Journal articles: 'Films de science-fiction'

1

Genovese, Michael A. "Politics and Science Fiction Films." News for Teachers of Political Science 46 (1985): 7–8. http://dx.doi.org/10.1017/s0197901900001793.

Full text

Abstract:

The movie theatre may seem like an odd place for politics, but almost all movies could be considered “political.” Even stranger is the notion that those spacemen, monsters and aliens we are so accustomed to seeing in science fiction films may be more than just entertaining us, they may be conveying a political message. In fact, most science fiction films make deeply political statements about the society from which they emerge.Science fiction films provide a unique opportunity for movie makers to comment on the implications of both human and “non-human” behavior. Through science fiction, one can look ahead to the way the world “might” look if the right wing, left wing, scientific rationalists, corporations, etc., take over and create their own “Brave New World.” It is an opportunity to play out the implications of various political philosophies for all to see and evaluate.

APA, Harvard, Vancouver, ISO, and other styles

2

Nandi, Shibasambhu. "Science Fiction and Film: An Analytical Study of Two Select Indian Movies." International Journal of English Learning & Teaching Skills 5, no. 4 (July 3, 2023): 3438–46. http://dx.doi.org/10.15864/ijelts.5407.

Full text

Abstract:

Science fiction is a genre of art that caters to the popular taste of the people. It presents a world mixed with science and fictional elements. It can be taken as a microcosm of fictional literature. It uses to present unfamiliar and unknown things in a familiar and known way. It provides its diverse themes and issues not only in texts but also in films. When science fiction is adapted into movies, it is able to attract a large number of audiences specially the young generation of writers. Science fictional films cover the issues like future society, challenges created by scientific developments, human enhancement through science and technology, human-machine clash, hybrid identity, world of aliens, and Artificial Intelligences. There are many films in western countries covering the issue of science fiction. Production houses designed the films in such a way that it can make an appeal to the audience. Even in India, there are several science fiction films. From 1952 to the present, Indian cinema contributes a lot by producing one after another attracting films on the theme of science fiction. The present paper is going to analyze two films Koi...Mill Gaya and its sequel Krish 3 from the perspectives of science fiction. The paper will also try to present the history of science fiction films in India and in the West. It attempts to depict the science fictional elements and new techniques shown in the films. These films are the representations of future society which accepts the inhabitation of different beings like modified human, superhuman and aliens.

APA, Harvard, Vancouver, ISO, and other styles

3

Rocha, Thaís Mendes, Josie Agatha Parrilha da Silva, and Bettina Heerdt. "O uso dos filmes de ficção científica para o ensino de ciências com enfoque ciência, tecnologia e sociedade: uma revisão sistemática da literatura." Revista Brasileira de Educação em Ciências e Educação Matemática 5, no. 1 (April 30, 2021): 129–51. http://dx.doi.org/10.33238/rebecem.2021.v.5.n.1.26935.

Full text

Abstract:

Resumo: Esta revisão sistemática da literatura teve como objetivo identificar a forma que os filmes de ficção científica (FC) abordam questões do ensino das Ciências e o enfoque Ciência, Tecnologia e Sociedade (CTS). A pesquisa utilizou bancos de dados com os seguintes descritores: “Ensino de Ciências, CTS, Ficção Científica e Cinema”. Os resultados evidenciaram que desde a década de 1980, os filmes de FC são utilizados como recurso metodológico no ensino de Ciências, mas ainda são escassos os estudos que relacionam o CTS com os filmes de FC. Nas quatro pesquisas encontradas, entre 2012 e 2019, a articulação dos três componentes da tríade CTS, raramente ocorre de forma coerente com os referenciais, prevalecendo o realce na ciência, ou em tecnologia e, majoritariamente, na sociedade, sobrelevando as questões socioambientais.Palavras-chave: Ensino de Ciências; Enfoque CTS; Arte e Ciência; Cinema; Filmes de Ficção Científica. The use of scientific fiction films for teaching sciences with a focus on science, technology and society: a systematic review of literatureAbstract: This systematic review of the literature aimed to identify the way that science fiction films (SF) address issues of science teaching and the focus on Science, Technology and Society (STS). The research used databases with the following descriptors: “Science Teaching, STS, Science Fiction and Cinema”. The results showed that, since the 1980s, SF films have been used as a methodological resource in science teaching, but there are still few studies relating STS to SF films. In the four researches found, between 2012 and 2019, the articulation of the three components of the STS triad, rarely occurs in a coherent manner with the references, with emphasis on science or technology and, mainly, on society, prevailing, raising socioenvironmental issues.Keywords: Science teaching; Focus on STS; Art and Science; Movie theater; Science fiction

APA, Harvard, Vancouver, ISO, and other styles

4

Deaca, Mircea Valeriu. "Science fiction films as gedanken experiments." Ekphrasis. Images, Cinema, Theory, Media 17, no. 1 (June 30, 2017): 99–118. http://dx.doi.org/10.24193/ekphrasis.17.7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Kolodinskiy, Mikhail N. "Evolution of Dramaturgy of Fiction Popular Science Films." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 30–39. http://dx.doi.org/10.17816/vgik7330-39.

Full text

Abstract:

The article treats the problem of using dramaturgy means in fiction popular science films. Plot constructions of the most popular genres are analyzed such as: melodrama, social drama in fiction kulturfilms of the twenties. As well as the phenomenon of the fiction popular science film of the new type - scientific-feature.

