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Journal articles on the topic 'Blade Runner 2049'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Kind, Amy. "Blade Runner 2049." Philosophers' Magazine, no. 80 (2018): 108–10. http://dx.doi.org/10.5840/tpm20188030.

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2

Botz-Bornstein, Thorsten. "Blade Runner 2049." Film and Philosophy 25 (2021): 69–84. http://dx.doi.org/10.5840/filmphil2021345.

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What is the “miracle” that protein farmer Sapper Morton mentions when he says to K: “You never saw a miracle”? It is the transformation of inorganic life into organic life. Rachael, who was a replicant in the old Blade Runner (though falsely believing she is human) gave birth to twins. Tyrell had “perfected procreation,” in the words of Niander Wallace, but his knowledge has been lost. The theme of 2049 revolves around the scientific and philosophical question whether machines can become organic. Is a human only an accumulation of parts or cells, or does the quality of being human denote more

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Roiz Elizondo, Alfonso. "Blade Runner 2049. Año del “milagro”." Ética y Cine Journal 11, no. 2 (2021): 83–89. http://dx.doi.org/10.31056/2250.5415.v11.n2.34189.

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En el año del “milagro”, el nacimiento de una replicante, reflexionamos sobre las implicaciones del presente o futuro en que la humanidad conviva con entes que repliquen su propia humanidad. Ese evento es abordado con tintes filosóficos en la película Blade Runner 2049. A partir de ello, cavilamos sobre las propiedades o elementos fundamentales de la concepción de humanidad de la que se parte en el filme. Seguimos esa línea hacia cuestionamientos con tintes de crítica ¿qué hace humanos a los humanos?, ¿es el nacimiento condición para la humanidad? ¿quién es más humano? Desde la perspectiva de

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4

Hamblin, Sarah, and Hugh C. O’Connell. "Blade Runner 2049’s incongruous couplings." Science Fiction Film & Television 13, no. 1 (2020): 37–58. http://dx.doi.org/10.3828/sfftv.2020.3.

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5

Reinhard, Andrew. "The heritage futurism of Blade Runner: 2049." Journal of Geek Studies 5, no. 1 (2018): 1–12. https://doi.org/10.5281/zenodo.8352168.

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6

SEÇMEN, Emre Ahmet. "DİJİTAL EFEKTLER ÇAĞINDA GÖRSEL DEVAMLILIĞI SAĞLAMAK: BLADE RUNNER ve BLADE RUNNER 2049 ÜZERİNE." sinecine: Sinema Araştırmaları Dergisi 13, no. 3 (2022): 43–72. http://dx.doi.org/10.32001/sinecine.1105708.

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Günümüzde dijital üretim sistemi film yapımcılığının temel yöntemini oluşturmaktadır. Kurgu aşamasının bilgisayar ortamına geçişi ile başlayan dijitale geçiş süreci, pelikülün terk edilmesi ve gösterimin dijitalleşmesi ile tamamlanmıştır. Görsel efekt kategorisi de dijital üretim sürecinde kurgu sonrası bilgisayar ortamına taşınan ve sonrasında orada kalıcı hale gelen üretim başlıklarından biri haline gelmiştir. Bilgisayar desteği veya tamamen bilgisayar yaratımı olmaksızın bir efekt üretimi artık söz konusu değildir. Bu dönüşüm dijital öncesi dönemde daha çok yapım öncesi ve yapım sürecinde g

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7

Green, Michael. "The Replicant Singularity in Blade Runner 2049." Film International 17, no. 1 (2019): 33–39. http://dx.doi.org/10.1386/fiin.17.1.33_1.

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8

Paiella, Giorgina. "Blade Runner 2049 (Denis Villeneuve US 2017)." Science Fiction Film & Television 11, no. 3 (2018): 513–17. http://dx.doi.org/10.3828/sfftv.2018.30.

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9

Vint, Sherryl. "Vitality and reproduction in Blade Runner 2049." Science Fiction Film & Television 13, no. 1 (2020): 15–35. http://dx.doi.org/10.3828/sfftv.2020.2.

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10

Wegner, Phillip E. "We, the people of Blade Runner 2049." Science Fiction Film & Television 13, no. 1 (2020): 135–42. http://dx.doi.org/10.3828/sfftv.2020.6e.

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11

Gerdesits, Pál. "Ki vagyok én? - Szárnyas fejvadász 2049." Kaleidoscope history 10, no. 21 (2020): 307–12. http://dx.doi.org/10.17107/kh.2020.21.307-312.

