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Articoli di riviste sul tema "Science fiction cinema"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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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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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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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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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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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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7

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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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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10

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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11

Landon, Brooks. "Science Fiction Cinema: between fantasy and reality." Historical Journal of Film, Radio and Television 31, no. 1 (2011): 144–47. http://dx.doi.org/10.1080/01439685.2011.553455.

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12

Moreno, Erika Tiburcio. "Red Alert: Marxist Approaches Science Fiction Cinema." Historical Journal of Film, Radio and Television 38, no. 3 (2018): 682–83. http://dx.doi.org/10.1080/01439685.2018.1467903.

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13

Shail, Robert. "Terence Fisher and British science fiction cinema." Science Fiction Film & Television 2, no. 1 (2009): 77–90. http://dx.doi.org/10.3828/sfftv.2.1.5.

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14

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

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Abstract (sommario):

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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15

Freedman, Carl. "Kubrick’s 2001 and the Possibility of a Science-Fiction Cinema." Science Fiction Studies 25, Part 2 (1998): 300–318. https://doi.org/10.1525/sfs.25.2.0300.

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Stanley Kubrick might be described as a metageneric filmmaker, since his major works tend to take apart and to reconstruct the inherited conventions of the pertinent filmic genre (horror in The Shining, historical romance in Barry Lyndon, and so forth). Kubrick’s most intense and complex metageneric analysis is of science fiction in 2001. A historical and theoretical consideration of the science-fiction film reveals that it is structured on a central and virtually disabling contradiction: between the cognitive and critical structure of science fiction as a literary mode, on the one hand, and,

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16

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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Pariser, David, Leroy Dubeck, Suzanne Moshier, and Judith Boss. "Science in Cinema: Teaching Science Fact through Science-Fiction Film." Leonardo 26, no. 1 (1993): 85. http://dx.doi.org/10.2307/1575797.

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18

Dudziński, Robert. "Fantastyka naukowa w polskim piśmiennictwie krytycznofilmowym przełomu lat pięćdziesiątych i sześćdziesiątych XX wieku." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 99–125. http://dx.doi.org/10.14746/i.2020.37.06.

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   The article is devoted to the Polish reception of science-fiction cinema; the statements of film critics from 1956–1965 were analysed. During this period, science fiction, previously absent from the screens of Polish cinemas for ideological and censorship reasons, returned to the repertoire and became the subject of press discussions and reviews. The analysis of articles devoted to this genre and published at the time allows reconstruction of the cultural context in which science-fiction productions operated. The article consists of three main parts. In the first of these,

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19

Prof., Rahul M. Ravalia. "Science and Indian Literature." International Journal of Trend in Scientific Research and Development 1, no. 2 (2019): 1–2. https://doi.org/10.31142/ijtsrd60.

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The scarcity of science fiction in Indian literature and Indian Cinema raises many questions related to our mind sets and ideologies. Since the time of the printing machine, millions of the books got published in India in English, Hindi and more than twenty five regional languages. But when we count the number of science fictions, it is horribly meager. These books found neither readers nor acclamation. Prof. Rahul M. Ravalia "Science and Indian Literature" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-2

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KISELEVA, YU I. "DOCUMENTARY AND ARTISTIC METHODS IN CONTEMPORARY SCIENCE CINEMA. POSTDOC." Sign problematic field in mediaeducation 52, no. 2 (2024): 85–95. https://doi.org/10.47475/2070-0696-2024-52-2-85-95.

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Analyzing contemporary science films research, the author draws attention to the problem of the diversity of artistic means in modern science cinema, using mainly documentary techniques (observation, interviewing, reportage) and rarely resorting to artistic methods and complex visual concepts. The author also explores the possibilities of combination of fiction and non-fiction elements in the science cinema, as well as the application of the «postdoc» method. The relevance of the topic is due to its insufficient knowledge. «Postdoc» is a term that appeared not so long ago; there is no single d

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21

ERÇETİN, Arzu, and Tolga ERDEM. "1960-1970’LERDE BİLİMKURGU SİNEMASINDA MOBİLYA." Journal of Communication Science Researches 2, no. 2 (2022): 64–83. http://dx.doi.org/10.7456/100202100/001.