APA, Harvard, Vancouver, ISO, and other styles

6

Jiang, Wencheng. "A Study on the Construction of the National Media Image of American Science Fiction Films in the New Century." Advances in Humanities Research 3, no. 1 (November 20, 2023): 21–36. http://dx.doi.org/10.54254/2753-7080/3/2023016.

Full text

Abstract:

As a significant genre of Hollywood blockbusters, science fiction films showcase the unbeatable technological prowess of the United States, serving as a vital avenue for international communication and the display of a powerful national image. Science fiction films have left a distinctive impression on audiences worldwide, portraying the United States as the global leader in technology, owing to the presence of real scientific research facilities, enigmatic scientific symbols, advanced research equipment, and extraordinary imagination within the genre. Since the turn of the century, American science fiction films have undergone a significant shift in their communication strategy, presenting a "hardcore Iron Man" national media image. This paper, employing agenda-setting theory and content analysis methodology, explores the specific pathways through which American science fiction films constructed the national media image from 2000 to 2019.

APA, Harvard, Vancouver, ISO, and other styles

7

Telotte, J. P. "Androids, Humanoids, and Other Science Fiction Monsters: Science and Soul in Science Fiction Films." Configurations 3, no. 1 (1995): 100–102. http://dx.doi.org/10.1353/con.1995.0002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hess, Megan. "Gender in Science Fiction Films, 1964-1979." Film Matters 8, no. 3 (December 1, 2017): 49. http://dx.doi.org/10.1386/fm.8.3.49_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Holloway, Mathilda. "Experimental science-fiction films as filmic heterotopia." Cross-cultural studies review 3, no. 5-6 (April 22, 2023): 151–66. http://dx.doi.org/10.38003/ccsr.3.5-6.7.

Full text

Abstract:

This paper questions the concept of the possible heterotopia of cinema by making a creative reading of a corpus of contemporary experimental science-fiction films. We think heterotopia in direct relation to utopia. If utopia can be linked to a form of thought, then heterotopia would be a form of realised or achievable utopia. Heterotopian action would then allow us to experiment subversive, if not new social configurations, where utopian thought allows us to dream of better (or at least other) societies. We propose to look at these issues starting from experimental science-fiction films. The aesthetic and narrative resorts as well as the modes of production of works like Slow Action and Urth by Ben Rivers, Meteor by Mathias Müller and Christoph Girardet, Momoko Seto’s Planet Series or Jérôme Cognet’s Guerilla Hubble, indeed offer us with an audiovisual experience that invites us to re-evaluate our human relation to the world by appealing to our capacity for imagination and by stimulating our free will, notably through their staging of historicity and multiplicity.

APA, Harvard, Vancouver, ISO, and other styles

10

Liu, Shuyuan. "Using Science Fiction Films to Advance Critical Literacies for EFL Students in China." International Journal of Education and Literacy Studies 7, no. 3 (July 31, 2019): 1. http://dx.doi.org/10.7575/aiac.ijels.v.7n.3p.1.

Full text

Abstract:

As a unique literary genre, science fiction can serve as a motivating text to develop students’ critical analytical skills and to promote critical thinking about new technology and its societal controversies under proper guidance. In the field of English as Foreign Language (EFL) learning, using science fiction films in the classroom affords EFL learners new language-learning experiences. This paper explains how films, as a multimodal resource in EFL classes, can enrich students’ multiliteracies—specifically how the science fiction genre can develop students’ critical literacies under careful meaning-making curriculum design. A preliminary study, taking 30 students in a foreign language high school in China, is reported in this paper. Findings reveal that carefully selected science fiction films such as I am Legend and Blade Runner can serve as pivotal sources for developing EFL learners’ literacy under the multiliteracies pedagogy. Such films can also connect students with Western ideology to reinforce their identity as participants in globalization. This study further suggests that key points in successful design of the course in an EFL classroom include posing critical questions to promote critical thinking and actively analyzing multimodal texts to uncover underlying meanings in source material.

APA, Harvard, Vancouver, ISO, and other styles

11

Wang, Youran. "An Analysis of the Development of Hollywood Science Fiction Films in Chinas Mainland Market in 2010s." Communications in Humanities Research 5, no. 1 (September 14, 2023): 196–200. http://dx.doi.org/10.54254/2753-7064/5/20230197.

Full text

Abstract:

Hollywood science fiction movies have long been popular with audiences in the Chinese market, and even reached their peak before the outbreak of the Covid-19 pandemic. 2019 saw a record $4.25 billion box office for imported movies in Chinas mainland for Avengers IV: Endgame. However, after the 2019 epidemic, Hollywood movies are declining in the Chinese market. This paper attempts to provide a concise summary of the multifaceted social reasons behind the popularity of science fiction films, in order to find out the way to improve the current situation of Hollywoods science-fiction movies market in Chinas mainland. By investigating the literature, this paper analyzed the cause of the popularity of Hollywood science fiction films in China from 2010 to 2019, the analysis involves four aspects: politics, economy, society and technology. Through this analysis, it can be found that the popularity of Hollywood science fiction movies is closely related to those four macro factors.

APA, Harvard, Vancouver, ISO, and other styles

12

Chin, Kyung Il. "The Analogizing the City & Building Future by Analyzing Scene in the Science Fiction Films and the Human Action Desire." Advanced Materials Research 450-451 (January 2012): 1074–77. http://dx.doi.org/10.4028/www.scientific.net/amr.450-451.1074.

