Relevant bibliographies by topics / Science fiction Science fiction films

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Science fiction Science fiction films'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Science fiction Science fiction films"

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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.

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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.
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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.

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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.

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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.
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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.

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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.
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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.

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Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.

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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”
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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.

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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
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Bosman, Frank G. "Finding Faith between the Sciences: The Cases of ‘The Outer Worlds’ and ‘Mass Effect: Andromeda’." AUC THEOLOGICA 11, no. 1 (September 27, 2021): 145–61. http://dx.doi.org/10.14712/23363398.2021.8.

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Science fiction, as a genre, has always been a place for religion, either as an inspirational source or as a part of the fictional universe. Religious themes in science fiction narratives, however, also invoke the question of the relationship, or the absence thereof, between religion and science. When the themes of religion and science are addressed in contemporary science fiction, they are regularly set in opposition, functioning in a larger discussion on the (in)comparability of religion and science in science fiction novels, games, and films. In the games The Outer Worlds and Mass Effect Andromeda, this discussion is raised positively. Involving terminology and notions related to deism, pantheism, and esoterism, both games claim that science and religion can co-exist with one another. Since digital games imbue the intra-textual readers (gamer) to take on the role as one of the characters of the game they are reading (avatar), the discussion shifts from a descriptive discourse to a normative one in which the player cannot but contribute to.
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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.

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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.

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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.
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Dissertations / Theses on the topic "Science fiction Science fiction films"

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Wood, Aylish. "Technoscience in the cinema : beyond science fiction." Thesis, University of Nottingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313246.

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Ross, Simon David. "Nostalgia in postmodern science fiction film." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472741.

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Veith, Errol, and n/a. "Screening Science: Contexts, Texts and Science in Fifties Science Fiction Film." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20051012.112131.

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Science fiction films may be viewed as existing as threads within a web, and at the same time constituting the web. The metaphor is apt: texts and contexts and their relationship have a difficult accommodation with each other, an interdependent and dynamic relationship. The text is a thread in the web, as are elements of context, yet the threads are in a symbiotic and constantly changing relationship with each other, as the web is constantly in a state of renewal and change. At the same time, the text itself is a web, as are the various contexts. The threads are both ephemeral and fleeting, while incredibly strong. This thesis is about the polysemy of science fiction film: its subject is the films of the fifties that belong to the genre of science fiction. But the area of study began as an investigation of the science in science fiction films; the way in which films construct that science, the end result of that construction and the totality of the discourse of science in relation to other discourses of power and influence. The investigation of those issues involves a multi-layered investigation into science fiction, in a similar way to Tulloch and Alvarado's approach to the Dr Who television series.1 Approaching science fiction films from a perspective of genre, as in chapter one, uncovers a set of arguments about the science in science fiction, as well as establishing the global nature of some science fiction. These concerns lead into the discussion in chapter two of the social and historical context of the fifties, specifically in the US. Science plays a major role in these contexts, in the sense of the importance of science in creating these contexts (from this perspective) as well as the effects of the application of this science. But the historical and cultural contexts tend to suggest that science fiction films are in large part both a response to the social and historical context, and also create that context. This would not be quite accurate: the production of many science fiction films mobilise other arguments, arguments relating to the industry of Hollywood, and the specific industrial context that gave rise to some very financially successful science fiction films, as well as some films where the budget was good for a few days filming. Science and technology are sometimes important elements in this industrial context as well. Part II traces the nature of science in these films, using the contexts in Part I to anchor the science and its implications and effects. Foregrounded is the debate in which science is both key player and, in many cases, antagonist. The debate is traced and the various representations of science and its nature are tracked and highlighted. Science can cause change, by virtue of its nature of uncovering superstition, but the worth or desirability of that change is open to question. The control of science is a related issue. The thesis examines science at a period that saw the efflorescence of science fiction films. The examination of those films tells us a great deal about the concerns of the time, as well as the science that figures so powerfully in the webs of culture of the fifties.
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Kawamoto, Marcia Tiemy Morita. "The question of time in science fiction films." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/162843.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2016.
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Abstract : Time is a hard-to-define concept in its most fundamental aspects. Different from space, to which it is commonly associated, time cannot be physically grasped, although we do try to measure it. What does not stop it from being simply ubiquitous, since we cannot escape or ignore it. The representation of time in fiction reflects its own social period. Having this in mind, this research understands that time has assumed different meanings in distinct contexts, since it reveals itself as a product of its historical times. Within this, the objective of this dissertation is to investigate time in times of change, understanding how the transitions and intersections of the Modern, Post-Modern and yet without a proper name Post-Postmodern periods affect the concept of time in film production, specifically in science fiction films. This dissertation analyzes science fiction films, since they seem to present a more conflicting and marked tendency in relation to time. Metropolis marks the modernist period with its notion of linear and futuristic time, strongly attached to an idea of industrial capitalism, in which the rhythm of the production conditions the workers. Blade Runner and Twelve Monkeys present a post-modern nostalgic vision of the future with a fragmented time, constructed through the character?s search of a past and identity. Lastly, Source Code and Interstellar seem to join a notion of digital cinema and time, proposing a more flexible temporality. In this last idea, space and time also influence one?s existence, that changes his/her ontology and starts existing in other realities and dimensions.

