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Journal articles on the topic 'Cyberpunk'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Lemos, André. "Apropriação, desvio e despesa na cibercultura." Revista FAMECOS 8, no. 15 (April 10, 2008): 44. http://dx.doi.org/10.15448/1980-3729.2001.15.3119.

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Este artigo trata do imaginário cyberpunk, que condiciona a cibercultura, fazendo o resgate das origens e das associações do termo e da sua relação com os cyberpunks e com o underground da informática.

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Lucas, Ricardo Jorge De Lucena, and Lucas Bernardo Reis. "O cyberpunk ocidental e oriental: as distâncias textuais entre Blade Runner e Tetsuo." Revista Memorare 8, no. 1 (July 21, 2021): 160. http://dx.doi.org/10.19177/memorare.v1e12021160-177.

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O presente artigo busca estudar as diferenciações entre o cyberpunk ocidental e oriental no cinema e nas artes visuais. Para isso, procuramos relações entre a história em quadrinhos “The Long Tomorrow” e o filme Blade Runner, e a arte ero-guro e o filme Tetsuo. Buscamos responder quais aspectos tornam essas obras particulares e distintas entre si. Para tal, revisitamos alguns preceitos canônicos do cyberpunk e de suas particularidades nas culturas norteamericana e japonesa a partir das influências transtextuais de algumas obras que lhes são anteriores. Os resultados parciais demonstraram que há cyberpunks distintos nesses países, mas que sofrem influências transtextuais de produções anteriores, e criam novos caminhos a partir dessa relação.

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Lucas, Ricardo Jorge De Lucena, and Lucas Bernardo Reis. "O cyberpunk ocidental e oriental: as distâncias textuais entre Blade Runner e Tetsuo." Revista Memorare 8, no. 1 (July 21, 2021): 160. http://dx.doi.org/10.19177/memorare.v8e12021160-177.

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O presente artigo busca estudar as diferenciações entre o cyberpunk ocidental e oriental no cinema e nas artes visuais. Para isso, procuramos relações entre a história em quadrinhos “The Long Tomorrow” e o filme Blade Runner, e a arte ero-guro e o filme Tetsuo. Buscamos responder quais aspectos tornam essas obras particulares e distintas entre si. Para tal, revisitamos alguns preceitos canônicos do cyberpunk e de suas particularidades nas culturas norteamericana e japonesa a partir das influências transtextuais de algumas obras que lhes são anteriores. Os resultados parciais demonstraram que há cyberpunks distintos nesses países, mas que sofrem influências transtextuais de produções anteriores, e criam novos caminhos a partir dessa relação.

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4

Klatt, Jöran. "Cyberpunk." Indes 3, no. 1 (March 2014): 75–83. http://dx.doi.org/10.13109/inde.2014.3.1.75.

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Myerson, Sasha. "Global cyberpunk." Science Fiction Film & Television 13, no. 3 (October 1, 2020): 363–86. http://dx.doi.org/10.3828/sfftv.2020.21.

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This article examines the connections between 1960s student protests, particularly the occupation of the University of Tokyo in 1968-9, and 1980s cyberpunk film in Japan. I argue that these films, while critical of the student movement, aim to reclaim and transform the utopian spirit that motivated them. Using the global 1960s framework, I situate Japanese cyberpunk film within the wider debates of this decade, particularly those concerning personal liberation and affluence. Using Tom Moylan’s concept of the critical dystopia, I demonstrate that utopian thinking does not disappear after 1968 in Japan but undergoes metamorphosis in these films.

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Gerry Canavan. "Superseding Cyberpunk." Science Fiction Studies 40, no. 1 (2013): 169. http://dx.doi.org/10.5621/sciefictstud.40.1.0169.

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Rebecca Holden. "Feminist Cyberpunk." Science Fiction Studies 40, no. 3 (2013): 555. http://dx.doi.org/10.5621/sciefictstud.40.3.0555.

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Abbott, Carl. "Cyberpunk Cities." Journal of Planning Education and Research 27, no. 2 (December 2007): 122–31. http://dx.doi.org/10.1177/0739456x07305795.

