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Wyszukujesz frazę "film science fiction" wg kryterium: Temat


Wyświetlanie 1-8 z 8
Tytuł:
Filmowość literackiego cyberpunku na przykładzie powieści Neuromancer Williama Gibsona
The Cinematicity of Literary Cyberpunk on the Example of Neuromancer by William Gibson
Autorzy:
Prusinowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1395613.pdf
Data publikacji:
2021-07-19
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
cyberpunk
science fiction literature
science fiction film
literatura science fiction
film science fiction
Opis:
Neuromancer (1984) Williama Gibsona uważany jest za pierwszą powieść reprezentującą podgatunek literatury fantastycznonaukowej zwany cyberpunkiem. Charakterystyczna dla tego nurtu wizja świata niedalekiej przyszłości, zmodernizowanego, a zarazem zdegradowanego przez technologię, znalazła odbicie w licznych filmach. Warto jednak pamiętać również o tym, jak istotną rolę samo kino odegrało w kształtowaniu się estetyki cyberpunkowej prozy. Przykład Neuromancera pokazuje, że ten wpływ nie ograniczał się do inspiracji wątkami fabularnymi z takich obrazów jak Ucieczka z Nowego Jorku (Escape from New York, 1981) Johna Carpentera, lecz przede wszystkim dawał o sobie znać w specyficznie „filmowej” wizualności języka literackiego, którym posługiwał się Gibson.
Neuromancer (1984) by William Gibson is considered the first novel representing cyberpunk, a sub-genre of science fiction literature. A vision of a world from some near future, modernized, and at the same time degraded by technology, has been reflected in numerous films. The importance of the role that the cinema itself played in the shaping of the aesthetics of the cyberpunk prose should also be remembered. The example of Neuromancer shows that this influence was not limited to inspirations with plots of such films as Escape from New York (1981) by John Carpenter, but that – most importantly – it manifested itself in the specifically “cinematic” visuality of Gibson’s literary language.
Źródło:
Forum Poetyki; 2021, 23; 162-173
2451-1404
Pojawia się w:
Forum Poetyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Posthumanistyczne echa, apokaliptyczne tony i zwierzęce odgłosy w filmach Bonga Joon-ho
Posthuman echoes, apocalyptic tones and animal noises in Bong Joon-ho’s films
Autorzy:
Loska, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/1047443.pdf
Data publikacji:
2021-03-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
posthumanism
science fiction film
Bong Joon-ho
animal studies
biopolitics
apocalyptic narratives
ecological catastrophes
Opis:
The subject of the analysis in this article are three films by Bong Joon-ho: The Host (2006), Snowpiercer (2013) and Okja (2017), considered from the posthumanist perspective. A starting point is Donna Haraway’s suggestion that science-fiction stories should be treated as a tool for speculative thinking. Then, I point to the way the Korean film director demonstrates his critical reflection on the effects of climate change, deepening economic inequalities, the impact of global capitalism and the biopolitical model of the governance. The main aim is to seek out the possible strategies of resistance which enable humans to change their attitude to other species (Okja) and to ask a question about the scope of human freedom, the effects of our interference in the functioning of the biosphere (Snowpiercer) and the results of genetic modifications of animals.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 151-166
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czechosłowackie podróże w czasie – od filmowej lekcji przyrody do normalizacyjnej zwariowanej komedii
Czechoslovakian time travel – from a filmed nature lesson to the normalization of crazy comedy
Autorzy:
Guzek, Mariusz
Powiązania:
https://bibliotekanauki.pl/articles/1047438.pdf
Data publikacji:
2021-03-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Czechoslovakian film
science fiction
time travel
crazy comedies
normalization
Opis:
Czechoslovakian film fantasy has its own canon comprised of various works, the successes of which were recorded by press industries around the world. They picked up various threads, but the most interesting one seems to be the theme of time travel, as represented by three films: A Journey to the Beginning of Time (1955), I Killed Einstein, Gentlemen (1969) and Tomorrow I’ll Wake Up and Scald Myself with Tea (1977). They were produced in different production conditions and placed in different genre assumptions, and they referred to the tradition of science fiction developed by popular literature in different ways. The text tries to define their status as part of the achievements of national cinematography, indicate structural components, and briefly discuss their reception, both critical and audience.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 61-76