Tempo é um conceito difícil em seus aspectos mais fundamentais. Diferente do conceito de espaço, ao qual ele é comumente associado, o tempo não pode ser fisicamente apanhado, apesar de tentarmos medi-lo. O que não impede que ele seja simplesmente ubíquo, pois não podemos escapar dele ou ignorá-lo. A representação do tempo em ficção reflete seu tempo social. Com isso em mente, essa pesquisa entende que o tempo tem assumido significados diferentes em contextos distintos, uma vez que se revela como um produto de seu tempo histórico. Em vista disso, o objetivo principal dessa tese é investigar o tempo em tempos de mudança, ao entender como as transições e intersecções dos períodos Moderno, Pós-moderno e o ainda sem nome definitivo Pós-Pósmoderno afetam o conceito de tempo na produção fílmica, especificamente em filmes de ficção científica. Essa dissertação analisa filmes de ficção científica, uma vez que eles parecem apresentar uma tendência mais conflituosa e marcante em relação ao tempo. Metropolis marca o período modernista com sua noção de tempo linear e futurista, fortemente atrelado a uma ideia de capitalismo industrial, em que o ritmo da produção condiciona os trabalhadores. Blade Runner e Twelve Monkeys apresentam uma visão pós-moderna nostálgica do futuro com um tempo fragmentado construído pela busca de passado e identidade dos personagens. Por último, Source Code e Interstellar parecem unir a noção de cinema digital e de tempo, ao propor uma temporalidade mais flexível. Nesta última ideia, espaço e tempo também influenciam na existência do ser, que muda sua ontologia e passa a existir em outras realidades e dimensões.
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Popovich, George Lee. "Structural analyses of selected modern science-fiction films /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487329662145685.

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Lammes, Sybille. "In het laboratorium van de science fiction film technowetenschap in vooroorlogse Hollywood films /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2002. http://dare.uva.nl/document/63401.

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André, Danièle. "Cinéma de science-fiction et sociétés anglophones contemporaines." Paris 3, 1998. http://www.theses.fr/1998PA030108.

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Le but de cette thèse est de montrer que les films de science-fiction peuvent non seulement nous divertir, mais aussi nous faire réfléchir. Le recul pris nous permettra d'appréhender ce que les films de science-fiction des années quatre-vingt laissent transparaitre des sociétés anglophones contemporaines. L’étude de ces films nous apprend qu'ils reflètent les questions que nous nous posons sur la vie quotidienne. Ils dépeignent un monde contrôlé par des groupes économiques et politiques, et menacé par le pouvoir militaire. Toutefois, les films de science-fiction abordent aussi des inquiétudes plus profondes telles que nos idéaux, nos espoirs et nos peurs. Ainsi, ils montrent clairement l'opposition qui existe entre ce que nous aimerions être et ce que nous sommes, et ils nous permettent de mieux comprendre le rôle joué par la religion et par la science. En outre, ils reflètent l'attitude que nous adoptons envers notre environnement, ce que ce dernier révèle de nous-mêmes, et envers les autres. Ils mettent en évidence les changements survenus dans les relations humaines, et la douteuse progression du statut réservé aux femmes dans la société. De plus, nous comprenons que notre spécificité humaine est aussi ce qui nous rend conscients de notre état de mortel, une destinée que nous ne parvenons pas à accepter. Nous ne devons pas oublier que les films de science-fiction sont un divertissement qui nous permet de rêver et de nous amuser. Cependant, ils nous demandent aussi quelle vie nous aimerions avoir; s'ils évoquent un futur déshumanise, ils nous laissent libres de le transformer en un avenir plus souriant
This thesis aims to show that science fiction films are not only entertaining but that they are also thought-provoking. The benefit of hindsight enables us to appreciate contemporary english speaking societies through the glimpses shown by the science fiction films of the eighties. When we take a second look at them, we realise that they reflect our questioning about our daily life. They depict a world controlled by economic and political groups, and jeopardised by the military. However, science fiction films also deal with deeper worries such as our ideals, our hopes and our fears. Thus they clearly show the opposition between what we would like to be and what we are, and help us to understand better the roles of religion and science. Moreover, the films studied also reflect our behaviour towards our environment, and what it reveals about ourselves, and towards others. They also mirror the changes which have occurred in personal relationships, but also show that women's role in society has not really evolved. Science fiction films of the eighties tell us, somehow, that what makes human beings different from other living beings is also what makes us face our more painful reality, death, and our inability to accept it. We must not forget that science fiction films are an entertainment enabling us to dream and enjoy ourselves. However, science fiction films also ask us which life we would like to lead; they may evoke a dehumanized future, but they set us free to act and turn these pessimistic prospects into better ones
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Mather, Philippe. "L'eloignement cognitif : vers une semiologie du cinema de science-fiction." Paris 3, 1995. http://www.theses.fr/1995PA030125.

