeks to establish a broader conceptual framework for studying the historical development of Latin American science fiction and its recent turn—in a genre usually focused on other times and worlds—to references to the past and present of Latin American history and culture. Valuable current studies of Latin American science fiction have been devoted primarily to the history of the genre itself and to tropes that have recurred in certain periods of the development of Latin American science fiction, such as cyborgs, androids, and zombies. Few have been devoted to the issues and forces at play in the current rise not only of science fiction in Latin America but of a recognizably Latin American form of science fiction. Through readings focused on the role of history and time in representative Latin American science fictional narratives of the nineteenth, twentieth, and twenty-first centuries, from the Argentine Juana Manuela Gorriti and the Chilean Jorge Baradit to the Cuban Yoss, the pervasiveness of historicity, the view of indigenous knowledge as proto science (rather than superstition), and a penchant towards dystopias, horror, and the Gothic, are considered as possible defining traits of Latin American science fiction.

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Skelton, Shannon Blake. "Alternate Americas: Science Fiction Film and American Culture." Journal of Popular Culture 40, no. 1 (2007): 192–93. http://dx.doi.org/10.1111/j.1540-5931.2007.00372.x.

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Haywood, Rachel. "The Emergence of Latin American Genre Science Fiction: The Morel Hinge." Revista de Estudios Hispánicos 58, no. 1 (2024): 163–83. http://dx.doi.org/10.1353/rvs.2024.a931924.

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Abstract: The evolution of science fiction (SF) in Latin America has been affected concurrently by Northern genre norms and local literary and cultural realities, leading to the development of science fictions unique to the region. Modern genre SF was not imported wholesale to Latin America from the North, nor was it created in a vacuum. So how did the genre transition in Latin America in the 1940s from the relative trough in SF production in the interwar period to the Golden Age of the decades that followed? Adolfo Bioy Casares is perhaps the closest thing we have to an influencer and a bellwether of this moment in genre history. Bioy's ability to juxtapose science and science fictions past and present, to balance plot-driven and experimental writing, and to create new genre hybrids make his work emblematic of this turning point in the evolution of Latin American SF, which I am calling the "Morel hinge." This article considers the theoretical underpinnings of the Morel hinge through an examination of four prologues by Borges and Bioy Casares and illustrates it with a discussion of Bioy's 1944 short story "La trama celeste."

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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 (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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Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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7

Johnson, Brian David. "Beyond Science Fiction: The American Dream." Computer 49, no. 1 (2016): 91–93. http://dx.doi.org/10.1109/mc.2016.16.

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8

McGuirk, Carol. "J.G. Ballard and American Science Fiction." Science Fiction Studies 49, no. 3 (2022): 476–501. http://dx.doi.org/10.1353/sfs.2022.0048.

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9

Carl Freedman. "A Useful Guide to American Science Fiction." Science Fiction Studies 42, no. 3 (2015): 590. http://dx.doi.org/10.5621/sciefictstud.42.3.0590.

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10

Wells, Bradley. "Review: American Science Fiction Film and Television." Media International Australia 137, no. 1 (2010): 161–62. http://dx.doi.org/10.1177/1329878x1013700123.

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11

Italiano, Federico. "Escaping the map: American science fiction and its cartographic imagination." European Journal of American Culture 39, no. 1 (2020): 29–43. http://dx.doi.org/10.1386/ejac_00009_1.

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The beginning of Space Age coincided with the global spread of a subterranean, post-apocalyptic imagination of the bunker. The coexistence of faith in technological progress and fear of a nuclear-caused self-annihilation created a tension between a claustrophilic and a claustrophobic relation to space that deeply shaped American spatial imagination. As I argue in this article, this spatial tension can be profitably illustrated by focusing on the cartographic imagination of science fiction produced in America between the 1950s and the 1980s. Drawing on David Seed and Fredric Jameson among others and focusing on both exemplary novels and films, this article shows to what extent Cold War American science fiction not only translates territorial anxieties into alternative universes or versions of the future, but spatially stages its inner conflict, the tension between a claustrophobic distress on the one hand and an unfulfilled claustrophilia on the other.

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Brown, Alexandra. "404 Utopia Not Found: Cyberpunk Avatars in Samanta Schweblin's Kentukis." PMLA/Publications of the Modern Language Association of America 138, no. 2 (2023): 258–73. http://dx.doi.org/10.1632/s0030812923000123.