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Chen, Zhixiu, and Huiying Luo. "Research on the Enhancement of Chongqing Cyberpunk Cultural Tourism Experience under the Background of Culture and Tourism Integration." Proceedings of Business and Economic Studies 7, no. 3 (July 10, 2024): 140–48. http://dx.doi.org/10.26689/pbes.v7i3.7482.

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As a new trend in tourism and cultural development, the integration of culture and tourism is capturing the zeitgeist with its unique charm. In this context, various regions have explored distinctive cultural tourism resources and created unique tourism brands through in-depth exploration and innovation of local culture. Chongqing, with its unique geomorphological features and distinctive architectural style, retains the deep flavor of traditional Chinese culture while cleverly integrating the futuristic sense of modern technology. This combination aligns perfectly with today’s popular Chinese cyberpunk style, making Chongqing an ideal place for the development of cyberpunk cultural tourism. This article investigates the history of cyberpunk culture and its current development status in Chongqing through a literature review. It then discusses the feasibility of developing cyberpunk cultural tourism in terms of social and cultural development needs and market demand. Based on a survey of cyberpunk tourists’ experiences, the article deeply analyzes the existing problems of cyberpunk cultural tourism in Chongqing and proposes corresponding experience enhancement strategies, aiming to provide references for the development of cyberpunk cultural tourism in Chongqing Municipality.

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Tatsumi, Takayuki. "The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk." Arts 8, no. 1 (March 25, 2019): 40. http://dx.doi.org/10.3390/arts8010040.

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11

Taillandier, Denis. "New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk." Arts 7, no. 4 (October 5, 2018): 60. http://dx.doi.org/10.3390/arts7040060.

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North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Gorō’s Venus City (Vīnasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on the intertextual dynamics that underlie the shaping of those texts to shed light on Japanese cyberpunk’s (dis)connections to techno-Orientalism as well as on the relationships between literary works, virtual worlds and reality.

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Blatchford, M. F. "Cyber against punk: Greg Bear’s Queen of Angels as metamorphosed cyberpunk." Literator 15, no. 3 (May 2, 1994): 55–70. http://dx.doi.org/10.4102/lit.v15i3.677.

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Recent American science fiction (which commercially dominates world science fiction) incorporates two schools of thought, ‘cyberpunk' and ‘hard SF’. which may be read to embody, respectively, radical/liberal and patriotic/ conservative propaganda. This article, after attempting to define aspects of these schools, examines Queen of Angels by Greg Bear (who before producing that text had been a proponent of hard SF). This text is shown to have strong elements of cyberpunk (possibly, to judge by one critical review, appealing to a cyberpunk audience) but to have transformed and inverted the radical and liberal themes of cyberpunk into conservative themes. The text thus illuminates philosophical and technical differences between the schools. It is suggested that the imagery of cyberpunk, and perhaps that of science fiction in general, is liable to such reversals of ideological significance.

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Li, Han. "Reflection of Modern Society through Cyberpunk." BCP Social Sciences & Humanities 16 (March 26, 2022): 600–604. http://dx.doi.org/10.54691/bcpssh.v16i.518.

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“We live in a dystopian world. Filled with crime, corruption. And, poverty by mighty, power-hungry corporations and heartless, brutal governments.” The art book of the recent game Cyberpunk 2077 stated this as its basic world setting. Although the game gets a bad reputation due to its unpolished quality, it is fair to say Cyberpunk 2077 adds a few crucial pieces to the overall puzzle that is the cyberpunk world. In this paper I’ll analyze the aesthetic qualities and story settings of cyberpunk across media, contributing to the dialogue around the genre’s common theme of serving as a warning to the present society.

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Andrews, Chad. "Beyond Cyberpunk Culture." Science Fiction Studies 48, no. 2 (2021): 354–60. http://dx.doi.org/10.1353/sfs.2021.0032.

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Llewellyn, Philippe. "Nouveaux rêves cyberpunk." Audimat N° 9, no. 1 (February 1, 2018): 51–83. http://dx.doi.org/10.3917/audi.009.0051.

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Merás, Lidia. "European Cyberpunk Cinema." Arts 7, no. 3 (August 30, 2018): 45. http://dx.doi.org/10.3390/arts7030045.