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My essay focuses on the ontological crisis articulated in the film Blade Runner 2049, the sequel for Ridley Scott’s Blade Runner. This film is based on the conflict between humans and androids called replicants who would like to live equally to humans. In my opinion the root of their opposition lies on the inability to give a proper definition of what we normally call ‘human’. In this writing I present and analyse the nature of this conflict and also the philosophical questions (representation, freedom, self-identity etc.) arising from it based on the ideas of philosophers like Michel Foucault

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12

Ríos, Alberto. "Replicando al ser humano: la IA y su búsqueda de humanidad en Blade Runner y Blade Runner 2049." Ventana Indiscreta, no. 032 (December 19, 2024): 56–63. https://doi.org/10.26439/vent.indiscreta2024.n032.7478.

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El cine ha capturado las aspiraciones, temores y dilemas que surgen con el desarrollo de la inteligencia artificial. Por ello, se examina cómo en Blade Runner y Blade Runner 2049 se explora la búsqueda de humanidad en losseres artificiales conocidos como replicantes, tras plantear algunas preguntas sobre la naturaleza humana.

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13

Talavera Fernández, Pedro A. "El sueño posthumanista de ‘Blade Runner 2049’. Excurso sobre ‘El derecho guardián de la diferencia’ del profesor Javier De Lucas." Cuadernos Electrónicos de Filosofía del Derecho, no. 49 (June 22, 2023): 912. http://dx.doi.org/10.7203/cefd.49.25609.

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El trabajo pretende continuar la reflexión realizada por el profesor De Lucas sobre la película Blade Runner acerca de una concepción ‘no biologicista’ de la condición humana, con el ofrecido por la secuela de ese film, Blade Runner 2049, en la que se propone el surgimiento de la auténtica ‘condición poshumana’ a partir de máquinas que ya no son fabricadas sino ‘engendradas’ por otras máquinas.

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14

Lee, Soo-Jin. "Blade Runner 2049 and Filmic Signifiers of Vulnerability." Semiotic Inquiry 63 (June 30, 2020): 153–78. http://dx.doi.org/10.24825/si.63.6.

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15

Marotta, Melanie. "Cyberpunk Women : Blade Runner 2049 and its contemporaries." Film International 18, no. 2 (2020): 76–88. http://dx.doi.org/10.1386/fint_00024_1.

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16

King, Geoff. "Blade Runner 2049 and the ‘quality’ Hollywood film." Science Fiction Film & Television 13, no. 1 (2020): 77–96. http://dx.doi.org/10.3828/sfftv.2020.5.

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17

Konefał, Sebastian Jakub. "Byty postzwierzęce w powieści P.K. Dicka <i>Czy androidy marzą o elektrycznych owcach?</i> i w filmowej dylogii <i>Blade Runner</i>." Er(r)go. Teoria - Literatura - Kultura, no. 42 (September 3, 2021): 197–214. http://dx.doi.org/10.31261/errgo.9290.

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Fabuła powieści Philipa K. Dicka Czy androidy marzą o elektrycznych owcach? stała się inspiracją dla twórców scenariuszy do filmów Łowca androidów (1982) oraz Blade Runner 2049 (2017). Poza analizowanymi już wielokrotnie wątkami cogito sztucznych ludzi w “trylogii Blade Runnera” odnajdziemy także strategie narracyjne dające się odczytywać z perspektyw animal studies. Do najważniejszych z nich należy motyw ontologicznych nieciągłości cyberbiologicznych zwierząt (animoidów), a także pomysł narracyjnego powiązania bytów organicznych i technologicznych z ideą międzygatunkowego splotu. Przykłady ta

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18

Marín Ramos, Esther. "Blade Runner, de 2019 a 2049. El cine de ciencia ficción como divulgador de la ciencia." InMediaciones de la Comunicación 13, no. 2 (2018): 187. http://dx.doi.org/10.18861/ic.2018.13.2.2873.