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AbstractScience fiction criticism has long attended the relationship between form and utopian thought. However, increased study of Latin American narratives has allowed for a return to foundational science fiction theories with renewed perspective. While critics have recognized the tendency of Latin American science fiction to slip between genres, a trend termed the “slipstream phenomenon,” there has been little analysis of its impact on utopian imagination. As a result, we miss one of the region's most unique contributions to broader science fiction traditions. In response, this article locates Samanta Schweblin's Kentukis (2018) within the legacies of cyberpunk and argues that the novel uses slipstream to establish and dismantle a series of classic utopian horizons by shifting its genre identity. In doing so, this work identifies a turn in recent Latin American science fiction that metacritically questions the ability of science fiction form itself to imagine a utopian horizon beyond global capitalism.

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13

Berger, Alan L. "AMERICAN JEWISH FICTION." Modern Judaism 10, no. 3 (1990): 221–41. http://dx.doi.org/10.1093/mj/10.3.221.

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Djeddai, Imen, and Fella Benabed. "The Strong Binti in Nnedi Okorafor’s African American Science Fiction." Traduction et Langues 19, no. 2 (2020): 210–20. http://dx.doi.org/10.52919/translang.v19i2.374.

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By looking carefully at the history of science fiction, we can notice that African American authors have been excluded from the scene for a long time due to the “whiteness” of the genre in terms of writing and publication. In addition to racism, sexism persists in the science fiction community. Hence, marginalized black women writers of science fiction try to include more black women characters in their literary works. Through Binti, Binti: Home, and Binti: The Night Masquerade, Nnedi Okorafor focuses on the experience of being black and woman in a technological society of the future. This study discusses how Okorafor provides sharp comments on the lives of black women in America in terms of “race” and “gender.” She challenges the stereotypical image of the black woman as “other” through the subversion of white norms and traditions. In this analysis, we use “Afrofuturism” and “black feminism” as a theoretical framework since “Afrofuturism” tackles African American issues related to twentieth-century technoculture, and “black feminism” deals with black women empowerment. The major character, Binti, proves that she deserves to reach a higher position as an empowered girl of the future, which gives her self-confidence to be autonomous and to have control over her own life.

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Danytė, Milda. "Canada as a Superpower in Elizabeth Bear’s Science Fiction: The Jenny Casey Trilogy." Baltic Journal of English Language, Literature and Culture 7 (July 14, 2017): 40–57. http://dx.doi.org/10.22364/bjellc.07.2017.03.

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English-speaking science fiction readers were impressed by Elizabeth Bear’s Jenny Casey trilogy when it appeared in 2005. Along with the high quality of the novels, Hammered, Scardown and Worldwired, the American author surprised her public by a number of features that distinguishes this trilogy from most recent American science fiction. The aim of this article is to examine two of these features more closely: Bear’s combination and revision of certain earlier science fiction genres and her depiction of a world of 2062 in which Canada and not the USA has the leading role in space exploration and global conflicts. The article uses both a comparative examination of science fiction genres and a qualitative analysis of those aspects of Canada that Bear chooses to highlight. American space fiction tends to be nationalistic, but the USA of 2062 is shown as suffering from ecological disasters that its weak and divided society cannot deal with. Canada, on the other hand, though not an ideal society, successfully upholds values like moderation, and is still able to rely on the loyalty of very different kinds of characters.

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16

Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.

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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.

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17

Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.

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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.

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18

DeTora, Lisa. "Carefully Considered? Paolo Bacigalupi's The Windup Girl (2009) and Embodied Representation." Diasporic Italy: Journal of the Italian American Studies Association 2 (October 1, 2022): 45–58. http://dx.doi.org/10.5406/27697738.2.1.06.

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Abstract Paolo Bacigalupi's NebulaAward–Winning The Windup Girl (2009) has been praised as an exciting new approach to ecofiction, but it also contains problematic representations of gender and race that can be traced to the origins of science fiction as a literary genre. The emergence of science fiction also occurred alongside a tendency to assign a uniform Italian ethnicity to immigrant groups regardless of their own self-identification. This article uses Bacigalupi's novel to consider how unfortunate legacies of colonialism and sexual violence from the earliest science fictions can create a troublesome backdrop for newer works that deal with critical social and political problems. A new means of representing personal identities might enable the development of an Italian American speculative fiction that could prevent future harms and recuperate past experiences of inequity.

