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Relevant bibliographies by topics / Thriller science fiction

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Academic literature on the topic 'Thriller science fiction'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Thriller science fiction"

1

Gee, Henry. "The Methuselah Gene: A Science Fiction Adventure Thriller." Nature Medicine 6, no. 8 (August 2000): 857–58. http://dx.doi.org/10.1038/78607z.

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IOVĂNEL, MIHAI. "POPULAR GENRES: SCIENCE FICTION AND FANTASY, DETECTIVE NOVEL, THRILLER." Dacoromania litteraria 7 (2021): 137–53. http://dx.doi.org/10.33993/drl.2020.7.137.153.

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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.

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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.

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Pokotylo, Mikhail. "American thriller novel as an effective means of scientific communication." E3S Web of Conferences 273 (2021): 11031. http://dx.doi.org/10.1051/e3sconf/202127311031.

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In the modern world, the problem of the perception of science in society is relevant, and it is impossible to expect scientific breakthroughs and the introduction of new technologies into everyday life without its solution. Anti-scientology views have taken root in society with the active assistance of the media. In this regard, it seems useful to analyse the features of the science image formation by means of fiction. The purpose of the article is to study the possibilities of using the genre of the American thriller novel as a means of scientific communication that can inspire society’s confidence in science. To achieve the stated purpose, the analysis of the peculiarities of the science perception in modern society is carried out; the methods of communication between scientists and society are considered, and the specific features of the thriller genre are revealed. The author came to the conclusion that the genre nature of the thriller novel makes it possible to tell mass audience about new technologies in a fascinating way, take a fresh look at scientific achievements, comprehend the moral principles of science, and build trust in innovative technologies in modern society.

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Leane, Elizabeth, and Stephanie Pfennigwerth. "Antarctica in the Australian imagination." Polar Record 38, no. 207 (October 2002): 309–12. http://dx.doi.org/10.1017/s003224740001799x.

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AbstractAntarctica and Australia share a geographical marginality, a commonality that has produced and continues to reinforce historical and political ties between the two continents. Given this close relationship, surprisingly few fulllength novels set in or concerned with the Antarctic have been produced by Australian authors. Until 1990, two latenineteenth- century Utopias, and two novels by Thomas Keneally, were (to our knowledge) the sole representatives of this category. The last decade, however, has seen an upsurge of interest in Antarctica, and a corresponding increase in fictional response. Keneally's novels are ‘literary,’ but these more recent novels cover the gamut of popular genres: science fiction, action-thriller, and romance. Furthermore, they indicate a change in the perception of Antarctica and its place within international relations. Whereas Keneally is primarily concerned with the psychology of the explorer from the ‘Heroic Age,’ these younger Australian writers are interested in contemporary political, social, and environmental issues surrounding the continent. Literary critics have hitherto said little about textual representations of Antarctica; this paper opens a space for analysis of ‘Antarctic fiction,’ and explores the changing nature of Australian-Antarctic relations as represented by Australian writers.

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Fedosova, M. "THINKING ABOUT THE FUTURE: PHILOSOPHY AND SCIENCE FICTION IN CLAIRE NORTH'S NOVEL "THE FIRST FIFTEEN LIVES OF HARRY AUGUST"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(88) (September 5, 2018): 5–9. http://dx.doi.org/10.35433/philology.2(88).2018.5-9.

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As developed in this paper, science fiction shows us the distorted vision of the present with its anxieties about (mis)use of science although it deals mostly with the future and alternative realities. Thus SF stories both praise scientific progress and repulse its terrible applications caused by irresponsible abuse of technology. This paper focuses on how contemporary SF deals with philosophical issues of life, death, technology, and the role of science in society. It reviews Claire North's novel "The First Fifteen Lives of Harry August" in which SF conventions parallel and intensify the thriller narrative. The philosophies of Nietzsche and Heidegger have been employed to discuss the theory of eternal return and related topics of nihilism, devaluation of values, and purpose of existence. It is stated that the novel reveals how cognition of totality may lead to death and illustrates that human beings are incapable of achieving omniscience. Personal time is measured by memory and is always linear; therefore it can guarantee meaningful existence only when its arrow points towards growth and maturity. It is shown that ethical issues raised in the novel are based on the distinction between theoretical science signifying truth and its practical application meaning power. Knowledge by itself lies beyond morality; however, means used in its pursuit entail responsibility to others.

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Giguère, Christian. "A New Hegemonic Hope: Daemonic Agency in the Techno-Thriller Novels of Daniel Suarez." Excursions Journal 4, no. 1 (September 13, 2019): 1–19. http://dx.doi.org/10.20919/exs.4.2013.160.