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Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed at adult audiences and co-produced with other European countries, they epitomise a type of European film. In addition, they share a number of narrative premises. Set in the near future, Renaissance and Metropia depict a dystopian Europe. Recycling motifs from non-European science fiction classics, they share similar concerns with interconnectivity, surveillance, immigration, class, the representation of women, as well as the obsession with beauty and physical perfection. This article will analyse their themes and aesthetics in order to explore how European popular cinema promotes a certain idea of European cultural identity within the limits of an industry whose products are targeted at a global market.

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Pedro Groppo. "Latin American Cyberpunk." Science Fiction Studies 42, no. 1 (2015): 181. http://dx.doi.org/10.5621/sciefictstud.42.1.0181.

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Schwitzgebel, Eric. "Kant Meets Cyberpunk." Disputatio 11, no. 55 (December 1, 2019): 411–35. http://dx.doi.org/10.2478/disp-2019-0006.

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AbstractI defend a how-possibly argument for Kantian (or Kant*-ian) transcendental idealism, drawing on concepts from David Chalmers, Nick Bostrom, and the cyberpunk subgenre of science fiction. If we are artificial intelligences living in a virtual reality instantiated on a giant computer, then the fundamental structure of reality might be very different than we suppose. Indeed, since computation does not require spatial properties, spatiality might not be a feature of things as they are in themselves but instead only the way that things necessarily appear to us. It might seem unlikely that we are living in a virtual reality instantiated on a non-spatial computer. However, understanding this possibility can help us appreciate the merits of transcendental idealism in general, as well as transcendental idealism’s underappreciated skeptical consequences.

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19

Lindup, Ken. "The cyberpunk age." Computers & Security 13, no. 8 (January 1994): 637–45. http://dx.doi.org/10.1016/0167-4048(94)90043-4.

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Chen, Nuozhou, and Jiaqi Li. "Exploring Media Mix in Transmedia Storytelling: A Case Study on Cyberpunk 2077 and Cyberpunk: Edgerunners." Communications in Humanities Research 21, no. 1 (December 7, 2023): 78–84. http://dx.doi.org/10.54254/2753-7064/21/20231421.

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The research investigates the combined role of video games and Japanese anime in transmedia storytelling. Taking Cyberpunk 2077 and its anime adaptation Cyberpunk: Edgerunners as focal points, the study delves into the unique narrative experience this media pairing bestows upon the storytelling universe and its audience. Rather than adhering to traditional linear narratives, this amalgamation furnishes an unstructured, symbol-laden storytelling odyssey. The paper introduces and scrutinizes the notion of media convergence. It is noted that through the integration of Japanese manga and video game elements, Cyberpunk 2077 witnessed a resurgence in sales and acclaim. Concurrently, Cyberpunk: Edgerunners influenced the game with its pronounced symbolic essence, hinting at an emergent lean towards postmodernism in modern media production.

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21

de la Iglesia, Martin. "Has Akira Always Been a Cyberpunk Comic?" Arts 7, no. 3 (August 1, 2018): 32. http://dx.doi.org/10.3390/arts7030032.

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Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.

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22

Lunning, Frenchy. "Cyberpunk Redux: Dérives in the Rich Sight of Post-Anthropocentric Visuality." Arts 7, no. 3 (August 10, 2018): 38. http://dx.doi.org/10.3390/arts7030038.

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Our future effects on the earth, in light of the Anthropocene, are all dire expressions of a depleted world left in piles of detritus and toxic ruin—including the diminished human as an assemblage of impoverished existence, yet adumbrating that handicapped existence with an ersatz advanced technology. In the cyberpunk films, these expressions are primarily visual expressions—whether through written prose thick with densely dark adjectives describing the world of cyberpunk, or more widely known, the comic books and films of cyberpunk, whose representations have become classically understood as SF canon. The new films of the cyberpunk redux however, represent an evolution in cyberpunk visuality. Despite these debatable issues around this term, it will provide this paper with its primary object of visuality, that of the “rich sight”, a further term that arose from the allure created in the late 19th century development of department stores that innovated the display of the goods laid out in a spectacular view, presenting the shopper with a fantasy of wealth and fetishized objects which excited shoppers to purchase, but more paradoxically, creating the desire to see a fantasy that was at the same time also a reality. This particular and enframed view—so deeply embedded and beloved in our commodity-obsessed culture—is what I suggest so profoundly typifies the initial cyberpunk postmodern representation in the Blade Runner films, and its continuing popularity in the early part of the 21st century. Both films are influenced by Ridley Scott’s initial vision of the cinematic cyberpunk universe and organized as sequential narratives. Consequently, they serve as excellent examples of the evolution of this visual spectacular.