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Topash-Caldwell, Blaire. "“Beam us up, Bgwëthnėnė!” Indigenizing science (fiction)." AlterNative: An International Journal of Indigenous Peoples 16, no. 2 (2020): 81–89. http://dx.doi.org/10.1177/1177180120917479.

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The popularity of Indigenous-authored science fiction art, literature, film, and even video games has exploded in recent years. More than just a niche interest, these works have material effects on the possibilities young Indigenous people envision for themselves. Contrary to research on the negative effects of Native American stereotypes on youth, positive representations of Native peoples found in Indigenous science fiction portray alternative futurisms to those represented in mainstream science fiction. Developed in concert with traditional knowledge and value systems, alternative futurisms as depicted in Indigenous science fiction forefront Indigenous agency in a genre where Indigeneity is either absent or made irrelevant. This article investigates the ways in which Indigenous science fiction creators leverage traditional knowledge systems to paint a picture of Indigenous futures that depart from mainstream science fiction in material ways.

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20

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 (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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Tobin, Stephen C. "Latin American Science Fiction Studies: A New Era." Tapuya: Latin American Science, Technology and Society 1, no. 1 (2018): 65–69. http://dx.doi.org/10.1080/25729861.2018.1497274.

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22

Trushell, John M. "American Dreams of Mutants: The X-Men-"Pulp" Fiction, Science Fiction, and Superheroes." Journal of Popular Culture 38, no. 1 (2004): 149–68. http://dx.doi.org/10.1111/j.0022-3840.2004.00104.x.

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23

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 (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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24

Molson, Francis J. "Great Marvel: The First American Hardcover Science Fiction Series." Extrapolation 34, no. 2 (1993): 101–22. http://dx.doi.org/10.3828/extr.1993.34.2.101.

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Carol McGuirk. "Stanislaw Lem, Philip K. Dick, and American Science Fiction." Science Fiction Studies 45, no. 1 (2018): 211. http://dx.doi.org/10.5621/sciefictstud.45.1.0211.

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Telotte, J. P. "American Science Fiction Film and Television (review)." Technology and Culture 52, no. 3 (2011): 658–60. http://dx.doi.org/10.1353/tech.2011.0093.

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Powell, Robert. "Taking Pieces of Rand with Them: Ayn Rand's Literary Influence." Journal of Ayn Rand Studies 12, no. 2 (2012): 207–35. http://dx.doi.org/10.2307/41717248.

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Abstract Despite the fact that Ayn Rand did not influence the best artists, she did leave an important legacy for the American imagination and literary establishment. Rand's influence is arguably more multi-genre than any other author. Some multi-genre authors who were possibly influenced by Rand include: John Steinbeck (literature), Mickey Spillane and Ian Fleming (detective fiction), Ira Levin, Cameron Hawley, Erika Holzer and Kay Nolte Smith (popular fiction) and Terry Goodkind (science fiction). Her influence represents an important balance between many various types of American Literature and is a credit to the hybrid and versatile nature of her fiction.

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Powell, Robert. "Taking Pieces of Rand with Them: Ayn Rand's Literary Influence." Journal of Ayn Rand Studies 12, no. 2 (2012): 207–35. http://dx.doi.org/10.5325/jaynrandstud.12.2.0207.

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Abstract Despite the fact that Ayn Rand did not influence the best artists, she did leave an important legacy for the American imagination and literary establishment. Rand's influence is arguably more multi-genre than any other author. Some multi-genre authors who were possibly influenced by Rand include: John Steinbeck (literature), Mickey Spillane and Ian Fleming (detective fiction), Ira Levin, Cameron Hawley, Erika Holzer and Kay Nolte Smith (popular fiction) and Terry Goodkind (science fiction). Her influence represents an important balance between many various types of American Literature and is a credit to the hybrid and versatile nature of her fiction.