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The article reflects on how contemporary science fiction has initiated a paradigmatic shift in the conceptualization of hegemonic force. Focussing on the figure of the Daemon depicted in two recent techno-thriller novels – Daemon (2009) et Freedom (2010) by American author Daniel Suarez – I show how the pervasive conceptions surrounding the agency of modern technology that we find in the late writings of Martin Heidegger are confronted in twenty-first century narratives that question the way we conceptualize the hegemonic directing of human consciousness by re-examining the figures of Ancient Greco-Roman thought. In the article, I pay particular attention to how what I call the “daemonic mobility” of human thought that we find in the writings of the Neo-Platonist Apuleius is eliminated by Augustine in his devising (in City of God and his other writings) of a permanent locus of existential consciousness, and how this contributes to Heidegger’s understanding of the essence of technology as the “coming to presence of art”. By re-investing the figure of the daemon and the mobility of human thought, Suarez narratives allow us to renew our understanding of the nature of this poeisis.

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Grendler, Paul F. "Form and Function in Italian Renaissance Popular Books." Renaissance Quarterly 46, no. 3 (1993): 451–85. http://dx.doi.org/10.2307/3039102.

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Form and Function are Closely connected in books. The physical appearance of books indicates purpose and intended readership. A combination of size, type, and page layout offers visible signals informing the reader of the content before he begins to read a book. Books that look different are different. They have different subject matters, purposes, and readerships.Anyone browsing in a bookstore in the late twentieth century knows this. Today an illustration on the cover provides the most obvious clue concerning the subject matter and purpose of a book. When the cover shows a handsome man with a scowl on his face and a gun in his hand along with a beautiful young woman in distress—and possibly some degree of undress—we know that the book is a “thriller.” When the cover shows a spaceship, we know that the book is science fiction.

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MAKSOUD, SIBELLE, KHALED TALEB, and DANY AZAR. "Four new Lower Barremian amber outcrops from Northern Lebanon." Palaeoentomology 2, no. 4 (August 30, 2019): 333–39. http://dx.doi.org/10.11646/palaeoentomology.2.4.6.

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Amber is a fossilized plant resin that is preserved and modified throughout geological time (Langenheim, 1969). The complexity of the chemical composition of amber makes it unique considering the preservation of biological inclusions in their 3D pristine and minute details (Langenheim, 2003). Its age ranges between a few millions and 320 million years (mid-Carboniferous) (Sargent Bray & Anderson, 2009). During the past two to three decades, the discoveries worldwide of new amber outcrops have increased. There is no doubt that Jurassic Park in 1993, the famous American science fiction adventure thriller film directed by Steven Spielberg and based on the novel of the same name by Michael Crichton, played a noticeable role in making amber more popular. Before this date, interest in amber was mainly restricted to Baltic and Caribbean countries, though amber occurrence was known from several localities worldwide.

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Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 177–93. http://dx.doi.org/10.1386/eapc_00024_1.

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Edward Said’s dogmas of Orientalism are a succinct summary of western perceptions of the East, which reveal an essentially racist discourse that also speaks to the westerner’s self-perception. While there is a tendency in fiction film to polarize attitudes as either friendly or hostile, for reasons of narrative economy and to enhance dramatic conflict, this article argues that it is possible to measure the behaviour of fictional characters on a continuum describing intercultural sensitivity to assess how these characters appear to respond to the idea of cultural differences, broadly ranging from the most ethnocentric views to more ethnorelative ones. Since the intercultural development continuum (IDC) is structured as five developmental stages, it provides a finer psychological template than Orientalist binaries, offering a more nuanced view of character motivations and attitudes. The IDC scale is ideally suited to narrative analysis as it usefully describes successive stages that characters may exhibit throughout the course of a story depicting intercultural exchanges. The IDC allows the analyst to gauge the degree of conformance of any given film to Said’s aforementioned dogmas, particularly those films that either express an ambivalent attitude or appear superficially more enlightened or accommodating of difference. This model will be illustrated with a number of case studies selected from a filmography focusing on western representations of Singapore in film and television, from 1940 to 2015, including titles such as the Bette Davis plantation melodrama The Letter, the science fiction thriller Hitman: Agent 47 and the Australian period TV series Serangoon Road.

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Dissertations / Theses on the topic "Thriller science fiction"

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Everett, Katharine More. "Eden." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1589227367791853.

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Books on the topic "Thriller science fiction"

1

Pérez, Genaro J., and Janet Pérez. Hispanic science-fiction/fantasy and the thriller. Odessa, Tex: Monographic Review, 1987.

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The Methuselah gene: A science fiction adventure thriller. Philadelphia, PA: BainBridgeBooks, 2000.

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3

1961-, Sarvari Darren, ed. The eyes of light and darkness: A science fiction thriller. New York: DAW Books, 1996.

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Tomasi-Dubois, Mary. The mariner's secret: A Matt & Heather thriller. Los Gatos, Calif: Robertson Pub., 2005.