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Cette these cherche a determiner les modes d'articulation des concepts d'eloignement et de cognition dans un corpus de six films americains communement decrits comme appartenant au genre de la science-fiction, des points de vue syntaxique, semantique et pragmatique. La cognition represente le contenu de la fiction, et plus precisement la connaissance proposee par le biais d'une experience de la pensee s'inspirant de la methode scientifique, experience fictionnelle qui constitue egalement une reflexion critique sur le referent implicite du monde fictif, soit le contexte social et historique de la genese du texte. Quant a l'eloignement, c'est le parametre formel du genre, qui se manifeste d'abord sur un plan macro-discursif : la sciencefiction propose des mondes eloignes, c'est-a-dire differents du monde du lecteur ; le plan micro-duscursif concerne les effets de defamiliarisation crees par diverses figures de style
This thesis attempts to determine how the twin concepts of cognition and estrangement are articulated in a group of six american films commonly described as belonging to the sciencefiction genre, from syntactic, semantic and pragmatic points of view. Cognition represents the fiction's content, specifically the knowledge offered by a thought experiment inspired by the scientific method, which also constitutes a critical comment on the implied referent, the social and historical context of the fiction's origin. Estrangement is the genre's formal parameter, which first manifests itself on a macro-discursive level : science-fiction creates estranged worlds, that is to say, different from the reader's world ; the micro-discursive level concerns the defamiliarization created by various stylistic figures
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Wong, Yee-ling, and 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.

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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988), Kung Fu Cyborg (2009) and Future X-Cops (2010). In particular, Kung Fu Cyborg merges the popular genre conventions of martial arts and technoculture, and manifests a different imagination at work wherein Hong Kong’s martial arts cinema stands in the place of a scientific-based Western technoculture absent in Hong Kong science fiction films. This study presents several key critical frames elaborated by scholars of science fiction who have assessed the recurrent themes and figures of science fiction films. The discussion of films identifies the resemblances, the differences, and the competitive dynamic between American science fiction films and Hong Kong action features. The absence of utopian or dystopian figures in posthuman filmic representations in Hong Kong cinema is considered an important difference from Western science fiction films. This thesis examines the figure of the cyborg and argues for the important place of emotions and the power to emote and hope as having a complex relationship to technology, humans and humanness. The compassionate cyborg has temporal and moral dimensions relating to belief and religion in this important genre. Thus, this thesis examines the backdrop for science fiction affect, which is one of oppression and crisis that speaks to the conditions of capitalism and modernity. The affective cyborgs make an important figure in the science fiction films that concern the crisis conditions, the appeal of technology, and the conventions of science fiction genre in commercial cinema.
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Smith, Elizabeth Ann. "Ecstatic Truth through Fiction: Re-framing the Science Film to Engage a Wider Audience." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/smith/SmithE0507.pdf.

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Americans obtain a majority of their information about science through science films, primarily in the form of documentaries on television. However, despite the recent proliferation of these films, there is much discussion in the science filmmaking community about how ineffective these films have been lately at informing the public about science and compelling viewers to act. It is time to look at the underlying definitions of the genre from a different perspective and determine whether the current standards are the best way to successfully convey messages about science to the widest audience. To explore the possibilities for increasing the effectiveness of science filmmaking, one needs to look at the basic assumptions that come into play during the process of producing science films by re-framing the major components of the science film: goals, subject matter, audience, and format. This new set of paradigms reveals the possibility of another avenue - fiction.
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Books on the topic "Science fiction Science fiction films"

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Sciences & science fiction. Paris: Universcience, 2010.

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Science fiction films. Leicester: Admiral, 1986.

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Haycock, Kate. Science Fiction Films. New York: Crestwood House, 1992.

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Gianni, Canova, Monteleone Franco 1938-, and Martino Cecilia, eds. Science fiction. Roma: Bulzoni, 2003.

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Grant, Barry Keith. 100 Science Fiction Films. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6.