Full text

Abstract:

We say that the future city will be an automatic system for human like a science fiction films which means the 'Ubiquitous City or Intelligent City'. Actually, so many science fiction movies contain the wish or demand of human life. Generally, they show the convenience things for human life, the ideal image of future city, the solution technology of human being, and so on. In this world, every built thing is the product of human desire. Meanwhile, the scientific scenes in the movies are also the product of human desire. The reason of the above, this study tries to analogize image of city future by analyzing scene in the science fiction films and human action desire to make the future image. Eventually, this study is going to make 'human life scenario' in the future city which consisted with mixed scientific scene in the science fiction films and sorted by human desire for forecasting the future city. This scenario may apply for forecasting the real future city.

APA, Harvard, Vancouver, ISO, and other styles

13

Kamrowska, Agnieszka. "Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 21–34. http://dx.doi.org/10.14746/i.2020.37.02.

Full text

Abstract:

The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo.

APA, Harvard, Vancouver, ISO, and other styles

14

Zhou, Wei. "A Narratological Study of Streaming Science Fiction Films: The Case of “Dune”." SHS Web of Conferences 167 (2023): 01015. http://dx.doi.org/10.1051/shsconf/202316701015.

Full text

Abstract:

As technology continues to advance, science fiction films are adopting new narrative forms. The Hollywood-produced film “Dune” follows the traditional narrative model while also absorbing elements from popular culture, thus becoming a new type of secular mythology. It takes the traditional narrative model one step further and becomes what Deleuze describes as a new paradigm of cinematic narrative, known as “pure optical and sound situations”. By studying the narrative logic and style of “Dune” through the theoretical paradigm of narratology, we can not only focus on the changes in the narrative content and form of science fiction films in the era of streaming media but also explore the aesthetic meaning of science fiction embedded within it.

APA, Harvard, Vancouver, ISO, and other styles

15

Fisher, Mark. "The Lost Unconscious: Delusions and Dreams in Inception." Film Quarterly 64, no. 3 (2011): 37–45. http://dx.doi.org/10.1525/fq.2011.64.3.37.

Full text

Abstract:

An analysis of Christopher Nolan's science-fiction thriller, Inception, which relates it to Nolan's previous films and argues that the film's multilayered nest of worlds and strangely cold action sequences relate to the commodification of the psyche.

APA, Harvard, Vancouver, ISO, and other styles

16

Al-Mamori, Yasir Khudeir Obid. "Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia." Человек и культура, no. 2 (February 2022): 12–20. http://dx.doi.org/10.25136/2409-8744.2022.2.37817.

Full text

Abstract:

The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.

APA, Harvard, Vancouver, ISO, and other styles

17

Jacobsson, Andreas. "Remembering the Future: Sion Sono’s Science Fiction Films." Nordic Journal of English Studies 19, no. 4 (November 22, 2020): 169. http://dx.doi.org/10.35360/njes.607.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Ruppersburg, Hugh. "THE Alien Messiah in Recent Science Fiction Films." Journal of Popular Film and Television 14, no. 4 (January 1987): 158–66. http://dx.doi.org/10.1080/01956051.1987.9944222.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Yu, Lei. "Ecological Concerns and Insights in Science Fiction Films — A Case Study of The Wandering Earth." Journal of Research in Social Science and Humanities 3, no. 3 (March 2024): 56–60. http://dx.doi.org/10.56397/jrssh.2024.03.09.

Full text

Abstract:

Science fiction films, as an artistic expression highlighting the relationship between future technology and human survival, often utilize grand story settings and fictional futuristic worlds to explore the connection between humanity and the environment. This paper takes the Chinese science fiction film The Wandering Earth as a case study, examining its focus on ecological issues and the presentation of ecological awareness within the narrative. The aim is to use science fiction cinema as a medium to provide audiences with insights into Earth’s ecology, guiding humanity towards profound reflections on environmental issues.

APA, Harvard, Vancouver, ISO, and other styles

20

Rojek, Patrycja. "Figura mitologicznej Kasandry w filmach science fiction." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 234–46. http://dx.doi.org/10.14746/i.2020.37.14.

Full text

Abstract:

The article reflects on how characters with the features of the mythological Cassandra function in science fiction films. Such references are part of the rich tradition of building fictional depictions of the near or distant future on the foundation of mythical stories. The study aimed to examine the considerable and complex meaning which Cassandra conveys through the ages and to determine its usefulness in constructing pop culture ideas about the current condition of humanity. In contemporary fiction, Cassandra is brought to the fore more often than in ancient sources, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.

APA, Harvard, Vancouver, ISO, and other styles

21

McCullough, John. "A Los Angeles Science Fiction Sublime." Space and Culture 17, no. 4 (November 2014): 410–20. http://dx.doi.org/10.1177/1206331214543872.

Full text

Abstract:

This article discusses representations of Los Angeles in science fiction films in the context of the aesthetic tradition of the sublime. The article argues that a Los Angeles science fiction sublime is achieved through representations that feature nature and culture hybrids, elaborate design and special effects (including the destruction of Los Angeles monuments), and detective narratives that provide labyrinthine investigations that challenge our understanding of identity, history, and being. Given that these tendencies have gained prominence only since 1980, the article considers postmodernism as an aesthetic category that can help us understand how Los Angeles spaces are integrated in the neoliberal world system.