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Cınema is a unique means of expression. Pictures and sounds are the elements of the language of cinema. One of the elements that support these elements is furniture, which is one of the working areas of the design concept. The cinema genre that is most intertwined with the design discipline is science fiction. In this research, the relationship between cinema and space is examined on the science fiction movies and series of 1960-70, when the theme of Space in the context of furniture was at its peak. Within the scope of the study, the effects of the furniture used on the spatial narratives in

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22

Tucherman, Ieda. "Fabricando corpos: ficção e tecnologia." Comunicação Mídia e Consumo 3, no. 7 (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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Leal, João Vitor Resende. "Unmasked Androids: Staring Faces in Science Fiction Cinema." Cinémas: Revue d'études cinématographiques 28, no. 1 (2017): 145. http://dx.doi.org/10.7202/1053859ar.

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24

Landy, Marcia, and Stanley Shostak. "Postmodernism as Folklore in Contemporary Science Fiction Cinema." Rethinking Marxism 6, no. 2 (1993): 25–45. http://dx.doi.org/10.1080/08935699308658053.

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25

Kowalczyk, Marcin. "Mózg jako nowy wszechświat – wokół Incepcji Christophera Nolana." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 207–20. http://dx.doi.org/10.14746/i.2020.37.12.

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   The article shows the growing interest of science fiction cinema in the human brain and related concepts, such as mind or consciousness. Nowadays, when distant space travel seems unreachable, artists find the exploration potential of the brain very promising. Thus, the main thesis of this analysis says that the brain has become for science fiction cinema the new universe. An excellent example of this paradigm shift is Inception (dir. Christopher Nolan, 2010). In the movie, the mind is depicted as a physical and accessible place, where we can find a lot of mysteries to solv

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26

Petit Pérez, Mª Francisca. "The cinema of science fiction in science education in secondary." Enseñanza de las Ciencias. Revista de investigación y experiencias didácticas 33, no. 1 (2015): 267. http://dx.doi.org/10.5565/rev/ensciencias.1536.

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27

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 (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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Hasumi, Shigehiko. "Fiction and the `Unrepresentable'." Theory, Culture & Society 26, no. 2-3 (2009): 316–29. http://dx.doi.org/10.1177/0263276409103110.

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In this article I argue that basic characteristics of the medium of cinema formed during the relatively brief era of silent movies continued to characterize film throughout the 20th century. Despite the development of talkies in the 1920s, sound was never truly integrated into the composition of cinema in the sense implied by the term `audiovisual'. This is a reflection not only of technological constraints but also of a fundamental ideological orientation that prohibited the direct representation of the voice. This `prohibition' of the voice is not a phenomenon confined entirely to cinema. Th

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Gadelha Parente, Lucas. "Da Zona enquanto espaço pregnante." Revista Prumo 4, no. 7 (2019): 124–37. http://dx.doi.org/10.24168/revistaprumo.v4i7.1132.

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The present article results from research around the concept of Zone in what refers to a boundary, symbolic and urban space that activates multiple networks of meaning according to its use in social history, literature, cinema, urbanism and theory of art. Secondly, the text deals with the stalker as a character who traces the paths of the Zone. The article analyzes its emergence in Soviet science fiction, in modern cinema, and its unfolding in theoretical discussions, relating both to cyberspace and to a number of contemporary pedestrian practices. Key-Words: cyberspace; misery belt; science f

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Sey, J. "The terminator syndrome: Science fiction, cinema and contemporary culture." Literator 13, no. 3 (1992): 13–20. http://dx.doi.org/10.4102/lit.v13i3.760.

