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Relevant bibliographies by topics / Blade runner (Film cinématographique)

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Academic literature on the topic 'Blade runner (Film cinématographique)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Blade runner (Film cinématographique)"

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Martin, Michael. "Meditations on Blade Runner." Journal of Interdisciplinary Studies 17, no. 1 (2005): 105–22. http://dx.doi.org/10.5840/jis2005171/26.

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The 1982 film, Blade Runner, presents many questions conceming the position and relevance of the human being in the postmodern epoch. The audience is confronted with androids, called replicants, incredibly handsome "beings" whose language rises at times to poetic beauty, while the humans in the film are embarrassing physical and moral examples of the species. With whom will the audience identify or sympathize, the human or the simulacrum? The film further complicates this issue by incorporating traditional Christian symbols and language in relation to the replicants. The film seems to suggest that consciousness is the defining characteristic of humanness, whether one speaks of an organic human being or a replicant. Current debate between scientists, philosophers, and theologians centers on the question of consciousness and its relationship to the brain and, for some, the soul This essay addresses the dilemmas in the film, while keeping in mind the central question: What is a human being?

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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 than the sum of its parts? Is a bioengineered human a real human or simply a sophisticated machine? Furthermore, the film associates the organic with the real. Real humans as well as real memories are linked to a larger whole. The article reflects these constellations against various philosophical stances.

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Broad, Terence, and Mick Grierson. "Autoencoding Blade Runner: Reconstructing Films with Artificial Neural Networks." Leonardo 50, no. 4 (August 2017): 376–83. http://dx.doi.org/10.1162/leon_a_01455.

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In this paper, the authors explain how they created Blade Runner—Autoencoded, a film made by training an autoencoder—a type of generative neural network—to recreate frames from the film Blade Runner. The autoencoder is made to reinterpret every individual frame, reconstructing it based on its memory of the film. The result is a hazy, dreamlike version of the original film. The authors discuss how the project explores the aesthetic qualities of the disembodied gaze of the neural network and describe how the autoencoder is also capable of reinterpreting films it has not been trained on, transferring the visual style it has learned from watching Blade Runner (1982).

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

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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. Jean-Paul Sartre, Jacques Derrida and Ferdinand de Saussure.

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Macarthur, David. "A Vision of Blindness:Blade Runnerand Moral Redemption." Film-Philosophy 21, no. 3 (October 2017): 371–91. http://dx.doi.org/10.3366/film.2017.0056.

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Despite its oft-noted ambiguities, critical reception of Ridley Scott's Blade Runner (Theatrical Cuts (1982); Director's Cut (1992); Final Cut (2007)) has tended to converge upon seeing it as a futuristic sci-fi film noir whose central concern is what it means to be human, a question that is fraught given the increasingly human-like replicants designed and manufactured by the Tyrell Corporation for human use on off-world colonies. Within the terms of this way of seeing things a great deal of discussion has been devoted to putative criteria of being human and the question whether the once-retired blade runner, Rick Deckard, is or is not a replicant. I aim to explore a radically different course of interpretation, which sees the film in fundamentally moral and religious terms. Put in the starkest light, the film is not about what makes us human but whether we can be saved from ourselves, from our terrifying inhumanity, our moral blindness.

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Privado, Rafael de Jesus Pinheiro. "Cinema, filosofia e direito no filme “Blade Runner” (1982, R. Scott) / Cinema, philosophy and law in the film "Blade Runner" (1982, R. Scott)." Brazilian Journal of Development 7, no. 4 (April 1, 2021): 33405–23. http://dx.doi.org/10.34117/bjdv7n4-005.

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Cruz, Décio Torres. "The literary discourse of Blade Rnner: film as a literary collage." Tradterm 13 (December 18, 2007): 261. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2007.48189.

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Este ensaio discute problemas teóricos envolvendo a relação entre filme e literatura a partir dos estágios iniciais dessa discussão. Também lida com o modo não só como a literatura toma de empréstimo o discurso do cinema, mas principalmente como o cinema se utiliza do discurso literário por meio da apropriação mútua de técnicas e através de um processo de tradução de diferentes meios. Cenas de <em>Blade Runner</em>, de Ridley Scott, serão usadas para ilustrar os argumentos desenvolvidos neste ensaio, ou seja, de que modo o filme traduz a tradição literária de Dante, Blake e Milton, assim como trechos bíblicos.