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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 (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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Longden, Kenneth. "China Whispers: The Symbolic, Economic, and Political Presence of China in Contemporary American Science Fiction Film." Open Cultural Studies 2, no. 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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Li, Zhi. "From Literature to Image—Aesthetic Features of Space Megastructure Cities in American Sci-Fi Movies." International Journal of Languages, Literature and Linguistics 7, no. 3 (2021): 116–21. http://dx.doi.org/10.18178/ijlll.2021.7.3.297.

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The concept of Space megastructures is originated from science fiction novels. They symbolize the material landscape form of a comprehensive advancement of intelligent civilization after the continuous development of technology. Space megacity is actually an expansion process of human development in the future. It is not only a transformation of space colonization but also a mapping of self-help homeland. Therefore, it is a symbol of technological optimism and a future utopia in the context of technology. In contemporary times, sci-fi movies use digital technology to translate the giant imagination in literature into richer digital image landscapes. Space giant cities are one of the most typical digital images with spectacle view, which reflects the impact of American sci-fi movie scene design on the landscape and preference that human will be living in the future. The aesthetic preferences and design principles of the future picture, and the aesthetic value of science fiction as a medium of imagination are revealed. The aim of this article is to explore the digital design style of space megastructure with utopia sense in science fiction movies, and analyzes its aesthetic connotation.

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Jehangir, Zenab. "Toward Posthumanism: Stigmatization of Artificial Intelligence in American Science Fiction." Journal of Posthuman Studies 6, no. 2 (2022): 168–85. http://dx.doi.org/10.5325/jpoststud.6.2.0168.

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Abstract Posthumanism has become an important theme in science fiction (SF), and American SF is a significant popularizer of this genre in the modern world. The advocacy of a dystopian future in American SF has led to the stigmatization of artificial intelligence (AI). It has presented AI as a threat to humanity and has reduced it to a mere enemy of humanity in a posthuman future. The cyberpunk culture of SF plays a vital role in ostracizing AI, with many stories centered around an AI takeover where humans face the dilemma of extinction in the face of a technologically advanced world. This article deals with Philip K. Dick’s dystopian novel Do Androids Dream of Electric Sheep? in the light of Goffman’s theory of stigmatization as the theoretical basis, using Link and Phelan’s stigmatization model to build the argument. The article focuses on the possible stigmatization of AI in American SF and its ethical and societal impacts. It is part of the continuum of knowledge production in SF, Cyberpunk, and techno-optimistic science fiction.

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Fornoff, Carolyn. "Álvaro Menen Desleal’s Speculative Planetary Imagination." Revista Canadiense de Estudios Hispánicos 44, no. 1 (2021): 43–66. http://dx.doi.org/10.18192/rceh.v44i1.5900.

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Science fiction has long held a marginalized status within the Latin American literary canon. This is due to myriad assumptions: its supposed inferior quality, sensationalist content, and disconnect from socio-historical reality. In this article, I argue for the recuperation of Salvadoran author Álvaro Menen Desleal as a foundational writer of Central American speculative fiction. I explore why Menen Desleal turns to sci-fi - abstracting his fictive worlds to far-off futures or other planets - at a moment when the writing of contemporaries of the Committed Generation was increasingly politicized and realist. I argue that Menen Desleal’s speculative planetary imagination toggles between scaling up localized concerns and evading them altogether to play with “universal” categories. By thinking with the categories of the human or the planet from an ex-centric position, Menen Desleal playfully appropriates generic convention, only to disrupt it from within.

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Al-Aghberi, Munir Ahmed, and Hussein Saleh Ali Albahji. "Antiheroes in Mock-heroic Battles: Post 9/11 Alternatives in Jess Walter’s Novel The Zero." International Journal of Language and Literary Studies 5, no. 2 (2023): 24–36. http://dx.doi.org/10.36892/ijlls.v5i2.1268.

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Placing Jess Walter's The Zero within a post 9/11 counter discourse, the present study examines the novel as a modern mock-heroic fictional work. The novel is critically analyzed as a parody of both the detective fiction genre as well as the early post 9/11 fiction adopting the American official narrative. The argument proceeds through three sub-headings. The first part queries the novel's representation of antiheroism in response to the discourse of heroism prevalent in American culture. The second part ponders on the mock-heroic battles and situations taking place as part of the US war against terror. The last part tackles the multilayered parody by which the novel addresses the hyperreal world by the mainstream media create to overshadow the event's factual enigma.