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23

Kłosiński, Michał. "Ghosts and mirrors: Devourment by the other in Cyberpunk 2077." Journal of Gaming & Virtual Worlds 14, no. 1 (April 1, 2022): 67–84. http://dx.doi.org/10.1386/jgvw_00052_1.

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This article presents an analysis and interpretation of the Cyberpunk 2077 digital game in the perspective of contemporary reflection on cyberpunk as a cultural formation. The main hypothesis is that the game offers a narration that immerses players in the experience of psychosis and the fear of otherness. The article focuses on the phenomenon of psychosis as a dominant element of the game narrative. Methodologically, the text is embedded within hermeneutics positioned at the intersection of literary, philosophical and game studies discourse. Clinical descriptions and psychological works on the phenomenon of psychosis were used to ground this reflection. Critical reading of the narrativized fear of the other in Cyberpunk 2077 shows that the game nostalgically returns to the phobias projected by the cyberpunk cultural formation in the previous century.

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Donets, Pol, and Nataliya Krynytska. "Here Be Dragons: The Evolution of Cyberspace from William Gibson to Neal Stephenson." American, British and Canadian Studies 38, no. 1 (June 1, 2022): 76–98. http://dx.doi.org/10.2478/abcsj-2022-0005.

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Abstract The article focuses on the evolution of cyberspace from a myth-critical perspective: the presence of irrational and fantasy elements in seemingly rational and scientific cyberpunk as a subgenre of hard science fiction. Our research primarily focuses on two significant works: William Gibson’s Sprawl trilogy (1984-1988), an icon of early cyberpunk, and Neal Stephenson’s Snow Crash (1992), a switch to postcyberpunk. Moreover, we consider the other works of a broad genre of cyberpunk including The Matrix movies and conclude that the cyberpunk of the 1980s and 1990s presented cyberspace as an enchanted Terra incognita and blurred the line between rationality and irrationality, technology and magic. Emerging as a way of escaping the real world, as hope for immortality, transcendence or transgression (Foucault), the cyberpunk ‘matrix’ followed in the footsteps of fantasy, myth, religion, and utopia. In our view, the postcyberpunk ‘Metaverse’ of the 1990s is more ironical and ‘realistic’ as it appears, and the more familiar and routine the cyberspace became to people, the less romantic and mysterious it turned out to be. Nevertheless, the nostalgic attempts to return to the old, fantasy model of cyberspace were made in postcyberpunk almost immediately after its emergence.

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25

Armesto, Juan. "Cyberpunk : carne y máquina." Ventana Indiscreta, no. 011 (October 20, 2014): 36. http://dx.doi.org/10.26439/vent.indiscreta2014.n011.51.

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Samovich, Yu V. "Cyberspace security: Cyberpunk 202..?" Juridical Journal of Samara University 9, no. 2 (July 14, 2023): 85–89. http://dx.doi.org/10.18287/2542-047x-2023-9-2-85-89.

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Information security is currently the Achilles heel for any state, since no one has absolute capabilities in this area, and there is no limit to perfection. Constantly improving technologies amaze the imagination, as well as those created as a response, not to mention the amount of funding spent on them. The article provides a brief overview of some provisions of Security Strategies in cyberspace of the main players in the modern confrontation, from which a disappointing forecast follows the potential for the scope of military operations is expanding.

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Mohseni, Hossein, and Kian Soheil. "The Consumptive Significance of Images and Interface Values in Cyberpunk Cities." Text Matters, no. 10 (November 24, 2020): 236–56. http://dx.doi.org/10.18778/2083-2931.10.15.