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Kubiak-Ho-Chi, Beata. "Blade Runner w kombinacie zakrzywionej czasoprzestrzeni, czyli film Ridleya Scotta w powieści Shōno Yoriko." Porównania 18 (December 1, 2016): 183–96. http://dx.doi.org/10.14746/p.2016.18.10668.

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Blade Runner, tytuł kultowego filmu Ridleya Scotta z 1982 r., w Polsce znanego jako Łowca androidów, niczym wysłannik ponurej przyszłości pojawia się na kartach powieści „Kombinat zakrzywionej czasoprzestrzeni” (Taimu surippu konbināto, 1994), pióra współczesnej japońskiej pisarki Shōno Yoriko (ur. 1956). Co łączy te dwa utwory, należące przecież do różnych porządków narracyjnych – tak wizualnego, jak tekstowego? Co zainspirowało Shōno w Blade Runnerze i jakie są skutki tej inspiracji dla fabuły powieści? Na ile sajensfikcyjny, postapokaliptyczny świat słynnego filmu Ridleya Scotta przenika slipstreamową prozę Shōno Yoriko i kształtuje jej powieściową rzeczywistość? Oprócz odpowiedzi na te pytania, autorka niniejszego artykułu podejmuje również temat roli science fiction we współczesnej literaturze japońskiej oraz przedstawia sylwetkę i dorobek literacki Shōno Yoriko, pisarki wybitnej, lecz jak do tej pory z różnych powodów poza Japonią mało znanej.

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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 es en ellas donde lo siniestro toma forma a partir del amor y de la muerte en la figura de la mujer que retorna de la muerte. Pondremos el foco igualmente en la relación que se establece entre lo siniestro y aquello que surge entre la resistencia del sujeto y las imágenes de consumo capitalistas. Abstract The article addresses the sinister in Blade runner 2049, starting with the elements and themes that, according to Freud, were the carriers of the phenomenon. The objective is to check if the mere presence of these in the film is enough for the sinister to erupt. Another way of checking the sinister's presence is by looking at the filmic materiality tearing the codes of the hegemonic mode of representation. This way the phenomenon would reach all the radicality of its manifestation. In order to do this, we will base ourselves on various sequences that establish the relationship between Joi and `K´ and the one between Deckard and Rachel. It is in these relationships where the sinister takes shape from love and death in the figure of the woman who returns from death. We will also focus on the connection that is established between the sinister and the result of combining the resistance of the subject with the images of capitalist consumption.

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Dissertations / Theses on the topic "Blade runner (Film cinématographique)"

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Cloutier, Caroline. "Le discours sur la ville dans les films d'anticipation." Master's thesis, Université Laval, 2003. http://hdl.handle.net/20.500.11794/28613.

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Helmbold, Christin. "Show your true colors : Färgkodning av karaktärer i Baby Driver, Django Unchained och Blade Runner 2049." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29289.

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När en film produceras spelar komponenten färg en viktig roll. I uppsatsen behandlas hur färg används i film för att färgkoda karaktärer, dvs. hur färgsemiotiken - vad vi associerar med färg - används för att gestalta eller understryka en karaktärs personlighet. Den kvalitativa undersökningen börjar med att förklara med vetenskapliga källor på vilket sätt färg påverkar människor och vad en betraktare associerar med färg. Därefter analyseras filmerna Baby Driver (2017), Django Unchained (2012) och Blade Runner 2049 (2017), som har utpräglade estetiska stilar genom att använda färg som berättarkomponent. I analysen undersöks hur färg används i filmerna för att berätta något om karaktärernas personligheter. Det diskuteras också vilka likheter och skillnader det finns i användningen av färgkodning i filmerna. Resultatet visar att färgkodning används i dem analyserade filmer för att skapa eller förstärka intrycket av karaktärernas personligheter. Likaså används färgkodning för att signalera en förändring av karaktärerna. Däremot finns det breda tolkningsmöjligheter av en färg, vilket medför att samma färg inte alltid står för samma personlighet. Färgen måste alltid tolkas till karaktärens kontext i filmen.

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Mandell, Christoffer. "Artificiell Gudomlighet : Artificiell intelligens och religion i film." Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34234.