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Wang, Jijia. "Analysis of Historical Views in The Man Who Ended History: A Documentary." Frontiers in Humanities and Social Sciences 3, no. 11 (2023): 110–16. http://dx.doi.org/10.54691/fhss.v3i11.5752.

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As a highly regarded Chinese-American science fiction writer, Liu Yukun’s science fiction The Man Who Ended History: A Documentary published in 2012 combines science fiction elements with historical event against the background of Unit 731 of the Japanese Imperial Army’s violent behavior in Harbin, showcasing the views of the East and West on Chinese traumatic history. This article combines new historicism to examine the relationship between history and individuals within the text, as well as the historical views upheld by all parties.

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Lee, Derek. "Postquantum: A Tale for the Time Being, Atomik Aztex, and Hacking Modern Space-Time." MELUS 45, no. 1 (2019): 1–26. http://dx.doi.org/10.1093/melus/mlz057.

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Abstract This study identifies the postquantum novel as an emerging subgenre of speculative ethnic fiction that challenges the prevailing logic of Western space-time in contemporary literature. In contrast with archetypal twentieth-century literary modes such as modernism, postmodernism, and science fiction, postquantum fiction strays from classical and quantum mechanics—and Western science more broadly—as default knowledge systems and instead turns to premodern, indigenous, and non-Western epistemes as equally valid intellectual frameworks for representing reality. Drawing from philosophy of science and postcolonial theory, this study reads Zen Buddhism in Ruth Ozeki’s A Tale for the Time Being (2013) and the Meso-American calendrical sciences in Sesshu Foster’s Atomik Aztex (2005) as alternative logics of space-time and argues that the postquantum novel destabilizes many of the physicalist assumptions undergirding temporality and spatiality in twenty-first-century narrative. Postquantum fiction thus constitutes an original form of epistemological critique that decolonizes Western scientific hegemony in literature via ethnoscientific theory and praxis while also expanding the social justice concerns of ethnofuturism to include traditional and marginalized knowledge.

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Johnston Aelabouni, Meghan. "White Womanhood and/as American Empire in Arrival and Annihilation." Religions 11, no. 3 (2020): 130. http://dx.doi.org/10.3390/rel11030130.

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American science fiction stories, such as U.S. historical narratives, often give central place to white, Western male subjects as noble explorers, benevolent colonizers, and border-guarding patriots. This constructed subjectivity renders colonized or cultural others as potentially threatening aliens, and it works alongside the parallel construction of white womanhood as a signifier for the territory to be possessed and protected by American empire—or as a sign of empire itself. Popular cultural narratives, whether in the world of U.S. imperialism or the speculative worlds of science fiction, may serve a religious function by helping to shape world-making: the envisioning and enacting of imagined communities. This paper argues that the world-making of American science fiction can participate in the construction and maintenance of American empire; yet, such speculative world-making may also subvert and critique imperialist ideologies. Analyzing the recent films Arrival (2016) and Annihilation (2018) through the lenses of postcolonial and feminist critique and theories of religion and popular culture, I argue that these films function as parables about human migration, diversity, and hybrid identities with ambiguous implications. Contact with the alien other can be read as bringing threat, loss, and tragedy or promise, birth, and possibility.

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Kurowicka, Anna. "“Aliens” Speaking Out: Science Fiction by Autistic Authors." Przegląd Kulturoznawczy, no. 3 (45) (2020): 261–77. http://dx.doi.org/10.4467/20843860pk.20.026.12586.

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This article discusses depiction of autism in science fiction based on three recent American novels written by autistic authors: Ada Hoffman’s The Outside (2019), Kaia Sønderby’s Failure to Communicate (2017), and Selene dePackh’s Troubleshooting (2018). The novels are discussed in the context of debates about diversity in science fiction, depiction of disability in the genre, and disability and autism studies, particularly in reference to concepts such as authorship, self-expression, and rationality. This is followed by an in-depth analysis of the use of utopian and dystopian impulses in science fiction and tropes such as first contact as well as the specificity of autistic perspectives, particularly in Hoffman’s The Outside. The texts propose visions of futures that include disability, specifically autism, and use the narratives of alien encounters to reflect on potential benefits of neurodivergent forms of communication and perception of the world. The article argues that the novels employ science fiction tropes to engage ideas about neurodiversity and cross-cultural communication, contributing both to inclusion of marginalized communities in science fiction and to an expansion of the genre’s repertoire of cultural representations of disability.