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Cyberpunk is one of the latest genres in the development of science fiction. The genre emerged during the 80s and 90s, and in it the characters are confronted by an abundance of images and interface values. As a result, these images and values have become key identifying motifs of this genre. Referring to the theoretical conceptualizations of Adam Roberts about novum, and Lieven De Cauter on capsules and capsulization, the present study argues that the reason for the abundance of images and interface values is due to their facilitation of the consumption of novelties in cyberpunk cities. Within a scientific and rational discourse, images and interface values combine familiar and unfamiliar concepts and package them both as convenient commodities to be consumed by the characters of cyberpunk fiction. One of the key outcomes of such a combination, the study argues, is that the characters of cyberpunk fiction rely on the consumption of images and interface values as a convenient means to handle the overwhelming presence of technological and cybernetic advancements in the represented cities. This outcome turns the need to see and consume the cyberpunk world through images and interface values into an ideological necessity—or what can also be called a defense mechanism—for the characters against the technological shock of cybernetic advancements; a necessity whose qualities will be discussed in the study, as well.

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Mosher, Mike. "Some Aspects of California Cyberpunk." Arts 7, no. 4 (September 27, 2018): 54. http://dx.doi.org/10.3390/arts7040054.

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This paper explores the rise and fall of Cyberpunk influences in California’s Silicon Valley and San Francisco Bay area circa 1988–93, in prevalent technologies, industry, by artists and in enthusiastic magazines thriving there. Attentive to the Cyberpunk novelists, an animating spirituality of the time also looks to Timothy Leary and Marshall McLuhan.

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Frey, Malte. "Society Structures from Anime-Cyberpunk to Postcyberpunk." Journal of Anime and Manga Studies 4 (December 3, 2023): 131–58. http://dx.doi.org/10.21900/j.jams.v4.968.

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This paper analyzes the imagery of cities as depicted in the cyberpunk anime Ghost in the Shell (1995) and the post-cyberpunk anime series Psycho-Pass (2012). In these works, the filmic city is employed as a signifier for societal structures, and changes in these visual signifiers thus depict the shift from cyberpunk, which focuses the autonomous subject, to post-cyberpunk, which focuses on technologicalsocieties. Different depictions of society and the role of the individual subject within it are made apparent. The predominant bottom-up direction of view in Ghost in the Shell suggests a technological dystopia that the protagonist seeks to elude, while an upper-lower dichotomy in Psycho-Pass offers subjects a means of remaining within society. Certain concepts of Japanese architecture, urbanity, and postmodernity are employed to conceptualize and visualize these key differences. This project concludes that Ghost in the Shell depicts a dystopian society whose postmodern superficiality prohibits the protagonist from becoming autonomous, while Psycho-Pass acknowledges that postmodern signification does not equal material existence. Postmodern globality is evident in Ghost in the Shell, while Psycho-Pass takes a more nationalist and autocratic approach to society.

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Frelik, Paweł, Emmanuel Guardiola, Jussi Holopainen, and Roland Klemke. "Editorial." Journal of Gaming & Virtual Worlds 14, no. 1 (April 1, 2022): 3–6. http://dx.doi.org/10.1386/jgvw_00047_2.

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This introduction opens a Special Issue devoted to Cyberpunk 2077 (2020), an open-world, action‐adventure roleplaying video game whose release has polarized players and critics alike for a number of reasons ranging from its technically problematic launch to the depth of the in-game world and its politics. The seven contributions to the issue illuminate Cyberpunk 2077’s multiple facets, focusing on it as an experience and a text.

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Woodward, Steven. "The Matrix Trilogy: Cyberpunk Reloaded." Quarterly Review of Film and Video 25, no. 5 (September 10, 2008): 442–47. http://dx.doi.org/10.1080/10509200601021596.

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Calvert, Bronwen. "William Gibson's ‘cyberpunk’ X-Files." Science Fiction Film & Television 6, no. 1 (January 2013): 39–53. http://dx.doi.org/10.3828/sfftv.2013.5.