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This paper examines the impact of contemporary technology on representations of the human body in American popular culture, focusing on James Cameron’s science fiction films The Terminator (1984) and The Terminator II - Judgment Day (1991) in both of which the key figures are cybernetic organisms (cyborgs) or a robot which can exactly imitate the human form . The paper argues that the ability of modern film technology’ to represent the human form in robotic guise undercuts the distinction between nature and culture which maintains the position of the human being in society. The ability of the

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31

Zepke, Stephen. "Beyond cognitive estrangement: The future of science fiction cinema." NECSUS. European Journal of Media Studies 1, no. 2 (2012): 91–113. http://dx.doi.org/10.5117/necsus2012.2.zepk.

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Eliot Chayt. "Revisiting Italian Post-Neorealist Science-Fiction Cinema (1963–74)." Science Fiction Studies 42, no. 2 (2015): 322. http://dx.doi.org/10.5621/sciefictstud.42.2.0322.

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Suppia, Alfredo Luiz. "Science Fiction in the Brazilian Cinema: A Brief Overview." Film International 6, no. 2 (2008): 6–13. http://dx.doi.org/10.1386/fiin.6.2.6.

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Majsova, Natalija. "Russian science fiction literature and cinema: a critical reader." Studies in Russian and Soviet Cinema 12, no. 3 (2018): 262–64. http://dx.doi.org/10.1080/17503132.2018.1511256.

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Mortimer, Claire. "Science Fiction Cinema and 1950s Britain: Recontextualizing Cultural Anxiety." Historical Journal of Film, Radio and Television 39, no. 1 (2019): 202–4. http://dx.doi.org/10.1080/01439685.2018.1524555.

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Paz, Mariano. "Vox politica: acousmatic voices in Argentinean science fiction cinema." New Review of Film and Television Studies 9, no. 1 (2011): 15–27. http://dx.doi.org/10.1080/17400309.2011.521715.

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Guerrero, Edward. "Aids as Monster in Science Fiction and Horror Cinema." Journal of Popular Film and Television 18, no. 3 (1990): 86–93. http://dx.doi.org/10.1080/01956051.1990.10662021.

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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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Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (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 fr

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Sweeney, David. "‘With a spaceship at the end’: Genre hybridity in Copenhagen Cowboy by Nicolas Winding Refn." Journal of European Popular Culture 15, no. 2 (2024): 137–51. https://doi.org/10.1386/jepc_00072_1.

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While genre hybridity in television and cinema is nothing new, Copenhagen Cowboy (2023), the six-episode Netflix series co-created – with screenwriter Sara Isabella Jønsson Vedde – and directed by Danish auteur filmmaker Nicolas Winding Refn, is remarkable for the way its mixture of genres is both a continuation of the hybrid approach already established in Refn’s cinema work (and in his first streaming series, for Amazon Studios, Too Old to Die Young [2019]) and a kind of meta-commentary on it. Copenhagen Cowboy was pitched to Netflix as a continuation of Refn’s Pusher trilogy, a series of gr

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Lakkad, Abhishek Vikas. "Cultural imaginaries of science: A brief history of Indian science-fiction cinema." Studies in South Asian Film & Media 6, no. 2 (2015): 105–20. http://dx.doi.org/10.1386/safm.6.2.105_1.

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Swope, Richard. "Science Fiction Cinema and the Crime of Social-Spatial Reality." Science Fiction Studies 29, Part 2 (2002): 221–46. https://doi.org/10.1525/sfs.29.2.0221.

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This article analyzes the recent films Dark City and The Thirteenth Floor (both 1998) as metaphysical detective stories in which the detective protagonist’s investigation of a murder turns into a confrontation with the nature and limits of the spaces he inhabits. Using Henri Lefebvre’s notion that space is a social product, I suggest that both films contribute to an understanding of the production of social space in their exploration of the recent technological “advances” through which late capitalism has sought to extend its reign over space and of the role that virtual spaces have played wit

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Carneiro, Gabriel. "Red alert: Marxist approaches to science fiction cinema – Aproximações entre ficção científica e marxismo." Significação: Revista de Cultura Audiovisual 44, no. 48 (2017): 223. http://dx.doi.org/10.11606/issn.2316-7114.sig.2017.137803.