APA, Harvard, Vancouver, ISO, and other styles

22

Dong, Fuwen, and Yuqi Ruan. "Globalization and Commercial Analysis of Science Fiction Films: Observing Regional Markets, Production Costs, and Marketing Strategies." Highlights in Business, Economics and Management 22 (December 27, 2023): 201–7. http://dx.doi.org/10.54097/2r7zg094.

Full text

Abstract:

In an age of unprecedented connectivity and cultural exchange, the world of cinema has undergone a paradigm shift that transcends borders and challenges traditional notions of storytelling and commercial success. Central to this transformation is the genre of science fiction films, which has emerged as a captivating canvas for exploring futuristic visions and probing the boundaries of human imagination. The interplay between globalization and the commercial dynamics of science fiction films has sparked a new era of creativity, collaboration, and cross-cultural resonance within the film industry. Furthermore, the pursuit of blockbuster visuals, often associated with Hollywood productions, has led to substantial shifts in production costs. These costs, in turn, wield a direct influence over the scale and quality of science fiction films, shaping their narrative depth and technological prowess. As the cinematic landscape extends its boundaries, effective marketing strategies have emerged as a linchpin for success. Striking the delicate balance between global outreach and localized engagement is paramount, as it dictates how a film resonates with its audience and finds its place in the global arena. In conclusion, a profound comprehension of these intricate and interwoven dynamics is indispensable for filmmakers, studios, and scholars seeking to navigate the ever-evolving global tapestry of science fiction cinema.

APA, Harvard, Vancouver, ISO, and other styles

23

Akbar, Danu Ilham. "An Analysis of Narrative Structure in Interstellar and Ready Player One." Humanitatis : Journal of Language and Literature 10, no. 1 (December 25, 2023): 93–108. http://dx.doi.org/10.30812/humanitatis.v10i1.2855.

Full text

Abstract:

This article explores science fiction films, a popular genre known for its depiction of technology as a symbol of the future. The future depicted in these science fiction films is a sign of hope and critics of a particular social problem. Using Interstellar and Ready Player One as case studies, this research aims to explore the broader and deeper meanings conveyed through the narrative structure of the films, including language, issues discussed, and the use of other elements. The analysis uses a qualitative method, which involves observing the movie, recording important data, and connecting the narrative with visual aspects. The research reveals how narrative and visual elements complement each other to create a memorable cinematic experience. The results show that Interstellar is identified as a science fiction film rooted in scientific principles, with a focus on space exploration and time dilation. Ready Player One, on the other hand, leans more towards fantasy, incorporating virtual reality and magical elements. Despite this difference, both movies are considered science fiction, as fantasy shares elements with the genre.

APA, Harvard, Vancouver, ISO, and other styles

24

Bökös, Borbála. "Human-Alien Encounters in Science Fiction: A Postcolonial Perspective." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 189–203. http://dx.doi.org/10.2478/ausfm-2019-0010.

Full text

Abstract:

Abstract An (un)conventional encounter between humans and alien beings has long been one of the main thematic preoccupations of the genre of science fiction. Such stories would thus include typical invasion narratives, as in the case of the three science fiction films I will discuss in the present paper: the Invasion of the Body Snatchers (Don Siegel, 1956; Philip Kaufman, 1978; Abel Ferrara, 1993), The Host (Andrew Niccol, 2013), and Avatar (James Cameron, 2009). I will examine the films in relation to postcolonial theories, while attempting to look at the ways of revisiting one’s history and culture (both alien and human) in the films’ worlds that takes place in order to uncover and heal the violent effects of colonization. In my reading of the films I will shed light on the specific processes of identity formation (of an individual or a group), and the possibilities of individual and communal recuperation through memories, rites of passages, as well as hybridization. I will argue that the colonized human or alien body can serve either as a mediator between the two cultures, or as an agent which fundamentally distances two separate civilizations, thus irrevocably bringing about the loss of identity, as well as the lack of comprehension of cultural differences.

APA, Harvard, Vancouver, ISO, and other styles

25

Levin, Luciano Guillermo, and Daniela De Filippo. "Films and Science: quantification and analysis of the use of Science Fiction films in scientific papers." Journal of Science Communication 13, no. 03 (September 22, 2014): A07. http://dx.doi.org/10.22323/2.13030207.

Full text

Abstract:

The purpose of this study is to quantify the use of science fiction films in academic papers as well as to analyse the patterns of use of those films indexed in international databases, using the ISI Web of Science database. Twenty films were selected from recognised sources. Films referenced in the scientific literature were detected and, with quantitative methodologies, we classified their genres, the journals of publication and the disciplines they belong to. Finally, we performed a detailed study of each paper in which selected films were found, to observe and categorise specifically the ways such film references are used.

APA, Harvard, Vancouver, ISO, and other styles

26

Andriano-Moore, Stephen. "2010s Hollywood science fiction: Telling China’s stories well to the world." Journal of Contemporary Chinese Art 10, no. 3 (November 1, 2023): 337–54. http://dx.doi.org/10.1386/jcca_00088_1.