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Tandt, Christophe Den. "Cyberpunk as Naturalist Science Fiction." Studies in American Naturalism 8, no. 1 (2013): 93–108. http://dx.doi.org/10.1353/san.2013.0003.

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Kurowicka, Anna. "Cyberpunk ucieleśniony: feministyczne reinterpretacje gatunku." Teksty Drugie 6 (June 2021): 91–108. http://dx.doi.org/10.18318/td.2021.6.6.

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35

Montargil, Gilmar da Silva. "Devir, rizoma e transversalidade em Cyberpunk 2077." Aurora. Revista de Arte, Mídia e Política 16, no. 47 (October 10, 2023): 37–53. http://dx.doi.org/10.23925/1982-6672.2023v16i47p37-53.

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Lançado em setembro de 2020, o game Cyberpunk 2077 apresenta um futuro em que já não é possível desconectar a mente do ciberespaço, lembranças são guardadas em chips e a busca por peças, softwares e antivírus de melhor qualidade garantem uma vida segura e semi-eterna. Nesse sentido, o objetivo desse artigo é fazer uma leitura deleuziana da estrutura narrativa de Cyberpunk 2077, partindo da hipótese que o game alicerça o protagonista V em situações que aclaram questionamentos trazidos por Deleuze em obras como Diferença e Repetição, Mil Platôs e em entrevistas como Controle e devir. A partir do olhar deleuziano, percebe-se em Cyberpunk 2077 problematizações acerca de potenciais mecanismos de agenciamento da sociedade de controle e uma crítica a um eventual descarte do corpo pelo tecnocapitalismo de 2077 a partir de conceitos como devir, rizoma, comunicação a-paralela.

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36

Krevel, Mojca. "Cyberpunk literature and Slovenes : too mainstream, too marginal, or simply too soon?" Acta Neophilologica 33, no. 1-2 (December 1, 2000): 69–77. http://dx.doi.org/10.4312/an.33.1-2.69-77.

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One of the most popular coinages of 'eighties America seems to be the notorious term "cyberpunk". The term covered everything from popular movies such as Robocop and Terminator, comics, video production and increasingly popular Japanese manga cartoons, to music from such diverse authors as Laurie Anderson and Billy Idol. But the phenomenon did not stop there: cyberpunk became a specific way of life, demanding certain behaviour, a dress code and so on.

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Silva, Alexander Meireles da. "Muito além do cyberpunk: Reflexões sobre a ficção retrofuturista." Literartes 1, no. 18 (December 20, 2023): 120–42. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2023.196188.

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Este artigo examina o surgimento e manifestações do subgênero da ficção científica chamada aqui de Ficção retrofuturista. Ela surgiu na década de 1980 a partir do cyberpunk e da reflexão sobre as ansiedades do contexto finissecular em relação aos avanços de sistemas de informação e o agravamento do quadro de desigualdades sociais. Logo, o cyberpunk se estabeleceu como uma das formas mais representativas da ficção científica de fim do século 20. No início da década seguinte, o cyberpunk fomentou a ascensão do steampunk - a primeira expressão retrofuturista - que examina o impacto de inovações tecnológicas dos séculos 20 e 21 em cenários normalmente localizados no século 19. A partir do steampunk, outras vertentes retrofuturistas foram criadas, explorando a influência da antecipação do futuro no passado de diferentes épocas. Dentro deste cenário, este trabalho se justifica pela ausência de reflexões acadêmicas no Brasil sobre o lugar de destaque que o retrofuturismo vem ocupando na ficção científica nacional do século 21.

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Shen, Liuchang. "Cyberpunk Fashion: Unveiling Gender Dynamics and Cinematic Narration Through Film Analysis." Communications in Humanities Research 15, no. 1 (November 20, 2023): 78–85. http://dx.doi.org/10.54254/2753-7064/15/20230566.