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu
Electronic hunter: the cyborg in mainstream science fiction films
Autorzy:
Kamrowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1047426.pdf
Data publikacji:
2021-03-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
science fiction
cyborg
mainstream cinema,
Terminator film series
RoboCop film series
technophobia
Opis:
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 the conservative status quo.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 21-34
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fantastyka naukowa w polskim piśmiennictwie krytycznofilmowym przełomu lat pięćdziesiątych i sześćdziesiątych XX wieku
Science fiction in Polish film journalism at the turn of the 1950s and 1960s
Autorzy:
Dudziński, Robert
Powiązania:
https://bibliotekanauki.pl/articles/1047440.pdf
Data publikacji:
2021-03-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
science fiction
Polish People’s Republic
film criticism
reception
Opis:
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, the author describes which science fiction films were present in Polish cinemas at the turn of the 1950s and 1960s. In the second part, he analyses press statements devoted to the history and aesthetics of the genre. The subject under consideration in the third part is the reception of two productions, which at the time enjoyed the greatest interest from contemporary critics: Godzilla (Gojira, 1954, dir. Ishirō Honda) and The Silent Star (Der schweigende Stern 1960, dir. Kurt Maetzig).
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 99-125
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Analiza gatunkowo-estetyczna „Pomostu” Chrisa Markera. Interpretacja filmu jako przykładu „kina możliwego”
Genre and aesthetic analysis of The Jetty by Chris Marker. Interpretation of the film as a case of “possible cinema”
Autorzy:
Domalewski, Adam
Powiązania:
https://bibliotekanauki.pl/articles/920163.pdf
Data publikacji:
2013-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
science fiction
The Jetty (La Jetée)
Chris Marker
photography
genre syncretism
“possible cinema”
Waldemar Frąc
existentialism
film and philosophy
Opis:
The paper discusses the French science fiction short film The Jetty (La Jetée) by Chris Marker. Made in 1962, the black and white film is constructed almost entirely from still photos. The author first gives a summary of the plot and then considers the genre and aesthetic syncretism of Marker’s work. Musical, rhythmical and visual aspects of the movie are also covered. Using Waldemar Frąc’s theory of “possible cinema”, whose main ideas are presented in the article, various possible ways of interpreting the film are shown.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 207-217
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gatunek na usługach doktryny. Ideologia w polsko-enerdowskiej koprodukcji Milcząca gwiazda
Genre at service of the doctrine. Ideology in the East-German-Polish co-production The Silent Star
Autorzy:
Peplinski, Maciej
Powiązania:
https://bibliotekanauki.pl/articles/1047439.pdf
Data publikacji:
2021-03-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
The Silent Star
The Astronauts
Kurt Maetzig
Stanisław Lem
GDR
Polish People’s Republic
coproduction
film genre
science fiction
socialism
cosmos
space program
space race
Opis:
The East German-Polish co-production The Silent Star (1960, Kurt Maetzig) belongs to the group of early postwar Eastern European science fiction films which still remain barely examined by film and genre historians. The article summarizes the existing research on the film and investigates not only the specific formal character of Maetzig’s unprecedented project, but also the numerous ideological and political motivations which stood behind it.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 77-97
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Figura mitologicznej Kasandry w filmach science fiction
The mythical figure of Cassandra in science fiction films
Autorzy:
Rojek, Patrycja
Powiązania:
https://bibliotekanauki.pl/articles/1047291.pdf
Data publikacji:
2021-03-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Greek mythology
science fiction
myth in film
Cassandra
prophetism
Terminator 2: Judgment Day
James Cameron
12 Monkeys
Terry Gilliam
Minority Report
Steven Spielberg
Arrival
Denis Villeneuve
Opis:
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, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 234-246
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-8 z 8

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