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George, Susan A. Gendering Science Fiction Films. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137321589.

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Feige, Marcel. Science Fiction. Hamburg: Europäische Verlagsanstalt/Rotbuch, 2001.

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Hahn, Ronald M. Lexikon des Science Fiction Films. 7th ed. München: Heyne, 1997.

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Les films de science-fiction. [Paris]: Cahiers du cinéma, 2008.

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Schelde, Per. Androids, humanoids, and other science fiction monsters: Science and soul in science fiction films. New York: New York University Press, 1993.

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Book chapters on the topic "Science fiction Science fiction films"

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George, Susan A. "Introduction: Gendering Science Fiction Invasion Films." In Gendering Science Fiction Films, 1–19. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137321589_1.

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George, Susan A. "Saturday Matinee Cautionary Tales: Science Fiction Vamps and Promethean Scientists." In Gendering Science Fiction Films, 47–84. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137321589_3.

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George, Susan A. "Keep Watching the Screens: Gender in Fifties Science Fiction Films and Beyond." In Gendering Science Fiction Films, 161–69. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137321589_7.

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Honda, Ishirô. "Gojira (Godzilla)." In 100 Science Fiction Films, 75–76. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_37.

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Grant, Barry Keith. "Introduction." In 100 Science Fiction Films, 1–4. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_1.

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Borden, Lizzie. "Born in Flames." In 100 Science Fiction Films, 21–22. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_10.

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Corman, Roger. "X: The Man with the X-Ray Eyes." In 100 Science Fiction Films, 201–2. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_100.

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Boorman, John. "Zardoz." In 100 Science Fiction Films, 203–4. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_101.

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Jones, L. Q. "A Boy and His Dog." In 100 Science Fiction Films, 23–24. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_11.

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Gilliam, Terry. "Brazil." In 100 Science Fiction Films, 25–26. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_12.

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Conference papers on the topic "Science fiction Science fiction films"

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Kusumastuti, Fenty. "Analyzing Translation through the Science Fiction Film Arrival." In 1st Bandung English Language Teaching International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0008214600050013.

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Ruan, Jian. "Interpretation of Costume Design in Science Fiction Films from the Perspective of Postmodernism." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.96.

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Tianle, Huang. "Research on Innovation of Science Fiction Film with Intelligent Equipment." In 2019 11th International Conference on Measuring Technology and Mechatronics Automation (ICMTMA). IEEE, 2019. http://dx.doi.org/10.1109/icmtma.2019.00027.

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Peldszus, Regina, Hilary Dalke, and Chris Welch. "Science Fiction Film as Design Scenario Exercise for Psychological Habitability: Production Designs 1955-2009." In 40th International Conference on Environmental Systems. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2010. http://dx.doi.org/10.2514/6.2010-6109.

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Gyger, Patrick J. "Science Fiction vs. Science Fact." In 54th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2003. http://dx.doi.org/10.2514/6.iac-03-iaa.8.2.01.

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Landis, Geoffrey. "Spaceflight and Science Fiction." In 50th AIAA Aerospace Sciences Meeting including the New Horizons Forum and Aerospace Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2012. http://dx.doi.org/10.2514/6.2012-202.

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Bates, Rebecca, Judy Goldsmith, Rosalyn Berne, Valerie Summet, and Nanette Veilleux. "Science fiction in computer science education." In the 43rd ACM technical symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2157136.2157184.

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Milton, Graeme W., and Nicolae-Alexandru P. Nicorovici. "Cloaking: Science Fiction or Reality?" In Photonic Metamaterials: From Random to Periodic. Washington, D.C.: OSA, 2006. http://dx.doi.org/10.1364/meta.2006.tua3.

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Wilson, Daniel H. "Chasing Our Science Fiction Future." In HRI '15: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2696454.2714390.

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Kohno, Tadayoshi, and Brian D. Johnson. "Science fiction prototyping and security education." In the 42nd ACM technical symposium. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1953163.1953173.

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Reports on the topic "Science fiction Science fiction films"

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Dribben, Douglas A. DNA Statistical Evidence and the Ceiling Principle: Science or Science Fiction". Fort Belvoir, VA: Defense Technical Information Center, March 1994. http://dx.doi.org/10.21236/ada456707.

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Webster, James K. Science Fiction as a Prism for Understanding Geopolitics. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ad1003712.

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van Boekel, M. A. J. S. Food, facts and fiction : A story about science and perception. Wageningen: Wageningen University & Research, 2019. http://dx.doi.org/10.18174/503823.

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Smith, Dina Cherise. Exploring the Recognizability and Nature of Media References in Female Science Fiction and Fantasy Fandom Dress. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1814.

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