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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
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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.
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British Science Fiction Cinema celebrates the unique themes and concerns that distinguish British science fiction movies from their American counterparts. It considers examples that range from pulp fiction to creature features.
Science fiction films --- Great Britain --- History and criticism --- 799.3 --- 798.43 --- science fiction --- Groot-Brittannië --- Fantasie --- alien --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures --- filmgenres en -motieven, science fiction films --- film, geschiedenis der filmkunst, overige landen --- History and criticism.
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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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What principle of mechanics is illustrated in the science fiction thriller Terminator 2: Judgment Day? How is nuclear fission important to the plot of Aliens? Is the time travel portrayed in Star Trek IV: The Voyage Home a real possibility? Discover the surprising answers to these and a host of other intriguing questions in Fantastic Voyages. This book provides basic physics and biology instruction using scenes from popular science fiction films as examples of the concepts discussed. Scenes are discussed from such sci-fi classics as The Day the Earth Stood Still, Planet of the Apes and The Andromeda Strain. The latter includes study questions on biological terrorism. More recent hit films discussed include Contact, Jurassic Park and Independence Day. The book is divided into three sections: basic physics and astronomy for non-science majors selected topics in biology detailed plot descriptions of 42 films The new edition also contains material about the greenhouse effect, nuclear power and nuclear terrorism, and the effects of an impact from a comet or asteroid. Acclaim for the previous edition: "If you find science fiction films thought-provoking, this could be the book for you...The scope of the book is wide, with a good grounding in basic physics and biology, and a lot of other information besides." –New Scientist "The idea of using science fiction films to convey science in an interesting way is sound, and anyone preparing a course using the genre should at least consult this book." –Nature ABOUT THE AUTHORS Leroy W. Dubeck is Professor of Physics at Temple University, Philadelphia, Pennsylvania. Suzanne E. Moshier is Professor of Biology at the University of Nebraska, Omaha. Judith E. Boss is Professor of English at the University of Nebraska, Omaha.
Biology --- Physics --- Science fiction films. --- Study and teaching --- Audio-visual aids. --- Biology -- Study and teaching -- Audio-visual aids. --- Physics -- Study and teaching -- Audio-visual aids. --- Physics. --- Physics, general. --- Natural philosophy --- Philosophy, Natural --- Physical sciences --- Dynamics --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures --- Life sciences --- Biomass --- Life (Biology) --- Natural history
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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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African Americans --- African diaspora --- Futurologists. --- Science fiction films --- Science fiction --- Science --- Science stories --- Fiction --- Future, The, in literature --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures --- Forecasters --- Futurists --- Scholars --- Black diaspora --- Diaspora, African --- Human geography --- Africans --- Negritude --- Race identity. --- Social conditions. --- Influence. --- Social aspects. --- Migrations --- Ethnic identity
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In this remarkable and original book, Sean Redmond examines the issues and themes that are repeatedly found across a range of contemporary science fiction films and television programmes. He argues that they reveal the profound effects the digital age has had on our social lives. Through narratives that feature the 'post-human', genetic engineering and cloning, surveillance and data mining, space and time travel, artificial intelligence, online dating cultures and visions of catastrophe, they portray a world in which the material, and the stable, are being lost to the ever-more volatile and ephemeral idea of 'liquid space'. Redmond examines a wide selection of popular films and TV series such as Gravity, Under the Skin, The Lobster, Children of Men and Doctor Who, to locate how traditional values are being erased in favour of a new liquid modernity. Drawing on an eclectic range of approaches from phenomenology to critical race theory, and from close textual analysis to the revelations of eye-tracking technology, this book is an illuminating account of the digital age through the lens of science fiction.
Science fiction films --- Science fiction television programs --- Digital cinematography. --- Sci-fi television programs --- Television programs --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures --- Cinematography --- Digital filmmaking --- Digital moviemaking --- History. --- Digital techniques --- Digital cinematography --- #SBIB:309H525 --- #SBIB:316.7C212 --- 316.32 --- 316.32 Globale samenlevingsvormen --- Globale samenlevingsvormen --- History and criticism --- Sociologie van de audiovisuele boodschap --- Cultuursociologie: film --- History and criticism.
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Film --- Japan --- J6848 --- J5960 --- J4143 --- Japan: Media arts and entertainment -- anime --- Japan: Literature -- modern fiction and prose -- manga --- Japan: Sociology and anthropology -- cultural trends and movements -- popular culture --- Animated films --- Animated television programs --- Comic books, strips, etc --- Science fiction films --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures --- Cartoons (Television programs) --- Television cartoon shows --- Television programs --- Animation (Cinematography) --- Animated cartoons (Motion pictures) --- Animated videos --- Cartoons, Animated (Motion pictures) --- Motion picture cartoons --- Moving-picture cartoons --- Caricatures and cartoons --- Abstract films --- Animation cels --- History and criticism --- manga --- beeldverhalen
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Films de science fiction --- Science fiction films --- Biology --- Physics --- Science fiction films. --- Lerarenopleiding --- Study and teaching --- Audio-visual aids. --- (vak)didactiek wetenschappen --- 50 --- Generalities about the pure sciences --- (vak)didactiek wetenschappen. --- 50 Generalities about the pure sciences --- Extrapolative films --- Future films (Science fiction films) --- Sci-fi films --- Sci-fiers (Motion pictures) --- Motion pictures --- Natural philosophy --- Philosophy, Natural --- Physical sciences --- Dynamics --- Life sciences --- Biomass --- Life (Biology) --- Natural history --- Study and teaching&delete& --- Audio-visual aids --- Physics - Study and teaching - Audio-visual aids. --- Biology - Study and teaching - Audio-visual aids.
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