Full text

Abstract:

Since the founding of the People’s Republic of China, film has been regulated in terms of Mao Zedong’s proclamation that ‘art serves politics’. This article argues that in the 2010s, Hollywood science fiction films serve Chinese politics as nationalistic propaganda and nation branding as part of the soft power initiatives of China’s public diplomacy efforts of ‘going global’ and ‘telling China’s stories well’ in exchange for access to China’s lucrative box office. While most Hollywood films do not include any representations of China, this article identifies a trend in Hollywood science fiction films from the 2010s where entities of China play major roles in the narrative. The article applies narrative and textual analysis to illuminate national image building in five Hollywood films: 2012 (2009), Transformers: Age of Extinction (2014), RoboCop (2014), Arrival (2016) and Pacific Rim: Uprising (2018). These films realize the goal of China’s film policy for positive images of China, such as the world’s leading political and industrial power. The depictions of China are shown to reflect the Made in China 2025 initiative for securing global dominance in technology and manufacturing and links these depictions to the China Dream. The article concludes with a comparative analysis of the Chinese science fiction films Reset (2017) and Shanghai Fortress (2019) and finds that the Hollywood films contain the same national images and narrative roles of China as these domestic films. While this article sheds light on one case of the impact of China on the content of one nation’s films, it is just a small example of the impact of China’s film policy on national cinemas as there are 22 countries with Chinese co-production agreements resulting in over five hundred Sino-foreign co-production revenue-sharing films in the 2010s from countries around the world whose content has been regulated by the Chinese government.

APA, Harvard, Vancouver, ISO, and other styles

27

Han, Jiaoran. "An Exploration of the Genre of Korean Space Science Fiction Movies — Taking the Movie Space Sweepers as an Example." Studies in Art and Architecture 3, no. 2 (June 2024): 87–94. http://dx.doi.org/10.56397/saa.2024.06.18.

Full text

Abstract:

Although Korean science fiction films started late and developed slowly, the Korean film industry is developed and has never stagnated in the exploration of film genres. The movie Space Sweepers is South Korea’s first exploration and attempt at the science fiction sub-genre of space science fiction. Since its launch on the streaming media platform Netflix in February 2021, it has topped the global movie popularity list for five consecutive days and won 29 countries. It ranks first in broadcasts in the region, and it has also made space science fiction a genre trend in South Korea. This article will take the movie Space Sweepers as an example to sort out South Korea’s development path for the space science fiction film genre, and analyze the reasons for Space Sweepers’ global success.

APA, Harvard, Vancouver, ISO, and other styles

28

Rabkin, Eric S. "Science Fiction and the Future of Criticism." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 457–73. http://dx.doi.org/10.1632/003081204x20488.

Full text

Abstract:

Science fiction, ranging from films to industrial design to world's fairs, is a cultural system no more confined to literature than love is to love letters. From its self-recognition in 1926, science fiction has involved commercial and social realities most obviously visible in fandom and the hundreds of annual science fiction conventions. This system includes many types of consumers and producers, even collaboratively self-correcting volunteer bibliographers. Collectively, science fiction fandom, the first organized fandom, has created vast informational resources that allow not only reference but also statistical inquiry. The Genre Evolution Project (http://www.umich.edu/~genreevo/) shows that these social structures and resources potentiate, in an age of widespread computer networking, the transformation of criticism from acts of isolated scholars working with narrowly defined subjects to collaborative projects drawing on human and informational resources across disciplinary boundaries. Science fiction points to a future in which criticism will be more systematic, collaborative, and quantitative.

APA, Harvard, Vancouver, ISO, and other styles

29

Xinyi, Ma, and Hua Jing. "Humanity in Science Fiction Movies: A Comparative Analysis of Wandering Earth, The Martian and Interstellar." International Journal of Linguistics, Literature and Translation 4, no. 1 (January 30, 2021): 210–14. http://dx.doi.org/10.32996/ijllt.2021.4.1.20.

Full text

Abstract:

Wandering Earth, released in 2019, is regarded as a phenomenal film that opens the door to Chinese science fiction movies. The Chinese story in the film has aroused the resonance of domestic audiences, but failed to get high marks on foreign film review websites. In contrast, in recent years, science fiction films in European and American countries are still loved by audiences at home and abroad, such as The Martian and Interstellar, which have both commercial and artistic values. It can be seen that the cultural communication of western science fiction movies is more successful than that of China. Taking the above three works as examples, this paper analyzes the doomsday plot, the beauty of returning home and the role shaping of scientific women in science fiction movies from the perspective of the organic combination of “hard-core elements of science fiction” and “soft value in humanity”, in an attempt to help the foreign cultural communication of domestic science fiction movies. As an attempt to facilitate the global development of Chinese science fiction, this paper concludes that certain Chinese traditional cultural spirit needs further spreading, that Chinese science fiction and humanity should be combined in a more natural way, and that in particular, female character need in depth and multi-dimensional interpretation.

APA, Harvard, Vancouver, ISO, and other styles

30

Sladek, Karel. "Future Ethical Challenges as Portrayed in Science Fiction Films." Communications - Scientific letters of the University of Zilina 20, no. 1A (May 31, 2018): 27–31. http://dx.doi.org/10.26552/com.c.2018.1a.27-31.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Gaycken, Oliver. "Science is Fiction: The Films of Jean Painleve (review)." Modernism/modernity 9, no. 1 (2002): 195–96. http://dx.doi.org/10.1353/mod.2002.0008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Womack, Jeffrey. "Nuclear Weapons, Dystopian Deserts, and Science Fiction Cinema." Vulcan 1, no. 1 (2013): 70–85. http://dx.doi.org/10.1163/22134603-00101005.