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Genom 2000-talets teknologiska framåtskridande finns förhoppningen om att en dag kunna skapa ett artificiellt medvetande, ett objekt med förmågan att tänka på att den tänker och med en egen fri vilja. Om eller när detta blir verklighet ställs frågorna vad exakt det är som människan har skapat och hur vi ska förhålla oss till det skapade. Dessa frågor ligger till grund för vad denna uppsats, genom ett innehållsanalytiskt tillvägagångssätt, undersöker, med syftet att analysera hur gestaltningen på film av artificiell intelligens (A.I.) kan förstås i relation till en kristen mytologi. Utifrån filmmanusen till The Imitation Game (2014) och Blade Runner 2049 (2017) analyseras de filmiska representationerna av A.I. med ett teologiskt avbildsbegrepp som dialogiskt förstoringsglas. Uppsatsen finner att fiktionen i detta sammanhang lyfter fram att strävan efter att skapa A.I. som avbild pekar på ett mänskligt sökande efter både närhet och kärlek.

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Wetherbee, Benjamin James. "Toward a Rhetoric of Film: Theory and Classroom Praxis." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1313119045.

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Magnuson, Markus Amalthea. "Frihet, jämlikhet, cyborgskap : Drömmen om den mänskligare människan." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-179043.

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This thesis explores the metaphoric cyborg concept, based on the classic essay "A Cyborg Manifesto" by Donna J. Haraway, through Claudia Springer and her analysis of cyborgs in popular culture, and in relation to Judith Butler and queer theory. By extending the cyborg term to include contemporary forms of cyborgship such as our internet lives and personas, I advocate discussion of philosophical matters concering man/machine-compounds today rather than tomorrow. The main purpose is to restore the cyborg concept as a meaningful analytic and philosophic tool for studying man/machine-relations, in a world where other theories concerning nature/culture, man/machine/animal, subject/object, and similar dichotomies, partly lack a technological perspective. Hopefully, this thesis manages to connect three decades of cyborg reflections from several points of view, posing interesting questions about our dealings and feelings towards our dear friends – the machines.

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Yip, Sheenie. "Sinofuturism." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1174.

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Wu, Ching-Chang, and 吳慶璋. "Reconstructing "Blade Runner"；Textual variations on a Film." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8zftm4.

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碩士
國立臺灣藝術大學
電影學系
103
This research study takes a look into a phenomenon that has existed since the early development of film, that is the paradox of multiple textual variations of the same movie co-existing. Beginning with the industry definition of “film textual variations”, this study uses the film “Blade Runner”, in which there are four variations: “The US theatrical version”, “The International Cut”, “The Ridley Scott-Approved Director's Cut” and the “Ridley Scott's Final cut”. Using "comparative research" as a research method and découpage as a research tool, this study provides a detailed description, interpretation, and juxtaposition of the textual variations and finds divergences between the different versions. This study raises a few points, including finding the reason for the formulation of film textual variations－economical reasons, political and societal reasons, technical reasons, or due to the power struggle for freedom of expression between investors and authors. Through the discovery of the above reasons, it can be noted that those who have the right to expression within a movie mainly utilizes editing or computer digitalization techniques and tools to produce different variations. Most importantly, the majority of movie watchers and critics are generally not aware of the existence of different variations, taking the variation they have on hand and abiding to the restrictions on different views of each variation to conduct analysis and come to a conclusion. These conclusions transfer ideas and different perspectives onto readers. In conclusion, with the present situation of film reviews and research, this study believes that the importance of looking into “film textual variations” is equivalent to the textual criticism in the world of literature; it is the fundamental basis of all research!

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Skoting, Joel. "Versioner av en berättelse : En narratologisk analys av Blade Runner." Thesis, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-77713.

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The purpose of this essay is to describe and examine the different versions of the 1982 movie Blade Runner. How these versions vary in question of narrative, theme, tone and message is a focal point of this essay. Of special interest is how these relate to our reality regarding political or philosphical views. The conclusion of this study is that the same core ideas and messages remain throughout the different versions of Blade Runner. However, the ways in which these ideas are presented vary, as does the tone of certain scenes. Through some censoring and editing, some themes are affected and are not as easily identified in all versions of the film. Some of these relate to symbolism through symbolic violence and how humans affect their environment. Other central themes relate to discrimination towards minorities and existential themes and questions. In conclusion: Blade Runner is a complex and topical movie which shifts in tone and theme depending on which version you view.