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<p>Han pasado treinta y cinco años desde el estreno de Blade Runner (Ridley Scott, 1982) a su secuela, Blade Runner 2049 (Denis Villeneuve, 2017) y, eso, nos proporciona la oportunidad de observar en qué medida los cambios acaecidos en nuestra cultura han modificado el discurso de una de las tramas de ciencia ficción que con mayor énfasis representó el temor a los efectos adversos del progreso. Desde una perspectiva sociológica y comunicológica, el análisis comparativo de ambos filmes demuestra que el alarmismo apocalíptico que impregnó al género la mayor parte del siglo pasado ha dado p

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19

Ferrer, Marcos Joaquín. "Del amor a lo siniestro en Blade Runner 2049." Miguel Hernández Communication Journal 12 (January 31, 2021): 181–202. http://dx.doi.org/10.21134/mhcj.v12i.944.

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Resumen  El presente artículo aborda lo siniestro en Blade runner 2049 a partir de la presencia en la película de los elementos y temas que, según Freud, eran portadores del fenómeno. El objetivo es comprobar si la mera presencia de estos basta para que lo siniestro irrumpa, o si es necesario que su carga alcance a la materialidad fílmica, rasgando los códigos del modo de representación hegemónica, para que el fenómeno alcance toda la radicalidad de su manifestación. Para ello nos basaremos en diversas secuencias que establecen la relación entre Joi y `K´ y Deckard y Rachel, porque

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20

Estrela, Vania. "Blade Runner 2049 and the Quest for Industry 4.0." Oriental journal of computer science and technology 10, no. 04 (2017): 708–9. http://dx.doi.org/10.13005/ojcst/10.04.01.

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21

Amate Bonachera, Agustín. "LA GEOMETRÍA OCULTA EN LA FOTOGRAFÍA DE BLADE RUNNER 2049." Signa: Revista de la Asociación Española de Semiótica 32 (January 10, 2023): 239–88. http://dx.doi.org/10.5944/signa.vol32.2023.32718.

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Este estudio examinó la geometría oculta en la fotografía de Blade Runner 2049, película ganadora de un Oscar en cinematografía. Esta investigación de enfoque hermenéutico epistemológico e histórico utilizó un método cualitativo de carácter descriptivo y relacional, y se basó en la teoría crítica. Se exploró el contenido y la composición de fichas. Los instrumentos consistieron en la superposición de diferentes armaduras, y se midieron mediante la raíz del cuadrado y del tamaño de las dimensiones del marco de las imágenes. En los 1664 fotogramas explorados se evaluaron relaciones con las varia

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22

Brodowska, Julia. "Brzmienie "Blade Runnera 2049". O przenikaniu się muzyki i obrazu w filmie science fiction." Creatio Fantastica 59, no. 2 (2019): 123–42. https://doi.org/10.5281/zenodo.3311821.

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The article addresses the subject of coexistence of music and image in a movie with particular emphasis on science fiction aesthetics. It points out the important form-generating role of music in the visions of the future created within this genre. The key issue here is the use of electronic music, considered to be the most adequate for illustrating futuristic worlds. Based on the research of musicologists, the most representative examples of a combination of electronic and avant-garde music with a picture in science fiction cinema are chronologically discussed. The starting point for these co

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23

Kim, so young. "Trans-boundary of Everything, Based on E. Morin"s ‘Complexity Paradigm’ : Focusing on Blade Runner and Blade Runner 2049." Journal of the Humanities for Unification 85 (March 31, 2021): 293–325. http://dx.doi.org/10.21185/jhu.2021.03.85.293.

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24

Antón Menéndez, David. "Reseña sobre la película "Blade Runner 2049" (2017) de Denis Villeneuve." Clínica Contemporánea 8, no. 3 (2017): E33, 1–3. http://dx.doi.org/10.5093/cc2017a22.

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25

Hiskes, Andries. "Semblances of Intimacy: Separating the Humane from the Human in Blade Runner 2049." Journal of Posthuman Studies 5, no. 1 (2021): 19–38. http://dx.doi.org/10.5325/jpoststud.5.1.0019.

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Abstract Denis Villeneuve’s film Blade Runner 2049 can be read as a postmodern detective story that explores the indeterminacy of whether its protagonist, K, is human or replicant. I argue that it is through the search for clarity between these two ontological categories that the film concurrently investigates how the aesthetic and ethical category of the humane becomes, or can become, separate and distinct from the ontological category of the human. Through this separation, I argue that the humane is characterized by the desire to establish and build connections of emotional and affective int

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26

Lacroix, Isabelle. "Politique et éthique des grandes entreprises : l’univers dystopique des blade runner 2019 et 2049." Entreprises et histoire 96, no. 3 (2019): 60. http://dx.doi.org/10.3917/eh.096.0060.