Full text

Abstract:

The article explores the relationship between science fiction cinema and nuclear weapons. It argues that the genre’s commercial success directly resulted from its appropriation of nuclear warfare themes and imagery, such as desert landscapes and nuclear blasts. The influence of nuclear weapons eventually permeated the genre as a whole, leading to the widespread appearance of such imagery in science fiction films that do not purport to deal with nuclear weapons or nuclear themes.

APA, Harvard, Vancouver, ISO, and other styles

33

Hladki, Janice. "Hazardous Futures and Damned Embodiments: Disability and White Masculinization in Science Fiction Film." Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4 14, no. 4 (October 1, 2020): 453–67. http://dx.doi.org/10.3828/jlcds.2020.30.

Full text

Abstract:

Drawing on critical disability interrogations of the “human,” this article explores how frameworks of normalization shape conceptions of human qualification and disqualification in two science fiction films. It examines how representations of the contaminated, injured, unstable, and mutated body produce discourses of, and social anxieties about, abnormalization and monstrosity. The films The Thing (1982) and Deadpool (2016), both characterized by science fiction cult popularity, are linked through multiple concerns for human futurity, including the dangers of monstrous disability and the need to redeem damaged and infected bodies. Bringing disability together with gender and race, the article argues that white able-bodied masculinization in the films, including aspects of militarism and colonialism, focuses on human qualification and on securing a future made non-hazardous by a masculinity recuperated from vulnerability and disability.

APA, Harvard, Vancouver, ISO, and other styles

34

Troiani, Igea. "Sci-fi Eco-Architecture: science fiction, sustainability and design studio." Architectural Research Quarterly 16, no. 4 (December 2012): 313–24. http://dx.doi.org/10.1017/s1359135513000201.

Full text

Abstract:

In the summer of 2009, while on vacation in Italy, I lay on a deck chair on a beach under the scorching sun reading Ecology of Fear: Los Angeles and the Imagination of Disaster. I had taken Mike Davis's book as holiday reading after becoming interested in attitudes to sustainability as represented in films through supervising the unpublished dissertation ‘The Science and Fiction of Sustainable Living’. The dissertation analysed approaches to the green movement of the 1970s versus those held today. It did this through the study of ecological science fiction movies made during the two periods. As someone grounded in humanities research, using film studies research methods rather than conventional building science methods seemed to me an engaging, original approach to sustainability. The dissertation compared the 1972 American environmental science fiction film Silent Running to the 2007 British science fiction film Sunshine. During this supervision, the student gave me a copy of the films. Because Silent Running resonated with me, I took it on that same Italian holiday and watched it again. I recall thinking that Silent Running offered a departure point for an alternative kind of sustainable design studio. Then and there, I selected a film clip that I screened – in the background and without volume – at studio presentations to students held in September 2009.

APA, Harvard, Vancouver, ISO, and other styles

35

Fang, Zhuxin. "A Functional Study of Film Sound Design in Science Fiction Films." SHS Web of Conferences 183 (2024): 01005. http://dx.doi.org/10.1051/shsconf/202418301005.

Full text

Abstract:

As a form of art combining audio and visual, movie sound effect is an important element in building the story world of the movie. When sound films first appeared, they were recognized and welcomed by the public, and it is extremely important to use sound effects in narrative films so that the audience can have a better connection with the fictional world. As one of the popular cinema genres, science fiction movies were loved by the audience when they first appeared, attracting the audience's attention with brilliant special effects, but the role played by sound effects in them should not be neglected. The purpose of this paper is to analyze the role of sound effects in science fiction films, and will use Avatar, Inception, The Prestige and Gravity, the four films, respectively, to explain the three functions that sound effects have. They are to enhance the realism of the movie, to help complete the temporal construction of the movie and to express the inner world of the characters.

APA, Harvard, Vancouver, ISO, and other styles

36

Longden, Kenneth. "China Whispers: The Symbolic, Economic, and Political Presence of China in Contemporary American Science Fiction Film." Open Cultural Studies 2, no. 1 (September 1, 2018): 151–61. http://dx.doi.org/10.1515/culture-2018-0014.

Full text

Abstract:

Abstract China has long been present in Western science fiction, but largely through notions of Orientalism and depictions as the 'Yellow Peril'. However, with China's new ascendancy and modernization over the last 15 years, along with its investment and collaboration with Hollywood in particular, contemporary film in general, and contemporary science fiction in particular, has embraced this new China in ways hitherto unseen before. This essay examines three contemporary western/American science fiction films which each represent and construct China in slightly different ways, and in ways which reveal the West, and Hollywood's reappraisal of the relationship with China and its emerging 'Soft Power.'.

APA, Harvard, Vancouver, ISO, and other styles

37

Fleming, David H., and William Brown. "Through a (First) Contact Lens Darkly: Arrival, Unreal Time and Chthulucinema." Film-Philosophy 22, no. 3 (October 2018): 340–63. http://dx.doi.org/10.3366/film.2018.0084.

Full text

Abstract:

Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival (2016) is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a “third synthesis” of time, and that which J. M. E. McTaggart named the a-temporal “C series” of “unreal” time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have dominated the planet, to the “chthulucene,” in which humans no longer exist on the planet at all.

APA, Harvard, Vancouver, ISO, and other styles

38

Ding, Zichen. "Exploring the Development of Soft Science Fiction Films in the Chinese Film Market: Taking Dune 2 as an Example." Advances in Economics, Management and Political Sciences 102, no. 1 (July 25, 2024): 238–43. http://dx.doi.org/10.54254/2754-1169/102/2024ed0070.