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Amidst the currents of globalization and technological advancement, the fashion sector is undergoing swift growth, accompanied by heightened cross-cultural interactions. This study delves into this realm through the lens of three thoughtfully chosen films that spotlight cyberpunk fashion. These films offer perceptive viewpoints into the intricate interplay among fashion, gender, and cinematic storytelling. By deconstructing the transformative impact of cyberpunk fashion, this research accentuates its function in molding societal perceptions of gender roles. It extends invaluable insights into the dynamic fusion of fashion, gender dynamics, and the craft of visual narration. The exploration of cyberpunk fashion facilitates a deeper comprehension of the fashion industrys evolution. It serves as a wellspring of creativity for designers and brands, fostering innovation. Concurrently, it steers consumers toward a more judicious consumption and appreciation of diverse aesthetic values across eras within their pursuit of fashion. This investigation enhances scholarly exploration and furnishes a more all-encompassing grasp of the subject matter.

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Kečan, Ana. "(CYBER) PUNK'S NOT DEAD – RICHARD MORGAN'S ALTERED CARBON." Knowledge International Journal 34, no. 6 (October 4, 2019): 1603–7. http://dx.doi.org/10.35120/kij34061603k.

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The term cyberpunk refers to an offspring or subgenre of science fiction which rose to popularity in the 1980s. It was first coined by Bruce Bethke in his story of the same name, published in 1983. Even though there are critics today who claim that cyberpunk is long dead, numerous examples from the 21st century show that it is still very well and alive, and this revival is particularly aided by television, as cyberpunk has a massive visual potential. Hence, the 21st century saw the sequel to the cult Blade Runner (originally released in 1982), titled Blade Runner 2049 (released in 2017), another (fourth) sequel of The Matrix (set to be released in 2020), TV adaptations of Philip K. Dick’s Electric Dreams (2017) and, the main interest of this essay, Richard Morgan’s Altered Carbon (season 1 in 2018 and season 2 set to be released in 2020). In this essay we are going to, first, outline the main narrative and stylistic conventions of cyberpunk, which include: a time and place in the future dominated by advanced achievements in information technology, science and computers (hence the term ‘cyber’) at the expense of a loss or breakdown of social order (hence the term ‘punk’) to the point of a dystopia (or post-utopia, as has been argued); virtual reality, data networks, illusion, bodily metamorphosis, media overload, intensity of visual components, bordering on what Norman Spinrad said was a fusion of the romantic impulse with science and technology. All of these encapsulate a core theme of the loss of distinction between real and artificial. In addition to this, the term cyberpunk requires clarification against several other terms which often appear alongside it and are related in one way or another, including science fiction, neo-noir, hard-boiled, post-cyberpunk, transhumanism, post-anthropocentrism, etc. Second, we are going to look at how those elements come together in the context of the first novel of Richard Morgan’s trilogy about Takeshi Kovacs, titled Altered Carbon, published in 2002 (the sequels, Broken Angels - 2003 and Woken Furies – 2005, have not yet been adapted for television and will, therefore, not be included in our analysis). We are going to, then, compare those elements with the Netflix version of the novel, a 10-episode TV series, released in 2018. The comparison of the visual versus the verbal narrative will show the differences in the presentation of cyberpunk elements and how (or whether) these differences are dictated by the medium or not. It will also show whether what started out as a dystopia in the original text has grown into a post-utopia in the television series, simply reflecting the current trend of nostalgia and nostalgic recycling.

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Gomes, Márcia, Rodolfo Rorato Londero, and Michelle Araújo do Nascimento. "McLuhan e neuromancer: aldeia global e outros conceitos no imaginário cyberpunk." Revista FAMECOS 16, no. 38 (May 14, 2009): 111. http://dx.doi.org/10.15448/1980-3729.2009.38.5308.

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Neste artigo são explorados os pontos de intersecção entre a obra de Marshall McLuhan e o romance cyberpunk Neuromancer. Além de representar um fato social, cyberpunk é um subgênero da ficção científica que surgiu na década de 80 e que apresenta um mundo globalizado e dominado pela desigualdade sócio-econômico e, fundamentalmente, tecnológica. Já McLuhan, cujas principais obras foram escritas na década de 60, é conhecido por proposições tais como: a idéia de “aldeia global”, do meio ser a mensagem e das tecnologias como extensões dos sentidos humanos.