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Paquette, Maude. "L'émergence du cinéma inuit : la représentation du Nord et des Inuits dans le film Atanarjuat, The fast runner de Zacharias Kunuk." Mémoire, 2006. http://www.archipel.uqam.ca/2088/1/M9208.pdf.

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Devant l'avènement de nouveaux moyens de communication dans les territoires nordiques, l'émergence d'une prise de parole inuite est inévitable. La création d'Igloolik Isuma Productions, dans le Nunavut, est étroitement liée à l'élaboration de cette nouvelle culture. Les oeuvres de la première compagnie de production inuite indépendante, particulièrement Atanarjuat, the Fast Runner, de Zacharias Kunuk, témoignent de l'importance de tenir compte d'une nouvelle variable dans l'analyse du discours sur la représentation du Nord: les cultures inuites commencent à prendre la parole et à remettre en jeu les représentations existantes. L'objectif de ce mémoire est double. Il vise à comprendre ce qui a mené à l'émergence de la prise de parole inuite et à voir comment s'organise cette cinématographie naissante. Ainsi, le premier chapitre expose les diverses représentations du territoire nordique et des Inuits mises de l'avant par l'industrie cinématographique sudiste. Après avoir établi ce qui a poussé les cinéastes sudistes à s'intéresser aux peuples polaires, il est possible de voir quelles images du Nord et des Inuits se dégagent de ces représentations filmiques. Le deuxième chapitre rend compte de la création d'Isuma Productions et du contexte entourant la naissance d'Atanarjuat. Dans le film, on remarque que le réalisateur s'inspire de l'approche documentaire. Tout comme le travail de Pierre Perrault au Québec, Kunuk propose une nouvelle vision de l'histoire qui vise la conservation de la culture orale par sa mise en images. Le dernier chapitre propose une analyse thématique du film, qui permet d'illustrer les thèses élaborées dans le chapitre précédent, à l'effet que le film interprète les images véhiculées par le cinéma sudiste sur le Grand Nord. En définitive, le film de Kunuk remet en jeu les représentations existantes sur le Nord en devenant le symbole de l'émergence du cinéma inuit. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Atanarjuat, Représentation, Nord, Inuit, Cinéma, Approche documentaire, Fiction, Nunavut, Zacharias Kunuk, Pierre Perrault, Québec.

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Books on the topic "Blade runner (Film cinématographique)"

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Blade Runner. 2nd ed. Kent: Crescent Moon Publishing, 2013.

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Blade runner and the cinema of Philip K. Dick. Maidstone: Crescent Moon, 2009.

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Robinson, Jeremy. Blade runner: And the cinema of Philip K. Dick. 2nd ed. Maidstone: Crescent Moon, 2011.

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Robinson, Jeremy. Blade runner and the cinema of Philip K. Dick. Maidstone: Crescent Moon, 2009.

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Trutnau, John-Paul. Fritz Lang's Metropolis and its influence on the American science fiction film : Blade Runner, Terminator I + II. Essen: Blaue Eule, 2005.

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Studying Blade Runner. Auteur, 2008.

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Studying Blade Runner. Auteur, 2008.

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Blade Runner. Routledge, 2012.

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Blade Runner. Taylor & Francis Group, 2015.

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York Film Notes: "Blade Runner" (York Film Notes). York Press, 2000.

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Book chapters on the topic "Blade runner (Film cinématographique)"

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Knight, Deborah. "The Blade Runner Question." In Philosophy and Film, 267–80. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-16.

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Cruz, Décio Torres. "Blurring Genres: Dissolving Literature and Film in Blade Runner." In Postmodern Metanarratives, 50–59. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137439734_4.

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Bonner, Marc. "Hypertrophe Megastrukturen: Utopische Architekturkonzepte der Nachkriegszeit in den Stadtvisionen der Blade-Runner-Filme." In Urbane Zukünfte im Science-Fiction-Film, 65–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-61037-4_5.

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Locke, Brian. "The Orientalist Buddy Film and the “New Niggers”: Blade Runner (1982, 1992, and 2007)." In Racial Stigma on the Hollywood Screen from World War II to the Present, 101–28. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101678_6.

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Redmond, Sean. "Introduction: Reading (into) the Greatest Science Fiction Film Ever Made." In Blade Runner, 7–12. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0001.