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Majidova, Ilaha Adil. "The conceptual interpretation of S. King`s literary heritage." SCIENTIFIC WORK 62, no. 01 (2021): 159–61. http://dx.doi.org/10.36719/2663-4619/62/159-161.

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S.King is a modern American writer of supernatural, horror fiction, science fiction and fantasy. His works are powerful because he integrates his life experiences and observations into idiosyncratic stories. He uses a free style of writing. Generally By the help of supernatural beings, vampire, demon, insubstantial events he mystifies and shocks readers, confuses their minds. The writer’s psycho-emotional situation, inner world rebound his works. This article is devoted to the conceptual interpretation of S.King’s creativity. In his works he tries to show the depth of his imagination. Key words: modern American literature, fantasy, horror fiction, psycho-emotional creativity, mystical elements

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Muir, Sharona, and Carl Abbott. "Frontiers Past and Future: Science Fiction and the American West." Western Historical Quarterly 38, no. 3 (2007): 379. http://dx.doi.org/10.2307/25443566.

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Miller, Cynthia J. "Frontiers past and Future: Science Fiction and the American West." History: Reviews of New Books 34, no. 3 (2006): 73. http://dx.doi.org/10.1080/03612759.2006.10526837.

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Gordon, Andrew. "The Inescapable Family in American Science Fiction and Fantasy Films." Journal of Popular Film and Television 20, no. 2 (1992): 1–8. http://dx.doi.org/10.1080/01956051.1992.9943963.

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Fuchs, Michael. "American Cities in Post-Apocalyptic Science Fiction by Robert Yeates." Science Fiction Studies 50, no. 1 (2023): 129–33. http://dx.doi.org/10.1353/sfs.2023.0012.

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CANAVAN, GERRY. "Capital as Artificial Intelligence." Journal of American Studies 49, no. 4 (2015): 685–709. http://dx.doi.org/10.1017/s002187581500167x.

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This article examines science-fictional allegorizations of Soviet-style planned economies, financial markets, autonomous trading algorithms, and global capitalism writ large as nonhuman artificial intelligences, focussing primarily on American science fiction of the Cold War period. Key fictional texts discussed include Star Trek, Isaac Asimov's Machine stories, Terminator, Kurt Vonnegut's Player Piano (1952), Charles Stross's Accelerando (2005), and the short stories of Philip K. Dick. The final section of the article discusses Kim Stanley Robinson's novel 2312 (2012) within the contemporary political context of accelerationist anticapitalism, whose advocates propose working with “the machines” rather than against them.

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Khan, Saleem Akhtar, Waheed Ahmad Khan, and Imran Ali. "Anticolonial Visions and Fictional Versions: A Comparative Study of American and Indian Postcolonial Novels." Global Language Review VI, no. III (2021): 81–90. http://dx.doi.org/10.31703/glr.2021(vi-iii).09.

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The research juxtaposes two of the prominent postcolonial literary discourses produced by the nations that resisted the colonial encroachments militarily and, ultimately, gained their independence from the British imperial clutch, America and India. The selected literary works are replete with retrospective representations of the historical landmarks and laden with future ideological aspirations regarding national glory. Remaining awake to the perplexing verisimilitude of postcolonial works of literature, the study aims to explain the pivotal nexus that links the divergent discourses, that is, the anti colonial élan.For the accomplishment of the comparative analysis, two of the novels have been chosen, one for each country, to represent the respective version of resistance: Jeff Shaara's The Glorious Cause (2002) from an array of the American fictional narratives and Basavaraj Naikar's The Sun behind the Cloud (2001)from the Indian anglophone fiction. After outlining the belligerent disposition of these novels, their thematic schemas have been compared and contrasted to make the post coloniality of these polemical fictions manifest. It has been made explicit that the novels are essentially similar in their counter-discursive character and dissemination of the anti colonial sentiment despite some peripheral differences. Thus, these novels contribute to the broader postcolonial continuum that comprehensively accommodates varying versions of the textual resistance.