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Jakiel, Rafał. "Wątki futurystyczne i cyberpunkowe w wybranych telewizyjnych produkcjach popkultury w kontekście retoryczno-językoznawczej analizy utworu audiowizualnego." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 4 (July 3, 2018): 104–15. http://dx.doi.org/10.24917/20837275.9.4.10.

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DOI 10.24917/20837275.9.4.10W artykule pokazano liczne możliwości podjęcia analizy językoznawczej filmów zawierających wątki futurystyczne i cyberpunkowe. Dokonany przeze mnie wybór materiału badawczego był nietypowy. Większość wybranych seriali telewizyjnych nie stanowi klasycznego przykładu analizowanej przeze mnie literatury i jej adaptacji. Próbowałem odnaleźć i opisać popkulturowe produkty tylko zainspirowane literaturą futurystyczną i cyberpunkową; takie, które nie muszą spełniać wszystkich warunków stawianych pracom tego nurtu, np. Westworld (HBO), Doctor Who (BBC) and Mr. Robot (USA Network). Moim celem było zebranie i omówienie interesujących jednostek językowym i ich najróżniejszych złożonych zastosowań, które mogą interesować badaczy retoryki i językoznawców. Niektóre audiowizualne utwory opisałem jedynie pokrótce. Stanowić mają one zaproszenie do dalszych badawczych aktywności: Black Mirror (Channel 4 / Netflix), Extant (CBS).Futuristic and cyberpunk themes in popculture television shows and rhetoricallinguistic analysis of audiovisual workThe purpose of this paper was to show a number of linguistic analysis possibilities of futuristic and cyberpunk movie themes. My choice of material was untypical; Many of my chosen TV-shows were not the classical example of analyzed type of literature and its adaptations. I attempted to find and describe popculture products inspired by futuristic and cyberpunk literature, which don’t have to meet all the conditions for being defined as cyberpunk work, for example: Westworld (HBO), Doctor Who (BBC), and Mr. Robot (USA Network). My goal was to collect and discuss interesting language units and their combinations which may be used as material in rhetoric and linguistic studies. Some of the examples used were only succinctly described as an invitation to further scholarly activities: Black Mirror (Channel 4 / Netflix), Extant (CBS).

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Gillis, Stacy. "The (Post)Feminist Politics of Cyberpunk." Gothic Studies 9, no. 2 (November 2007): 7–19. http://dx.doi.org/10.7227/gs.9.2.3.

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Vos, J. "Cyberpunk 2077 langs de nieuwe conformiteitsmaatstaf." Contracteren 23, no. 3 (September 2021): 72–84. http://dx.doi.org/10.5553/contr/156608932021023003003.

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Park, Jane Chi Hyun. "Stylistic Crossings: Cyberpunk Impulses in Anime." World Literature Today 79, no. 3/4 (2005): 60. http://dx.doi.org/10.2307/40158943.

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Hui Kyong Chun, Wendy. "Marshall McLuhan: The First Cyberpunk Author?" Journal of Visual Culture 13, no. 1 (March 10, 2014): 36–38. http://dx.doi.org/10.1177/1470412913509597.

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McHale, Brian. "Elements of a Poetics of Cyberpunk." Critique: Studies in Contemporary Fiction 33, no. 3 (April 1992): 149–75. http://dx.doi.org/10.1080/00111619.1992.9937882.

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Jones, Steve. "Hyper-punk: Cyberpunk and Information Technology." Journal of Popular Culture 28, no. 2 (September 1994): 81–92. http://dx.doi.org/10.1111/j.0022-3840.1994.2802_81.x.

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Capussotti, Enrica. "Cyberpunk italiano: una comunità in rete." Quaderni di Sociologia, no. 13 (April 1, 1997): 59–77. http://dx.doi.org/10.4000/qds.1676.

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Cole, David R. "Education and the Politics of Cyberpunk." Review of Education, Pedagogy, and Cultural Studies 27, no. 2 (April 2005): 159–70. http://dx.doi.org/10.1080/10714410590963839.

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FIliciak, Mirosław. "Cyberpunk a teoria (i praktyka) mediów." Teksty Drugie 6 (June 2021): 16–31. http://dx.doi.org/10.18318/td.2021.6.2.

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