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Driskell, Chuck. The diaries: An espionage thriller. [S.l: C. Driskell], 2012.

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Overlord: An Event Group thriller. New York: Thomas Dunne Books, 2014.

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Taylor, Brad. All necessary force: A Pike Logan thriller. New York: Dutton, 2012.

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All necessary force: A Pike Logan thriller. New York: Dutton, 2012.

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Smith, Noah. The strange case of Dr. Jekyll and Mr. Hyde: A science fiction thriller. New York, NY (P.O. Box 237060, New York 10023): Playscripts, Inc., 2004.

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Golemon, David Lynn. Legacy: An Event Group thriller. New York: Thomas Dunne Books/St. Martin's Press, 2011.

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Book chapters on the topic "Thriller science fiction"

1

Smith, V. Anne. "A Code for Carolyn: A Genomic Thriller." In Science and Fiction, 3–204. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04553-1_1.

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Cunliffe, Tom. "Tracing the Science Fiction Genre in Hong Kong Cinema." In Sino-Enchantment, 128–48. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474460842.003.0007.

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This chapter traces the sporadic historical development of the science fiction genre in Hong Kong cinema and analyses several films made in Hong Kong since 1979, which adopt science fiction elements to negotiate cultural and ideological anxieties related to modernity, coloniality and Chinese nationalism. The films analysed in this chapter blend science fiction motifs, iconography and narratives with other local genres such as wuxia, kung fu, comedy and the undercover cop/agent thriller. This mixing of genres foregrounds Hong Kong cinema’s particular ideological perspective, which sometimes undermines, challenges or embraces the conventions of the science fiction genre. In this experimental stage from the late-1970s to the 1980s, Hong Kong science fiction films reveal the locus of Hong Kong cinema as one that shuttles between the local, national and global, both resisting and welcoming the modernity that the imagination of science fiction offers. This negotiation is a reaction to Hong Kong’s position in-between Chinese nationalism and British colonialism.

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Riddle, Nick. "The House of Sci-Fi: Hammer and Science Fiction." In The Damned, 23–28. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325529.003.0003.

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This chapter examines Hammer and its history with science fiction. Hammer had become, by 1963, an easy studio to pin down: the broader production slate of the 1950s had been narrowed to mainly produce Gothic horror and modern thriller/slasher films, with little interest in cultural 'respectability'. Since Hammer's first feature-length film, however, its slate of releases covered a multitude of subjects and genres such as mysteries, comedies, crime dramas and noirs, and science fiction. A certain amount of commentary on Joseph Losey's The Damned (1963) has identified it as an anomaly in the Hammer catalogue. There is its frequent description as a kind of hybrid, mixing the biker/delinquent movie with the science fiction genre; but Hammer had previous form in this department. The genre mix in The Damned is more ungainly than most because, rather than running concurrently throughout the film, the genres tend to interrupt each other.

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De Boever, Arne. "Financial Realism in The Fear Index." In Finance Fictions. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279166.003.0004.

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Chapter Three compares and contrasts the psychotic realism of Psycho and American Psycho to the financial realism of more contemporary finance fictions such as Alger’s The Darlings. The case-study in this chapter is Robert Harris’ science-fiction thriller The Fear Index. While The Fear Index continues the finance novel’s theme of psychosis—its main character, a finance man, is suggested to be psychotic and the novel includes a murder scene set in a hotel shower that is clearly inter-textual with Hitchcock’s film. The novel also resists this theme by refusing to blame everything that is happening to its main character on psychosis. Instead, it gradually reveals that the source of the evils narrated in the book is a trading algorithm that has gone rogue. The Fear Index thus introduces its readers to the contemporary economy of algorithmic, high-frequency trading—a reality that, while it may sound like science fiction, is represented in the novel in a realist, and at one point even documentary-like, mode. Generally received as a sci-fi thriller, The Fear Index thus presents an important step forward in relation to the psychotic realism of American Psycho in that it resists what Joseph Vogl in his philosophical study of the economy has called “the spectralization of capital.” The economy is certainly not forgotten in Harris’ novel but instead takes center-stage.

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Ahmed, Omar. "The Legacy of RoboCop." In RoboCop, 97–106. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325253.003.0006.

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This chapter explores the legacy of Paul Verhoeven's RoboCop in terms of the original critical reception, the film's relationship with its two sequels, and the marketing of the film. Released in the summer season of 1987, RoboCop was an unexpected commercial success, leading to the creation of the RoboCop universe, extending into television, video games, animation, and numerous sequels. The chapter then considers Verhoeven's work in the Hollywood science-fiction genre. The success of RoboCop led to an interest in science-fiction cinema that would lead Verhoeven to direct three more science-fiction films: Total Recall (1990), Starship Troopers (1997), and Hollow Man (2000). None of the films are pure science fiction but hybrids, fusing conventions from a broad range of genres including war movie, horror, and the political thriller.