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O texto aponta os principais aspectos e abordagens do livro de ensaios Red alert: Marxist approaches to science fiction cinema, organizado por Alfredo Suppia e Ewa Mazierska, que busca relacionar filmes de ficção científica e a filosofia marxista.

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Mukhin, O. "XXI century as a cultural turn in American space fiction cinema." Culture of Ukraine, no. 78 (December 23, 2022): 73–78. http://dx.doi.org/10.31516/2410-5325.078.09.

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The purpose of this article is the analysis of new stage in American space fiction cinema’s history, which started from the XXI century and set the new directions for genre, which were shown in movies “The Martian” (2015, director — R. Scott), “Guardians of the Galaxy” (2014, director — J. Gunn), “Interstellar” (2014, director — K. Nolan), “Thor” (2011, director — K. Brannah), “Ad Astra” (2019, director — J. Gray), “Avengers” (2012, director — J. Whedon). The methodology of this article includes the use of historical, comparative and systematic methods. Each of these methods helps to rev

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Bhusal, Damodar. "Between Science and Cinema: Christopher Nolan's Auteurist Vision in Interstellar." Kaladarpan कलादर्पण 5, no. 1 (2025): 115–22. https://doi.org/10.3126/kaladarpan.v5i1.74742.

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The paper attempts at exploring Nolan's auteurist vision in Interstellar, exploring how he navigates the complex intersection of science and cinema. Employing an interdisciplinary approach that draws from auteur theory, science fiction studies, and narratology, this research conducts an in-depth analysis of Interstellar. It examines Nolan's distinctive stylistic signatures, including his visual aesthetics, nonlinear storytelling techniques, and exploration of scientific concepts such as relativity, time dilation, and astrophysical phenomena. Through a close reading of the film's narrative stru

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Sergeyeva, Olga V., and Nadezhda A. Miziryak. "Spatial Fantasies in Contemporary Russian Cinema." Observatory of Culture 21, no. 5 (2024): 492–501. http://dx.doi.org/10.25281/2072-3156-2024-21-5-492-501.

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Abstract (sommario):

Fantastic film worlds give the viewer a new experience of understanding and living in space – combining different locations, establishing and overcoming boundaries, transitions into a fascinating other reality. This article examines the spatial patterns that create arenas of action for characters in Russian films and series of fantasy-mystical content shot in the 2020s. Analyses of worldbuilding in science fiction are related to philosophical ideas about possible worlds and are most represented by discussions of fantasy literature, whereas film fiction and the spaces it depicts await research

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47

Kaur, Jagveer. "Cinema and Hyperreality: A Philosophical Perspective." International Journal of Language, Literature and Culture 5, no. 2 (2025): 69–72. https://doi.org/10.22161/ijllc.5.2.10.

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Abstract (sommario):

The paper explores the Transformations in the realm of performing narratives resulting from the advancements like sound effects and VFX. The use of special effects -especially in science fiction movies- is erasing the line between real and hyperreal. It also contends that the movement of cinema towards hyperrealism diminished the importance of narrative, which is being overshadowed by the simulated world as a result of usage of special effects.

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48

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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Abstract (sommario):

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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49

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

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Abstract (sommario):

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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50

Nikolaev, S. V. "Vladimir Vysotsky’s image in Russian documentary and fiction cinema: peculiarities of genre formation and historical memory." Vestnik of Samara University. History, pedagogics, philology 31, no. 1 (2025): 58–67. https://doi.org/10.18287/2542-0445-2025-31-1-58-67.

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Abstract (sommario):

The article aims to determine the place and role of Russian cinema in the commemorative practice of historical memory of the poet, musician and actor Vladimir Semyonovich Vysotsky in the social and urban space of the country. Comparative-historical, problem-chronological, observational and descriptive methods, as well as theoretical methods (analysis and synthesis, content analysis, analogy) are used to analyze the commemoration of historical memory. The research is based on the historical-situational principle and interdisciplinary approach. For detailed analysis, documentary cinema as a phen

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