Full text

Abstract:

Following the cessation of the COVID-19 pandemic, the Chinese film industry has experienced a resurgence, leading to fresh prospects for the Chinese science fiction film market. On March 8, 2024, the Chinese mainland will host the release of Dune 2, which has garnered significant popularity in the Chinese science fiction cinema market. The goal of this study was to investigate whether the popularity of the Dune series of movies in the Chinese film market persists. The objective of this study was to investigate the potential influence of the Dune series of movies on the Chinese science fiction film industry. This article provided an in-depth examination of the film "Dune 2" as a specific example. This analysis utilized the distinctive attributes of the "Dune 2" film series, as well as the commercial performance and value demonstrated in the Chinese film market. It combined fundamental business theory and cinematic art knowledge to conduct a thorough examination and observation. The study yields three key outcomes: the successful adaptation of movies based on popular intellectual properties, achieved by appropriately innovating the original IP; the advancement in filming technology, which propels the growth of science fiction movies by establishing a dedicated technology park for the film industry; the influence of film music on the coherence of movie narratives, through the creation of music that aligns with the unique style of each film. This study aimed to investigate the attributes of the Chinese science fiction film market and offers recommendations for the advancement of Chinese science fiction films.

APA, Harvard, Vancouver, ISO, and other styles

39

Tucherman, Ieda. "Fabricando corpos: ficção e tecnologia." Comunicação Mídia e Consumo 3, no. 7 (September 23, 2008): 77–92. http://dx.doi.org/10.18568/cmc.v3i7.71.

Full text

Abstract:

Desdobramento dos extensos estudos da autora sobre a ficção científica no cinema como narrativa representativa do mundo contemporâneo, o artigo enfoca especificamente as questões relacionadas ao corpo humano e à tecnologia que emergem dos filmes desse gênero nascido sob o signo da cultura visual médica. As narrativas fílmicas contemporâneas de ficção científica abrem espaço para reflexões sobre as sociedades atuais em mutação e para questionarmos até que ponto, diante da profunda interação homem-máquina, permanecemos ainda humanos. Palavras-chave: Ficção científica; cinema; tecnociência; corpo; subjetividade. ABSTRACT This article draws on my extensive studies on science fiction cinema as a form of narrative which represents contemporary world. The work focus specifically the questions related with the human body and the technology which emerges from sci fi films generated under the sign of medical visual culture. Contemporary filmic science fiction narratives give way to refletions over present mutating societies and to questioning how far, given the deep human-machine interaction, we are still human. Keywords: Science fiction; cinema; technoscience; body; subjectivity.

APA, Harvard, Vancouver, ISO, and other styles

40

Maksym W., Kyrchanoff. "SciFi Cinema as one of Spatial Localizations of Military Images in American Mass Culture." Humanitarian Vector 16, no. 5 (November 2021): 77–86. http://dx.doi.org/10.21209/1996-7853-2021-16-5-77-86.

Full text

Abstract:

War is one of the most popular topics in modern mass culture. The author analyzes the features of the perception of war in modern science fiction cinema. The purpose of this article is to analyze the representation of war in American science fiction as a form of historical memory in mass culture. The author uses inventionism methods to analyze the images of war in the film production of mass culture as “invented traditions” of the consumer society. The range of perception of war and military experience in popular culture is analyzed. Modern global film industry and national film industries regularly address military themes in the world or national contexts, producing films that actualize military experience of nations and states. The film industry segments that specialize in the production of science fiction and fantasy films also do not ignore the military theme. It is supposed that popular culture offers a variety of images of war, including militarism, violence, military collective trauma, and military political psychosis. The author believes that military theme in popular culture arose as a result of reflection on real military conflicts, and the creators of the pop-cultural project could reject the war or idealize it. The author believes that military science fiction in modern American mass culture actualizes the values of pacifism or militarism as reflections of the left or right preferences of the creators of such cultural product for the consumer society. Science fiction films actualize various forms of war, including global military clashes, civil conflicts, aggression, intervention and genocide. Popular culture is becoming the main sphere of existence of the memory of war because military conflicts of science fiction series can be perceived in the consumer society as more real than the historical wars of the past. Military images of mass culture are supposed to actualize various forms of war memory, including memory as trauma, memory as marginalization, and memory as nostalgia which idealize war.

APA, Harvard, Vancouver, ISO, and other styles

41

Haney, Jennifer J., Claire Havice, and Jerry T. Mitchell. "Science or Fiction: The Persistence of Disaster Myths in Hollywood Films." International Journal of Mass Emergencies & Disasters 37, no. 3 (November 2019): 286–305. http://dx.doi.org/10.1177/028072701903700303.

Full text

Abstract:

Hollywood continues to be both profitable and successful in attracting audiences to witness displays of death and destruction on the silver screen. Tornadoes, earthquakes, tsunami hazards, and climate change are among the most recent hazards portrayed in disaster films. The purpose of our research was to systematically collect and analyze physical, social, and temporal data from twelve disaster films to build upon past studies examining the portrayal of disaster. Our findings indicate a clear shift from those identified in earlier studies, with disaster myths (e.g. the importance of death tolls; technology as the only solution) appearing more than previously. Further, current trends in the disaster film genre indicate a shift toward unpredictable, widespread events and a defenseless humanity.

