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Artículos de revistas sobre el tema "Science fiction films"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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1

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.

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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 developme
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2

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
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3

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 c
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4

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.

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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 refle
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5

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.

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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 effect
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6

Kavut, İsmail Emre, and Elifnaz Olgaç. "The Technology of Fictional Space Designs in Dune Movies Investigation of Change in Time with Its Effect." Journal of Interior Design and Academy 3, no. 1 (July 19, 2023): 1–25. http://dx.doi.org/10.53463/inda.20230166.

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Cinema has been advancing continuously since its formation and intertwined with many disciplines. Technology also acts as a bridge between these disciplines, especially between science fiction cinema and architecture, the place of technology is undeniable. In this study, the change of fictional space designs over time with the effect of technology is discussed and how these developments affect cinema and fictional space designs are examined as "Dune 1984" and "Dune 2021" produced from the same novel from science fiction cinema. The interior spaces and structures in these films were determined
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7

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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8

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, an
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9

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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10

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.

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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 ne
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11

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.

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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 s
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12

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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13

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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14

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.

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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 a
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15

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.

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 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 th
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16

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.

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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
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17

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.

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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 marke
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18

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.

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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 futur
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19

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.

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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 narrativ
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20

Ayhan, Kadir Jun. "Transferring Knowledge to Narrative Worlds: Applying Power Taxonomy to Science Fiction Films." International Studies Perspectives 21, no. 3 (December 3, 2019): 258–74. http://dx.doi.org/10.1093/isp/ekz024.

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Abstract Instructors of courses in international relations increasingly use films to facilitate students’ learning of abstract concepts and to deepen their understanding of theories. This paper introduces how the fictional universes presented in films can be utilized as platforms for students to learn about the application of analytical frameworks. This method aims to enhance students’ abilities to transfer learned knowledge to a different setting. Knowledge transfer requires skills that go beyond lower-order thinking. Higher-order thinking aids students’ retention of concepts, and enables the
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21

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 An
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22

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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23

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.

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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 w
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24

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.

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25

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.

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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.

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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 fictio
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27

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
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28

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 postmoderni
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29

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.

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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 industr
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30

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.

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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 t
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31

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.

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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
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32

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.

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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 referenc
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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.

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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
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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.

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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.
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35

YALÇIN, Çağrı, and Elif ÖZDOĞLAR. "ARCHITECTURAL ANALYSIS OF THE DUNE MOVIES." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (March 15, 2023): 221–36. http://dx.doi.org/10.31567/ssd.870.

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When the works of science fiction cinema from the past to the present are examined, space designs that are often designed inspired by architectural movements and designed in accordance with the targeted time period of production are seen. If it is not possible to produce all or some part of these space designs technologically in today's conditions, it is defined as fictional space design. In line with the technological developments and innovations experienced since the first emergence of cinema, fictional space designs continue the process of evolution. It can be seen that one of the biggest f
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36

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.

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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 C
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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.

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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.

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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.

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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
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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.

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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. A
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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.

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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 whic
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Cameron, Allan. "Science Fiction's Facial Optics." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 8–31. http://dx.doi.org/10.1353/cj.2024.a919189.

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abstract: In science fiction films involving space travel, the face is often linked aesthetically and conceptually not only with the flat surface of the screen interface but also the spherical environments of the helmet, the spacecraft, and the planetary atmosphere. I explore the relations between eye, face, and screen in Stanley Kubrick's 2001 and its successors, showing how they use facial-optical motifs to mediate encounters between human subjectivity and unfathomable otherness. Ultimately, investigating the ethical dimensions of space exploration cinema's aesthetics of roundness, I argue t
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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.

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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 counter
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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.

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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
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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.

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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;
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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.

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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 reg
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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.

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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 toll
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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.

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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-fic
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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.

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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,
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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.

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 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.
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