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Konstantinou, Lee. "Post-American Speculations." American Literary History 35, no. 1 (2023): 290–304. http://dx.doi.org/10.1093/alh/ajac230.

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Abstract This article thinks about the relationship between democracy and the novel through the analysis of two recent science fiction series, Malka Older’s The Centenal Cycle (2016–2018) and Ada Palmer’s Terra Ignota (2016–2021). Both series imagine future planetary democracies in which the US is figured as a conspicuous absence. The Centenal Cycle is set in a future world of planetary “micro-democracy,” in which sovereignty devolves from nation-states to “centenals” consisting of 100,000 people. Terra Ignota, meanwhile, is set in a world dominated by “Hives,” voluntary associations united by hobbies, interests, and values. Both series try to imagine futures in which the US no longer enjoys planetary hegemony, but no other nation-state or regional hegemon has replaced it. They therefore engage in speculations not only about the future of the US but also about possible futures in which the concept of “Westphalian sovereignty” has lost its force and in which capital’s systemic cycles of accumulation, as described by Giovanni Arrighi, no longer operate. In engaging in these speculations, Older and Palmer join recent political conversations that struggle to understand what a “post-American” geopolitical order might look like. Science fiction, this essay argues, offers special formal resources for thinking through such vexed possibilities.

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Yoo, Sang-Keun. "Mobilities in Anglophone Science Fiction History: Time Travel, Cyclical Temporality, and Virtual Mobility." Center for Asia and Diaspora 13, no. 2 (2023): 40–68. http://dx.doi.org/10.15519/dcc.2023.08.13.2.40.

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This paper explores the development of the concept of mobility within the Anglophone tradition of the science fiction genre, specifically within three critical periods of the twentieth century. It begins by analyzing the genre’s initial development, observing the shift from spatial mobility in earlier travel narratives to temporal travel depicted by foundational science fiction writers, such as H. G. Wells and Jules Verne. It then examines the New Wave of science fiction during the 1960s and 70s, a period characterized by introspective exploration of the human psyche and a departure from linear temporality, favoring instead an antiprogressive, circular concept of time. Key authors of this era, including William S. Burroughs, Thomas M. Disch, Philip K. Dick, Ursula K. Le Guin, and Samuel R. Delany, are broadly studied. The paper subsequently probes into the cyberpunk genre and its development of virtual mobility within cyberspace, along with a critical analysis of the socio-political issues emanating from the dominance of white normativism and ableism within these virtual environments. In conclusion, this paper emphasizes the necessity to consider a more inclusive depiction of mobility in science fiction, as well as the co-futuristic socio-political ideologies that the genre upholds. It advocates for the genre to foster diverse representations of mobility, thereby challenging the normalization of an abled, white American presence within cyber and virtual spaces.

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Jatmiko, Rahmawan. "Revisiting Predictions about the Future of Human Life in 20th Century American Sci-Fis." Rubikon : Journal of Transnational American Studies 11, no. 1 (2024): 150. http://dx.doi.org/10.22146/rubikon.v11i1.93467.

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Predictions and illustrations of life in the future are often integrated in works of science fiction, which could not be immediately proven yet possibly fascinating when looked back on several decades later or at the times predicted in the works. Science fiction authors foretell such events by borrowing theories, concepts, or simply terms used by scientists. Those theories, concepts, and terms can be written in scientific journals or in more popular media. American science fiction works, for instance, illustrate the future by their adaptation in the forms of more popular media such as movies, video games, and the works categorized as the subgenres of cyber literature. All of them are discussed in this paper from the lens of New Historicism, which believes in equality between literary and non-literary texts in viewing phenomena that exist in society, one of which is the relationship between science fiction works, their writers, their readers, and society. Technology is seen as a product of society, so it becomes broadly part of culture. Meanwhile, emerging technology is sometimes coincidental and random, so it can also be seen that technology determines people’s movements and lifestyles. This study contributes to ongoing discussions on the ethical and societal implications of speculative narratives by highlighting the interconnectedness between literature, science, technology, and society.

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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 (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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Bloomfield, Maxwell. "The Warren Court in American Fiction." Journal of Supreme Court History 16, no. 1 (1991): 86–96. http://dx.doi.org/10.1353/sch.1991.0009.

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Journal articles on the topic 'American Science fiction'

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