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Since the dawn of the Space Age, when the Soviet Union launched the first artificial satellite and sent the first human into the cosmos, science fiction literature and cinema from Russia has fascinated fans, critics, and scholars from around the world. Informed perspectives on the surprisingly long and incredibly rich tradition of Russian science fiction, however, are hard to come by in accessible form. This critical reader aims to provide precisely such a resource for students, scholars, and the merely curious who wish to delve deeper into landmarks of the genre, discover innumerable lesser-known gems in the process, and understand why science fiction came to play such a crucial role in Russian society, politics, technology, and culture for more than a century. Contributors include: Mark B. Adams, Anindita Banerjee, Lynn Barker, Eliot Borenstein, Aleksandr Chantsev, Istvan Csicsery-Ronay, Stephen Dalton, Dominic Esler, Elana Gomel, Andrew Horton, Yvonne Howell, Asif A. Siddiqi, Robert Skotak, Michael G. Smith, Vlad Strukov, Darko Suvin

Science fiction films --- Science fiction, Russian --- History and criticism --- History and criticism. --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures

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The Matrix trilogy continues to split opinions widely, polarising the downright dismissive and the wildly enthusiastic. Nevertheless, it has been fully embraced as a rich source of theoretical and cultural references. The contributions in this volume probe the effects the Matrix trilogy continues to provoke and evaluate how or to what extent they coincide with certain developments within critical and cultural theory. Is the enthusiastic philosophising and theorising spurred by the Matrix a sign of the desperate state theory is in, in the sense of “see how low theory (or ‘post-theory’) has sunk”? Or could the Matrix be one of the “master texts” for something like a renewal for theory as now being mainly concerned with new and changing relations between science, technology, posthumanist culture, art, politics, ethics and the media? The present volume is unashamedly but not dogmatically theoretical even though there is not much agreement about what kind of theory is best suited to confront “post-theoretical” times. But it is probably fair to say that there is agreement about one thing, namely that if theory appears to be “like” the Matrix today it does so because the culture around it and which “made” it itself seems to be captured in some kind of Matrix. The only way out of this is through more and renewed, refreshed theorising, not less.

Artificial intelligence. Robotics. Simulation. Graphics --- Film --- Science fiction films --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures --- Themes, motives. --- Matrix (Motion picture)

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Science fiction films --- Science fiction television programs --- Science fiction films. --- Science fiction television programs. --- History and criticism --- Arts and Humanities --- Literature --- Sci-fi television programs --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Television programs --- Motion pictures --- Film

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"Title Description: For the last sixty years discussion of 1950s science fiction cinema has been dominated by claims that the genre reflected US paranoia about Soviet brainwashing and the nuclear bomb. However, classic films, such as Invasion of the Body Snatchers (1956) and It Came from Outer Space (1953), and less familiar productions, such as It! The Terror from Beyond Space (1958), were regularly exported to countries across the world. The histories of their encounters with foreign audiences have not yet been told. Science Fiction Cinema and 1950s Britain begins this task by recounting the story of 1950s British cinema-goers and the aliens and monsters they watched on the silver screen. Drawing on extensive archival research, Matthew Jones makes an exciting and important intervention by locating American science fiction films alongside their domestic counterparts in their British contexts of release and reception. He offers a radical reassessment of the genre, demonstrating for the first time that in Britain, which was a significant market for and producer of science fiction, these films gave voice to different fears than they did in America. While Americans experienced an economic boom, low immigration and the conferring of statehood on Alaska and Hawaii, Britons worried about economic uncertainty, mass immigration and the dissolution of the Empire. Science Fiction Cinema and 1950s Britain uses these and other differences between the British and American experiences of the 1950s to tell a new history of the decade's science fiction cinema, exploring for the first time the ways in which the genre came to mean something unique to Britons."--Bloomsbury Publishing.

Science fiction films --- Motion pictures --- History and criticism. --- Social aspects --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- History and criticism --- Media & Communications --- Media Studies --- Nuclear technology --- Science fiction --- Science fiction film --- Soviet Union --- United States

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Metropolis : "The city of the future, huge, of gigantic dimensions... Machines : fantastic dreams of the future come true. Heart Machine, Moloch Machine... Humans of the light : happy, like gods. Humans of the night : enslaved like cattle. Human Machine : pools of light oscillate... limbs of steel transform into human shapes. Water disaster in the worker's city... Riot ! The underground city drowns !" Thus was Germany's biggest and most ambitious silent film advertised in Cologne in 1927. Amost ninety years after the premiere of METROPOLIS, the University- and City Library Cologne presents an exhibition on this classic film together with a comprehensive accompanying programme. You will see screenings, costumes, film cameras, musical performances, films stills, drafts by set designers, recreated props, readings and lectures on the film and its production. Right up to the present day, films and music videos continue to make a stylistic and architectural references to Fritz Lang's epic masterpiece

Lang, Fritz, --- Motion pictures --- Silent films --- Science fiction films --- 778.5 <43> --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Moving pictures, Silent --- Silent motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Lang, Friedrich Christian Anton, --- Criticism and interpretation --- Friends and associates --- Metropolis (Motion picture : 1927) --- Exhibitions --- 778.5 --- 778.5 Filmfotografie. Filmkunst --- Filmfotografie. Filmkunst --- Lang, Fritz. --- Lang, Fritz --- Lang, Friedrich Christian Anton