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Carter, David. "Introductory Remarks." In Inception, 7–8. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325055.003.0001.

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This introductory chapter provides an overview of Christopher Nolan's Inception (2010). Inception blurs the distinctions between various genres. It is considered as science fiction although it does not contain many of the elements associated with the genre. It can also be identified as a kind of heist film, and the first part of the film, the extraction, certainly involves a complex robbery; but then the second part of the film, while having many of the trappings of a heist, involves putting something into a heavily guarded location rather than stealing from it. Moreover, the heist motifs and the film's character types are reminiscent of film noir. Inception can also be described as a psychological thriller and it deals with the subject of time and how dreams are related to the conscious and unconscious mind.

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Dixon, Wheeler Winston. "The First of Hammer." In The Films of Terence Fisher, 95–146. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325345.003.0003.

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This chapter reviews Terence Fisher's initial work for Eros Films Ltd. on the production of Home to Danger, that starred Guy Rolfe. It discusses how Fisher embarked on a long period of highly uneven filmmaking after leaving behind the Gainsborough glossies, bouncing from one small company to another and making everything from domestic comedies and crime films to science-fiction dramas. It also looks at the period Fisher began his first work for Hammer, which used to be a very small British production company that relied upon co-production deals arranged by Robert Lippert. The chapter discusses Home to Danger, a successful program picture that is considered a modest and unpretentious crime thriller. It describes Fisher's crisp and authoritative compositions that favors neatly composed low-angle shots, which emphasized the grandeur of Barbara's home in Home to Danger.

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Casaregola, Vincent. "Who “Screens” Security?" In Biometrics, 1419–38. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0983-7.ch058.

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Films represent our awareness of surveillance and often trigger a deep emotional response from audiences, and for whole genres of film—particularly the political thriller and science fiction/speculative dystopia, along with horror films and some forms of the mystery or crime film—have been built around an individual or group of individuals who are being kept under some form of surveillance, either by the authorities of the state and by other individuals or groups who may have criminal and/or even psychotic motives. For filmmakers and their intended audiences, the surveillance narrative doubles back onto to very art form itself, composed as it is of the camera's surveillance of the action, along with the viewers' attentive watching of the film. While such audience attention had also been fundamental to drama for thousands of years, it has only been more recently that audiences began observing the fourth wall conventions of silence and darkness that make their watching of a performance a kind of surveillance.

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Deighan, Samm. "A Murderer Among Us." In M, 15–32. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325772.003.0002.

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This chapter establishes the context for the climate in which Fritz Lang's M was produced, including its historical context within early 1930s Germany during the rise of Nazism. It explores M's connection to Lang's early work, during a period when he radically experimented with genres of romance, science fiction, fantasy and crime thrillers. It also discusses how M marks a turning point in Lang's career, when he began to fixate overwhelmingly on characters in the grip of social paranoia. The chapter talks about how Lang exclusively made crime films and thrillers with similar themes after M. It examines M's relationship to the German expressionist cinema of the 1910s and 1920s, particularly films that fit within the horror genre.

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Hudson, Dr Simon, and Louise Hudson. "The Impact of Technology on Winter Sport Tourism." In Winter Sport Tourism. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-39-5-2742.

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We are witnessing a rapidly changing communications environment dominated by digital technology. To illustrate how quickly technology is advancing, take the example of Steven Spielberg’s sci-fi thriller Minority Report. In 1999, the director convened a three-day think tank to gather insights from 23 top futurists for the making of the movie, which depicted the world of 2054. The goal was to create a realistic view of a plausible future 50 years ahead. Projecting out from the present day’s marketing and media technologies, Spielberg depicted an advertising-saturated society where billboards call out to passers-by on a first-name basis, cereal boxes broadcast animated commercials, newspapers deliver news instantly over a broadband wireless network, holographic hosts greet customers by name at retail stores, and where biometric retina scans deduct the cost of goods instantly from bank accounts (Mathieson, 2002). The technologies portrayed in the film were far from science fiction, and today many are in use or are in development – an indication of the rapid pace of technological change. Technology and the Internet have fundamentally altered the way the world interacts and communicates. Traditional approaches to branding that put emphasis on mass media techniques are less and less effective in a marketplace where customers have access to massive amounts of information about brands, product and companies and in which social networks have, in some cases, supplanted brand networks (Keller, 2009). In the new media environment, consumers are increasingly in control. Not only do they have more choices of media to use, they also have a choice about whether and how they want to receive commercial content. In response marketers are employing more varied marketing communications techniques than ever before – see the Powder Matt Snapshot above for examples. Table 1 summarizes some of the interactive marketing communication options that are now available.

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