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27

McGregor, Rafe. "Violence Is a Cleansing Force: Frantz Fanon, the Criminological Imagination, and Blade Runner 2049." Journal of Aesthetic Education 57, no. 3 (2023): 69–86. http://dx.doi.org/10.5406/15437809.57.3.05.

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Abstract Frantz Fanon is best known as the author of two monographs: Black Skin, White Masks (1952), a literary and psychological account of Black experience and anti-Black racism, and The Wretched of the Earth (1961), a political manifesto arguing for the need to respond to colonial oppression with revolutionary violence. His critics contend that the disciplinary division evinces a failure to successfully integrate the psychological with the political, which detracts from his intellectual legacy. In this article, I employ criminologist Jon Frauley's theory of the analytic value of fictional f

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Doğan, Emrah, and Aziz Coşkun. "Yapay Zekâ ve Post-İnsanın Etik İkilemleri: Blade Runner 2049 ve Her Filmlerinin Karşılaştırması." Gaziantep University Journal of Social Sciences 24, no. 3 (2025): 1170–85. https://doi.org/10.21547/jss.1680330.

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Bu araştırma, Blade Runner 2049 (2017) ve Her (2013) filmleri üzerinden yapay zekâ (YZ) teknolojilerinin post-insan kavramı bağlamında ortaya çıkardığı etik ikilemleri incelemektedir. Araştırmanın temel savı olan post-hümanist düşünce, insanı merkeze alan anlayışlara karşı çıkarak, insan ile makine, insan ile doğa ve insan ile diğer canlılar arasında daha eşitlikçi bir ilişki önermektedir. Bu çerçeveden baktığımız zaman, YZ sadece teknik bir aracın ötesinde kimlik, bilinç, ahlaki sorumluluk ve gerçeklik algısını sorgulatan bir varlık biçimi olarak ele alınabilmektedir. Araştırmaya konu olan fi

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29

Yu, Shiqi. "„More human than human?“ Eine vergleichende Analyse zur Cyborg-Figur und Leib-Seele-Dichotomie in den Filmen „Blade Runner (1982)“ und ”Blade Runner 2049 (2017)”." Studia Germanica Posnaniensia, no. 42 (August 1, 2023): 253–67. http://dx.doi.org/10.14746/sgp.2022.42.16.

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Aus einer doppelten Dezentrierung wird das posthumane Subjekt als Alternative zum traditionellen Subjekt verstanden, welches seit der Aufklärung als liberal-humanistisches Subjekt (d.h. rational und autonom) definiert wird, und muss nicht nur den Anthropozentrismus beseitigen, sondern sich auch von der individualisierten, auf das Bewusstsein zentrierten Sicht des Subjekts lösen. In den zwei ausgewählten dystopischen Science-Fiction-Filmen Blade Runner (1982) und Blade Runner 2049 (2017) wird die aus Donna Haraways Manifest stammende Figur des Cyborgs behandelt und als neue Deutungsmöglichkeit

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30

Fedosik, Marina. "The Power to “Make Live”: Biopolitics and Reproduction in Blade Runner 2049." Adoption & Culture 7, no. 2 (2019): 169–75. http://dx.doi.org/10.1353/ado.2019.0011.

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31

Taşkale, Ali Rıza. "Thoughts Interlinked: Corporate Imaginaries and Post-Capitalist Futures in Blade Runner 2049." Critique 48, no. 1 (2020): 113–19. http://dx.doi.org/10.1080/03017605.2019.1706788.

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32

Guynes, Sean. "Dystopia fatigue doesn’t cut it, or, Blade Runner 2049’s utopian longings." Science Fiction Film & Television 13, no. 1 (2020): 143–48. http://dx.doi.org/10.3828/sfftv.2020.6f.

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33

You, Su-Jin, and Chul-Hee Lee. "Interpreting Post-Human Identity through the Narrative and Sound of "Blade Runner 2049." Journal of the Korea Entertainment Industry Association 18, no. 3 (2024): 19–33. http://dx.doi.org/10.21184/jkeia.2024.4.18.3.19.

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34

Dunk, Jonathan. "Allegory and Symbol in <em>Blade Runner 2049</em>." Affirmations: of the modern 7, no. 1 (2021): 46. http://dx.doi.org/10.57009/am.122.