APA, Harvard, Vancouver, ISO, and other styles

42

Hossaert, Clément. "Shimmer et Chimère. Genre, transe et rimes à l’ère de l’anthropocène dans Annihilation de Jeff Vandermeer et Alex Garland." Articles avec comité de lecture, spécial (October 7, 2021): 29–48. http://dx.doi.org/10.7202/1082342ar.

Full text

Abstract:

L’ambition de cet article est de proposer une lecture d’Annihilation à l’orée des théories féministes, et sur la science-fiction populaire, Donna Haraway, Christine Cornea et Vivian Sobchack parmi d’autres, ainsi que d’utiliser la « rime » comme nouvel outil de conceptualisation de la référence au cinéma. Le film d’Alex Garland propose un épissage à la fois de créatures et de thèmes chers aux films à la croisée de la science-fiction et de l’horreur, tels qu’Alien et The Thing. Une lecture de ces références et leur nature unique nous permet de dégager une définition singulière de la science-fiction.

APA, Harvard, Vancouver, ISO, and other styles

43

Xiong, Ruoyan. "The Use of Game Elements in Hollywood Science Fiction Films, Taking Ready Player One and Free Guy as Examples." Communications in Humanities Research 3, no. 1 (May 17, 2023): 435–42. http://dx.doi.org/10.54254/2753-7064/3/20220398.

Full text

Abstract:

Film and game integration is a new phenomenon in today's multimedia era, and Hollywood science fiction films become a good carrier for the use of game elements with advanced production technology and virtual visual presentation. Based on current research, this paper uses the method of image analysis to explore the use of game rule elements and goal elements in two representative science fiction films, namely, Ready Player One and Free Guy. It looks into the formulaic effect of the rule elements on films world construction and their innovativeness in terms of humanistic worldviews. Furthermore, it considers the set of layered characteristics of the goal elements in the films narrative structures, especially the infinite narrative. Finally, by analyzing the individual cases of the two films and reflecting critically on the presentation of the films, it is concluded that in order to realize the integration of film, game and audience, the wide dissemination of the game spirit, and the subversion and reconstruction of the video world, it is necessary to make trade-offs and innovations. Directly using game elements gives positive inspiration for the creation of future film-game fusion works.

APA, Harvard, Vancouver, ISO, and other styles

44

Racięski, Bolesław. "Przyszłość już była. Dystopie w najnowszym kinie science fiction Ameryki Łacińskiej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 167–75. http://dx.doi.org/10.14746/i.2020.37.10.

Full text

Abstract:

This paper examines the various ways in which contemporary Latin American science fiction films contest the neocolonial and neoliberal narratives, dominant in the region since the 20th century. I identify and examine strategies that filmmakers employ to challenge the common understanding of such notions as time, modernity and technological progress. I outline the visions of dystopias presented in the examined films, while also analyzing the counter-narratives introduced by filmmakers, which are mostly focused on creating a new, hybrid identity for a future citizen.

APA, Harvard, Vancouver, ISO, and other styles

45

Hamdy Abdel Harith Abdel Hamid, Nermin. "The role of science fiction films in the animation arts." International Journal of Design and Fashion Studies 3, no. 2 (December 1, 2020): 27–45. http://dx.doi.org/10.21608/ijdfs.2020.187980.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Telotte, J. P. "Sex and machines: the ‘buzz’ of 1950s science fiction films." Science Fiction Film & Television 8, no. 3 (October 2015): 371–86. http://dx.doi.org/10.3828/sfftv.2015.24.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Ximena Gallardo C. "Women Scientists in Fifties Science Fiction Films (review)." Science Fiction Film and Television 2, no. 2 (2009): 304–7. http://dx.doi.org/10.1353/sff.0.0078.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Gunderman, Hannah Carilyn. "Book Review: Gendering science fiction films: Invaders from the suburbs." Bulletin of Science, Technology & Society 36, no. 1 (February 2016): 85–86. http://dx.doi.org/10.1177/0270467615591934.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Al Fahoum, Amjed, and Tahani A. Ghobon. "Performance Predictions of Sci-Fi Films via Machine Learning." Applied Sciences 13, no. 7 (March 29, 2023): 4312. http://dx.doi.org/10.3390/app13074312.

Full text

Abstract:

The films teenagers watch have a significant influence on their behavior. After witnessing a film starring an actor with a particular social habit or personality trait, viewers, particularly youngsters, may attempt to adopt the actor’s behavior. This study proposes an algorithm-based technique for predicting the market potential of upcoming science fiction films. Numerous science fiction films are released annually, and working in the film industry is both profitable and delightful. Before the film’s release, it is necessary to conduct research and make informed predictions about its success. In this investigation, different machine learning methods written in MATLAB are examined to identify and forecast the future performance of movies. Using 14 methods for machine learning, it was feasible to predict how individuals would vote on science fiction films. Due to their superior performance, the fine, medium, and weighted KNN algorithms were given more consideration. In comparison to earlier studies, the KNN-adopted methods displayed greater precision (0.89–0.93), recall (0.88–0.92), and accuracy (90.1–93.0%), as well as a rapid execution rate, more robust estimations, and a shorter execution time. These tabulated statistics illustrate that the weighted KNN method is effective and trustworthy. If several KNN algorithms targeting specific viewer behavior are logically coupled, the film business and its global expansion can benefit from precise and consistent forecast outcomes. This study illustrates how prospective data analytics could improve the film industry. It is possible to develop a model that predicts a film’s success, effect, and social behavior by assessing features that contribute to its success based on historical data.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Films de science-fiction'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles