Bibliografie tematiche / Science fiction cinema

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Letteratura scientifica selezionata sul tema "Science fiction cinema"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 25 luglio 2025

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Articoli di riviste sul tema "Science fiction cinema"

1

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 (2023): 1–25. http://dx.doi.org/10.53463/inda.20230166.

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Abstract (sommario):
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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KILINÇARSLAN, Yasemin. "NEW TRENDS IN SCIENCE FICTION CINEMA AND GENETIC CINEMA." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 10 (March 30, 2016): 485. http://dx.doi.org/10.17361/uhive.20161016615.

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

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Abstract (sommario):
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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4

Sherryl Vint. "Possibilities for a Science-Fiction Cinema." Science Fiction Studies 43, no. 3 (2016): 563. http://dx.doi.org/10.5621/sciefictstud.43.3.0563.

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Çalışkan, Özgür. "Ideology in Science-Fiction Film Genre: TRON: Legacy / Bilim-Kurgu Film Türünde İdeoloji Örneği: TRON Efsanesi." Kurgu 24, no. 1 (2016): 86–110. https://doi.org/10.5281/zenodo.4564068.

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Abstract (sommario):
Every film genre has its own ideological set of rules and every film that belongs to its genre follows those rules to strengthen ideological perspective and features of the genre. For this matter, in producing blockbuster films, science fiction is a genre in which it is possible to combine the ideological discourse with the elements of popular culture under the audio-visual narrated representation of cinema. TRON has a specific place in the history of science-fiction cinema because it is computer-generated animation and claims an alternative world, not a future world, where machines oppose hum
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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 (2024): 56–60. http://dx.doi.org/10.56397/jrssh.2024.03.09.

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Abstract (sommario):
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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Ardatürk, Ahmet Sadi. "Evaluation of Furniture Designs in Science Fiction Movies; Star Wars Example." Street Art & Urban Creativity 9, no. 2 (2023): 118–39. https://doi.org/10.25765/sauc.v9i2.785.

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Abstract (sommario):
Both the phenomena of watching and being watched and furniture design are as old as human history. Today, it can be easily stated that the most fundamental provider of the phenomena of watching and being watched is the field of cinema, and the most major form of the relationship established with the visual is the art of cinema. Furniture, on the other hand, appears as a basic equipment used in the field of cinema. In this context, it can be stated that furniture, as a basic equipment used in cinematic works, is a part of the integrity of cinema and is one of the paradigms that constitute this
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YILDIRIM ŞAHİN, Emek. "SCIENCE FICTION IN RUSSIAN LITERATURE AND CINEMA." Avrasya Uluslararası Araştırmalar Dergisi 9, no. 26 (2021): 296–312. http://dx.doi.org/10.33692/avrasyad.895999.

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CENGIZ, GIZEM. "INTERWAR ERA IN SCIENCE FICTION CINEMA: DIESELPUNK." Akademik Sanat Dergisi 4, no. 8 (2019): 40–49. http://dx.doi.org/10.34189/asd.4.8.003.

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Moey, Natalie. "Projecting Tomorrow: Science Fiction and Popular Cinema." Film Matters 8, no. 3 (2017): 47–48. http://dx.doi.org/10.1386/fm.8.3.47_1.

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Tesi sul tema "Science fiction cinema"

1

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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Jones, Matthew William. "The British reception of 1950s science fiction cinema." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-british-reception-of-1950s-science-fiction-cinema(b180c812-ec8b-4369-afe7-97da1bc14890).html.

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Abstract (sommario):
Scholarship on 1950s American science fiction cinema has tended to explore the relationship between these films and their domestic contexts of production and reception. They are often characterised as reflections of US anxieties about communism and nuclear technology. However, many such films were exported to Britain where these concerns were articulated and understood differently. The ways in which this different national context of reception shaped British interpretations of American science fiction cinema of this era has not yet been accounted for. Similarly, although some research has addr
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Beck, Gregory. "The city in the image of science fiction cinema." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/71379.

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Warton, John Phillips. "The aesthetics of destruction in contemporary science fiction cinema." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25992.

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Abstract (sommario):
Mass destruction imagery within the science fiction film genre is not a new cinematic development. However, a swell of destruction-centred films has emerged since the proliferation of digital technologies and computer-generated imagery that reflect concerns that extend beyond notions of spectacle. Through illusionistic realism techniques, the aesthetics of mass destruction imagery within science fiction cinema can be seen as appropriating the implied veracity of other film traditions in order to create a baseline of visual credibility, even to the extent of associating its own fantastical fict
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Taylor, Aaron E. N. "World without end, historicity and the contemporary science fiction cinema." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0034/MQ57688.pdf.

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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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Abstract (sommario):
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
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Swarbrick, Josephine. "The Monstrous Masculine: Male Metamorphosis in Contemporary Science Fiction Cinema." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672043.

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Abstract (sommario):
Aquesta tesi investiga la construcció i representació del monstre masculí en el cinema de ciència ficció contemporani. El monstre masculí en aquest cas és un home que experimenta una metamorfosi que trenca els binaris com, per exemple, masculinitat/feminitat, jo/altre i humà/maquina. Els cinc capítols examinen cince figures de masculinitat monstruosa: el mutant, el ciborg subjugat, el ciborg poderós, l’alienígena i el transhumà. Al cap i a la fi, la tesi pregunta per què els personatges masculins pateixen transformacions profunds, i normalment dolorosos, tan sovint a la gran pantalla.<br>Esta
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Taylor, Aaron E. N. (Aaron Edward Nicholas) Carleton University Dissertation Film Studies. "World without end: historicity and the contemporary science fiction cinema." Ottawa, 2000.

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Haciomeroglu, T. Nihan. "Reconstruction Of Architectural Image In Science Fiction Cinema: A Case Study On New York." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609545/index.pdf.

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Abstract (sommario):
This thesis interrogates the interrelation between architecture and science fiction cinema to understand the fictional and representative power of architecture. Since cinema embraces both physical and representative aspects of architecture it is convenient to carry out the research through the mediation of cinema. To accomplish this goal science fiction genre is particularly chosen where architectural image can break its commonly acknowledged facet and can reconstruct to participate in the narrative. The architectural image is intended to be interpreted through the concept of city and architec
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Green, Caroline Ann. ""She has to be controlled" : exploring the action heroine in contemporary science fiction cinema." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3052.

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In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without
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Libri sul tema "Science fiction cinema"

1

1964-, Hunter I. Q., ed. British science fiction cinema. Routledge, 1999.

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2

E, Moshier Suzanne, and Boss Judith E, eds. Science in cinema: Teaching science fact through science fiction films. Teachers College Press, 1988.

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3

author, Cull Nicholas John, ed. Projecting tomorrow: Science fiction and popular cinema. I.B. Tauris, 2013.

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4

1953-, Hogan David J., ed. Science fiction America: Essays on SF cinema. McFarland, 2005.

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5

Tanya, Krzywinska, ed. Science fiction cinema: From outerspace to cyberspace. Wallflower, 2000.

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6

Klippel, Heike, Bettina Wahrig, and Anke Zechner, eds. Poison and Poisoning in Science, Fiction and Cinema. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64909-2.

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Magerstädt, Sylvie. Body, Soul and Cyberspace in Contemporary Science Fiction Cinema. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137399410.

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Annette, Kuhn, ed. Alien zone: Cultural theory and contemporary science fiction cinema. Verso, 1990.

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Annette, Kuhn, ed. Alien zone II: The spaces of science-fiction cinema. Verso, 1999.

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10

Philip, Hayward, ed. Off the planet: Music, sound and science fiction cinema. John Libbey, 2004.