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35

Arnold-de Simine, Silke. "Beyond trauma? Memories of Joi/y and memory play in Blade Runner 2049." Memory Studies 12, no. 1 (2019): 61–73. http://dx.doi.org/10.1177/1750698018811989.

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Cultural memory studies finds itself at an impasse: whereas ‘cultural memory’ is conceptualized as mediated, dynamic, imaginative and shaped by the present, the dominant paradigm of ‘trauma’ illuminates the hold the past has on us, casting the shadow of a melancholic subjectivity that threatens to obscure our agency as (political) subjects. This article asks what lies in store for memory studies beyond the focus on (classic) trauma (theory). Using the movie Blade Runner 2049 (US 2017; dir: Denis Villeneuve) as an illustrative example, it explores how creative and joyful forms of meaning-making

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36

Filippov, Alexander F. "Waiting for a Miracle: The Sociology of Replicants as Political Theology (Blade Runner 2049)." State Religion and Church in Russia and Worldwide 37, no. 3 (2019): 69–101. http://dx.doi.org/10.22394/2073-7203-2019-37-3-69-101.

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37

Nogueira, Alex, and Hugo Farias. "The Future of the Past – Housing in Blade Runner." SPACE International Journal of Conference Proceedings 1, no. 2 (2021): 7–19. http://dx.doi.org/10.51596/sijocp.v1i2.22.

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Architecture, in addition to the role of setting in the film industry, can also be an element of discussion, interpretation, and generalisation. Many works have already been developed from this perspective. In this context, the dystopian universe presented in the science fiction movie Blade Runner (1982, directed by Ridley Scott) and its sequel – Blade Runner 2049 (2017, directed by Denis Villeneuve), deserve mention. The films have a time interval of 30 years in relation to the fictional chronology of the original movie and 35 years elapsed in conventional chronology. It is precisely these te

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Torlasco, Domietta. "The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 2049." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 3 (2022): 87–113. http://dx.doi.org/10.1215/02705346-10013632.

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Abstract Taking Denis Villeneuve's Blade Runner 2049 as a point of departure, this essay argues that cinema's stories of species survival at once hide and duplicate the racialization of matter that has marked the history of geology and, more recently, the discourse of the Anthropocene. In the process, what is erased is also the memory of other stories that could have been told, stories that emerge out of a history of violence against Black being—what Hortense Spillers calls “high crimes against the flesh”—and that demand a temporality and a point of view that the cinema of the Anthropocene den

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Payne and Pitsis. "On Nature and the Tactility of the Senses in Blade Runner 2049." Journal of Asia-Pacific Pop Culture 3, no. 1 (2018): 55. http://dx.doi.org/10.5325/jasiapacipopcult.3.1.0055.

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Fedosik. "The Power to “Make Live”: Biopolitics and Reproduction in Blade Runner 2049." Adoption & Culture 7, no. 2 (2019): 169. http://dx.doi.org/10.26818/adoptionculture.7.2.0169.

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41

Elyamany, Nashwa Abdelkader. "Posthuman Emotion Artificial Intelligence in Postcyberpunk Cityscape: A Multimodal Reading of Blade Runner 2049." Insights into Language, Culture and Communication 1, no. 1 (2021): 04. http://dx.doi.org/10.21622/ilcc.2021.01.1.004.

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42

UZUN, Buse. "Türlerin Ayrımı: “Blade Runner 2049”a Ontolojik Bakış Açısı ile Tanrı ve İnsan Felsefesi." SineFilozofi 6, no. 11 (2021): 972–76. http://dx.doi.org/10.31122/sinefilozofi.948147.

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43

Leal, João Vitor Resende. "O olhar desencarnado: jogos de máscaras no cinema de ficção científica." Galáxia (São Paulo), no. 39 (December 2018): 72–87. http://dx.doi.org/10.1590/1982-255435362.

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Resumo Este artigo busca refletir sobre o trabalho do ator a partir de personagens androides no cinema de ficção científica. Discutiremos como o recorrente motivo do desmascaramento do androide coloca em questão o rosto e o olhar humanos. De A clever dummy (1917) a Blade Runner 2049 (2017), examinaremos algumas das estratégias narrativas e estéticas que transformam o ator em personagem-máquina, atentando também para possíveis origens da figura do androide na cultura ocidental e para alguns de seus desdobramentos na obra dos artistas Otávio Donasci, Tony Oursler e Denis Marleau.