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This chapter focuses on Ridley Scott's 1982 film Blade Runner that has become one of the most lauded science-fiction films ever made. It talks about academics who have written about Blade Runner in terms of its racial and sexual politics, its exploration of humanity, and of the way it challenges many of the accepted or expected codes and conventions of the science-fiction film. It also examines how Blade Runner is considered by the British Film Institute to be a 'Modern Classic' and is often one of the most written about films when it comes to science-fiction readers. The chapter analyses how Blade Runner is often used as the seminal text with which to explore the poetics and politics of the science-fiction genre. It mentions Blade Runner as one of the biggest commercial failures of the summer of 1982 for bringing in less than half the cost of its production.

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Redmond, Sean. "Textual Analysis." In Blade Runner, 71–80. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0007.

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This chapter discusses textual analysis as the best way to get to understand how a film produces meaning. It points out how close textual analysis enables the critical reader to get beneath the skin of the film by breaking it down into its main sequences or scenes, which reveal its formal, narrative structures, its pleasures, and its ideological messages. It also talks about close textual analysis that involves the assessment or deconstruction of shot, lighting, setting, performance, sound, editing, plot, and narrative. The chapter focuses on the close textual analysis of an early scene from Ridley Scott's Blade Runner, which occurs at approximately 7 minutes into the film that shows Leon's cold-blooded shooting of Holden. It describes Blade Runner's scene that begins with a long, panoramic aerial shot of the futuristic metropolis.

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Redmond, Sean. "Genre." In Blade Runner, 13–26. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0002.

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This chapter reviews the terms of the themes, iconographies and mode of address of Ridley Scott's Blade Runner that made it fall within the science-fiction genre. It describes Blade Runner as a dystopian, iconic and visually spectacular film that is argued to be an exemplary case study for what constitutes a science-fiction film. It also explains how Blade Runner offers a despairing view of the future, showing high, low and expansive shots of the Gothic, patchwork city as it belches flames, chokes on its own smog, and produces the discernible sense of an omnipresent decay. The chapter discusses Blade Runner's theme on disintegration, in which earth is so over-populated and polluted that people in the film are encouraged to move to off-world colonies. It investigates the 'aesthetic of decay' of Blade Runner that is compounded by the encroachment of technology and techno-science into all areas of social life.

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Redmond, Sean. "Narrative." In Blade Runner, 27–38. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0003.

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This chapter discusses the narrative of Ridley Scott's Blade Runner in terms of the way it functions, like the anti-narrative film found in a great deal of European art cinema. It discusses German Expressionism as the reference point for Blade Runner. It also analyses the dislocated and open-ended nature of Blade Runner's narrative that suggests a challenging art aesthetic that was borrowed from film movements, such as the French New Wave. The chapter explores Blade Runner's narrative, which is marked by gaps and enigmas that are never fully cohered or resolved. It addresses arguments made about contemporary science fiction that is predominately driven by a desire to be always visually spectacular.

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Redmond, Sean. "Audiences." In Blade Runner, 67–70. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0006.

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This chapter looks at how audiences, through their choice of screenings and their response to films, can transform production trends and the decisions made about which films are made at the planning stage of film production. It analyses the production and early distribution history of Ridley Scott's Blade Runner that bear classification struggles encountered during its production, which were driven by a fear that it wouldn't be a suitable vehicle for mainstream audiences. It also confirms the way audiences are more active, appreciative, and diverse in their consumption of a film once the tag of mainstream flop has been removed by time, distance, and context. The chapter describes how Blade Runner audiences are sovereign and not purely connected to shaping production trends. It recounts how Blade Runner immediately found a cult audience on a late-night cable television, and in terms of video rental became a home box-office smash.

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Verevis, Constantine. "The Edge of Reality: Replicating Blade Runner." In Film Reboots, 65–80. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451369.003.0005.

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This chapter describes Blade Runner 2049 as a ‘reboot-sequel’ for the way it retraces its precursor(s) at the same time as it extends them. In making this point, it argues that Blade Runner 2049 – a film that might be seen as a ‘true sequel’ to Blade Runner (Scott, 1982) – can be understood as a film that reboots a entire franchise. That is, Blade Runner – its multiple versions (1982, 1992, 2007) and many transmedia paratexts – is characterized as a serialised property, one that operates according to the protocols of both organic and, following the work of Jason Mittell, operational seriality.

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