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Capitoli di libri sul tema "Science fiction cinema"

1

Baker, Brian, and Nicolas Tredell. "Science Fiction Cinema." In Science Fiction. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-47445-2_9.

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Bould, Mark. "Cult science fiction cinema." In The Routledge Companion to Cult Cinema. Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-8.

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Currie, Gregory. "Science, Fiction, and Science Fiction: Knowledge and Ignorance from Movies." In Philosophy, Science and Cinema. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-68989-5_2.

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Croteau, Melissa. "Concluding Science-Fiction Postscript." In Transcendence and Spirituality in Japanese Cinema. Routledge, 2022. http://dx.doi.org/10.4324/9780429276057-7.

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Baker, Christopher M. "Race, Whiteness, and Science Fiction Cinema." In Radical Theologies and Philosophies. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99343-6_4.

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Cordoba, Antonio. "Spanish science fiction film in times of emergency." In Contemporary European Cinema. Routledge, 2018. http://dx.doi.org/10.4324/9781315122427-4.

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Hantke, Steffen. "Science fiction cinema between arthouse and blockbuster." In Contemporary American Science Fiction Film. Routledge, 2022. http://dx.doi.org/10.4324/9781003189961-7.

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Paz, Mariano. "Dystopia Redux: Science Fiction Cinema and Biopolitics." In European Cinema in the Twenty-First Century. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33436-9_17.

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Poerio, Michael A., and Erik Stengler. "The Evil Corporation Trope: An Analysis of Popular Science-Fiction Films." In Science Communication and Trust. Springer Nature Singapore, 2025. https://doi.org/10.1007/978-981-96-1289-5_15.

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Abstract (sommario):
Abstract Popular culture, in general, and movies, in particular, are one of the major influences on the public’s perception of science, and therefore on the level of trust audiences feel inclined to put in science. The science communication community has made great progress in helping the entertainment industry move away from stereotypes like the crazy-haired old white male scientist in a dungeon laboratory and more accurately portraying scientists and scientific work to better reflect the diverse reality of scientific research in media. This has been achieved through constructive collaboratio
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Näripea, Eva. "Work in Outer Space: Notes on Eastern European Science Fiction Cinema." In Work in Cinema. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370860_11.

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Atti di convegni sul tema "Science fiction cinema"

1

Турманидзе, Тамта. "РАЗВИТИЕ ОБРАЗА ИСКУССТВЕННОГО ИНТЕЛЛЕКТА В КИНО". У “Müasir incəsənət məkanında süni intellekt: problemlər və perspektivlər” Beynəlxalq elmi-nəzəri konfrans. İnformasiya Texnologiyaları İnstitutu, 2025. https://doi.org/10.25045/asucaai.2025.25.

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Abstract (sommario):
Today, when the development of artificial intelligence has reached an unprecedented scale, discussions about the benefits and possible risks associated with new technologies are becoming increasingly relevant. Cinema, which to a certain extent possesses the ability to anticipate and predict the future, is very sensitive to this topic. The report presents the evolution of the image of artificial intelligence on the cinema screen throughout the history of film. The first appearance of artificial intelligence on screen occurred back in 1927, in Fritz Lang's film Metropolis. In the same film, an i
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Tripathi, Priyanka. "‘Continuity in Discontinuity’: Interpreting the Practice of ‘Narrative Care’ for Alzheimer’s in Select Indian Literary Texts." In 8th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2025. https://doi.org/10.62422/978-81-981590-2-1-003.

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Abstract (sommario):
Arthur Kleinman’s distinction between illness and disease in The Illness Narratives (1980) redefined the understanding of illness by shifting focus from biomedical definitions to the lived experiences of affected individuals. His emphasis on suffering, healing, and the human condition underscored the necessity of integrating palliative care into medical practice, laying the foundation for “narrative medicine.” This approach, encompassing literature, cinema, and art, seeks to interpret and respond empathetically to the narratives of individuals with illnesses and their caregivers. In the contex
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