Search results

1

Człowiek kultury druku w świecie przyszłości – kino science fiction wobec teorii środków przekazu Marshalla McLuhana

100%

Kowalczyk M.

Przestrzenie Teorii

|

2019

|

issue 32

239-255

EN

Kowalczyk Marcin, Człowiek kultury druku w świecie przyszłości – kino science fiction wobec teorii środków przekazu Marshalla McLuhana [Man of Print Culture in the Future World – Science Fiction Cinema and Marshall McLuhan’s Media Theory]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 239–255. ISSN 1644-6763. DOI 10.14746/pt.2019.32.12. This article shows the way of presenting the characters who represent print culture in science fiction cinema. All the printed artifacts, like literature, books and letters, are defined according to Marshall McLuhan’s media theory. The analysis is based mostly on the movie Her (dir. Spike Jonze, 2013) and discusses how SF movies adapt and transform the twentieth-century predictions concerning print as a medium. This approach allows us to avoid a simple interpretation of the problem, where books or print become merely a sign of civilization that has passed. Furthermore, McLuhan’s theory helps effectively reveal the complex motivations of the characters who are shaped by a specific medium.

2

Mózg jako nowy wszechświat – wokół Incepcji Christophera Nolana

100%

Kowalczyk M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2020

|

vol. 28

|

issue 37

207-220

EN

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 solve. The characters travel to the deepest parts of subconsciousness because the processes inside the brain are the key to understanding and changing the real world. The article also shows how the director uses the achievements of science fiction cinema and, at the same time, that he postulates a new way of considering the issues relevant to modern neuroscience.

3

Między nadzieją a paranoją. O post-człowieku w filmach science fiction (na kilku przykładach)

87%

Gorliński-Kucik P.

Creatio Fantastica

|

2018

|

issue 2(59)

109-122

EN

In the article, Gorliński-Kucik describes the determinants of science fiction conventions which aim at investigatiing the future of man and civilization. In doing so, the author reflects on movies released in recent years (2013–2019), which, in his opinion, best exemplify the problem in question, i.e. the construal of transhumanism. Analysed films include: Her (2013), Under the Skin (2013), Lucy (2014), Transcendence (2014), Chappie (2015), Arrival (2016), Blade Runner 2049 (2017), Ghost in the Shell (2017), Alita: Battle Angel (2019), and Netflix animated anthology Love, Death & Robots (2019). Gorliński-Kucik concludes that vast majority of interpreted movies addressess the post-human and predicts its appearance in the near future―without, however, fully escaping the eponymoys dichotomy of hope and paranoia.

4

Brzmienie „Blade Runnera 2049”. O przenikaniu się muzyki i obrazu w filmie science fiction

73%

Brodowska J.

Creatio Fantastica

|

2018

|

issue 2(59)

123-142

EN

The article addresses the subject of coexistence of music and image in a movie with particular emphasis on science fiction aesthetics. It points out the important form-generating role of music in the visions of the future created within this genre. The key issue here is the use of electronic music, considered to be the most adequate for illustrating futuristic worlds. Based on the research of musicologists, the most representative examples of a combination of electronic and avant-garde music with a picture in science fiction cinema are chronologically discussed. The starting point for these considerations is the characteristic universe and ambient sounds of Blade Runner. However, the analysis focuses mainly on the music from the sequel, Blade Runner 2049, in which the style initiated by Vangelis is continued by Hans Zimmer and Benjamin Wallfisch. The main part of the article is a discussion of non-diegetic and diegetic music in Blade Runner 2049. It emphasizes its unique correlation with the visual layer of the film and an its important role in shaping the Bladerunner’s world. This example raises a broader subject of the importance of electronic music for future-oriented science fiction movies.

Refine search results

2 Creatio Fantastica

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Przestrzenie Teorii

2 Kowalczyk M.

1 Brodowska J.

1 Gorliński-Kucik P.

1 2020

3 2019

Człowiek kultury druku w świecie przyszłości – kino science fiction wobec teorii środków przekazu Marshalla McLuhana

Mózg jako nowy wszechświat – wokół Incepcji Christophera Nolana

Między nadzieją a paranoją. O post-człowieku w filmach science fiction (na kilku przykładach)

Brzmienie „Blade Runnera 2049”. O przenikaniu się muzyki i obrazu w filmie science fiction