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44

Campbell, Lee. "Reading Like A Replicant: Blade Runner 2049, Pale Fire, and the Archival Embodiment of Literature." Imaginations: Journal of Cross-Cultural Image Studies 14, no. 2 (2023): 77–100. http://dx.doi.org/10.17742/image29695.

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If androids dream of electric sheep, do replicants read analog novels? In the dystopian sci-fi world of Blade Runner 2049 (2017), literature plays a complex role. In particular, the film engages in a multi-leveled way with Vladimir Nabokov's novel Pale Fire (1962). A hardcover copy of the book appears in one scene, and it is quoted and covertly referenced in others. These appearances are like metafictive keys to a pattern of possible meanings, through which the film both embodies and reflects upon its method of archival replication. Translating between codex, screen, and holographic media, the

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Pardo García, Pedro Javier. "El Mito de Frankenstein en el cine: transmediación y ciencia ficción (Blade Runner y 2049)." Trasvases entre la literatura y el cine, no. 2 (October 14, 2020): 9–42. http://dx.doi.org/10.24310/trasvasestlc.vi2.9547.

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Este trabajo explora la presencia de Frankenstein en el cine a partir de un marco teórico basado en los conceptos de transtextualidad y transescritura. En su primera parte hace un recorrido por las transmediaciones que han convertido la novela en un mito, con un doble objetivo: en primer lugar, ilustrar el rendimiento del marco teórico y, en segundo lugar, alcanzar una definición del mito frankensteiniano, que se cifra en la dialéctica creador-criatura articulada en tres motivos narrativos y desarrollada en tres mitemas. En la segunda parte el artículo se interroga sobre la presencia de este p

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Konefał, Sebastian Jakub. "Discursive and dialogic interfaces, panoptic power and “penetrative technologies” in Denis Villeneuve’s “Blade Runner 2049”." Quart, no. 1(71) (July 16, 2024): 8–33. http://dx.doi.org/10.19195/2449-9285.71.5.

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Denis Villeneuve’s Blade Runner 2049 (2017) is a culture text that, in many scenes, creatively uses visualisations of futuristic machine interfaces designed to scan and penetrate realms inaccessible to humans. Many of these devices can be interpreted from the perspective of Vilém Flusser’s research on discursive and dialogic technologies. The former, according to the philosopher, serve to enslave individuals, while the latter as emancipatory gestures. The universe presented in Villeneuve’s film has the characteristics of a panoptic dystopia, in which knowledge is an element of strengthening c

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Yoshinaga, Ida. "Seven inquiries on the antediluvian labour market of cinematic ‘sf auteurs’ and Blade Runner 2049." Science Fiction Film & Television 13, no. 1 (2020): 128–34. http://dx.doi.org/10.3828/sfftv.2020.6d.

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程, 斯媛. "Cyborg’s Identity from a Posthumanist Perspective—Taking the Movie Blade Runner 2049 as an Example." Art Research Letters 12, no. 03 (2023): 263–68. http://dx.doi.org/10.12677/arl.2023.123044.

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Katsaridou, Maria, and Loukia Kostopoulou. "Digital realities and metaphorical constructs: A multimodal semiotic and intermedial analysis of Blade Runner 2049." Digital Age in Semiotics & Communication 7 (December 30, 2024): 164–82. https://doi.org/10.33919/dasc.24.7.11.

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The concept of metaphor has long been explored in film in a variety of ways, from Eisenstein’s experimentations to more contemporary examples. Contemporary theoreticians such as Forceville (2016) have enhanced the concept of metaphor, moving away from its purely linguistic quality and underlying its multimodal aspect. In this article, we will use Force-ville’s paradigm of multimodal metaphors as implemented in films. We will analyse Blade Runner 2049 (Villeneuve 2017), focusing on its representation of digital reality through multimodal metaphors. The film, widely acclaimed for its philosophic

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Gomel, Elana. "Recycled Dystopias: Cyberpunk and the End of History." Arts 7, no. 3 (2018): 31. http://dx.doi.org/10.3390/arts7030031.

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While cyberpunk is often described as a dystopian genre, the paper argues that it should be seen rather as a post-utopian one. The crucial difference between the two resides in the nature of the historical imagination reflected in their respective narrative and thematic conventions. While dystopia and utopia (structurally the same genre) reflect a teleological vision of history, in which the future is radically different from the present, post-utopia corresponds to what many scholars, from Fredric Jameson and Francis Fukuyama to David Bell, have diagnosed as the “end of history” or rather, the

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