DOCSLIB.ORG

Silent Running (Naves Misteriosas) De Douglas Trumbull Versió Original En Anglès Subtitulada

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Silent Running (Naves Misteriosas) De Douglas Trumbull Versió Original En Anglès Subtitulada Associació Cultural Granollers Dimarts Singulars Dimarts 8 de novembre / 20 hores 2016 Centre Cultural de Granollers Silent Running (Naves misteriosas) de Douglas Trumbull Versió original en anglès subtitulada Fitxa tècnica: Fitxa artística: Guió: Deric Washburn, Michael Cimino, Steve Bochco Bruce Dern, Cliff Potts, Ron Rifkin, Jesse Vint, Steven Brown, Música: Peter Schickele (cançons: Joan Baez) / Fotografia: Larry Whisenhunt, Cheryl Sparks, Mark Persons Charles F. Wheeler / Any: 1972 / Durada: 89 minuts SINOPSI. En una estació espacial, un científic (Bruce Dern) és el responsable de mantenir amb vida les últimes espècies botàniques de la Terra, però rep l’ordre de destruir-les. EL DIRECTOR. Douglas Trumbull (Los Angeles, 1942). Els primers treballs de Trumbull amb la NASA i el realitzador Con Pe- derson atreuen l’atenció d’Stanley Kubrick i el compromet per a la realització dels efectes especials de la seva pel·lícula 2001: A Space Odyssey (2001: Una odissea de l’espai). Entre altres tècniques que posa a punt per a la pel·lícula, Trumbull adapta l’Slit-scan (tècnica mecànica que permet obtenir animacions psicodèliques) per a aquesta pel·lícula. Llavors, el 1971, realitza el seu primer llargmetratge, la pel·lícula Silent Running, en la qual utilitzarà un cert nombre de tècniques visuals i mecàniques desenvolupades per a 2001, però que no havia utilitzat. Les crítiques aclamen Silent Running, però el públic no respon, per una mala publicitat. Al final dels anys 1970 Trumbull treballa en els efectes especials de pel·lícules com Close Encounters of the Third Kind (Encontres a la tercera fase, 1977) i Star Trek: The Motion Picture (1979). El 1981, és supervisor dels efectes visuals de la pel·lícula Blade Runner (1982). El 1983, realitza un segon llargmetratge de ciència-ficció,Brainstorm . Per a aquesta pel·lícula, inventa el procediment Showscan; aquest sistema té com a efecte millorar molt sensiblement la nitidesa i la llumi- nositat de la imatge i augmentar de manera espectacular el sentiment de realitat i de profunditat. Però desgraciadament, la pel·lícula és tacada per la mort de Natalie Wood i tindrà molt poc d’èxit en el cinema. També es va cuidar dels efectes a A tree of life (El arbol de la vida, 2011) de Terrence Mallick. Actualment desenvolupa sistemes visuals i mecànics per a parcs com Universal Studios amb atraccions com Back to the future o Star Tours (a Disneyland). Ha estat nominat cinc vegades als Oscars i ha rebut un Life-time achievement Oscar (recompensa atorgada per al conjunt d’una carrera artística). El geni i el talent de Douglas Trumbull són avui reconeguts i les pel·lícules de ciència ficció que ha dirigit són considerades com a models del gènere. CRÍTICA Financiada por los estudios Universal como parte de su apuesta por los films con sabor independiente a raíz del éxito de Buscando mi destino (1969), Naves misteriosas fue sacada adelante en menos de un mes por el novel director Douglas Trum- bull —responsable de parte de los efectos especiales de 2001: Una odisea del espacio— con un presupuesto relativamente modesto de sólo 1.3 millones de dólares —frente a los 11 millones que costó “2001” solo unos pocos años antes— a partir de una historia concebida por él mismo y desarrollada por Michael Cimino (más adelante ganador de un Oscar por El cazador, 1978) y Steven Bochco (creador para la televisión en los ochenta de Canción triste de Hill Street o La Ley de Los Ángeles). Estando Douglas Trumbull al frente de la realización era de esperar que los efectos especiales fueran excepcionales. En esta ocasión, su talento en el campo visual está complementado por el del también extraordinario John Dykstra (que más adelan- te sería pieza fundamental del éxito de Encuentros en la Tercera Fase, Star Wars o Battlestar Galactica). Las maquetas están trabajadas con un grado de detalle sobresaliente y la cámara consigue preciosos planos del bosque hidropónico con los ani- llos de Saturno al fondo, más allá de los acristalados techos de las naves. Trumbull utilizó el novedoso sistema de proyección frontal —estrenado en “2001…”— para crear las cúpulas geodésicas que albergaban los jardines. Dado el poco dinero con el que contaba, Trumbull consiguió construir con eficacia un entorno realista rodando en el interior de un avión de transporte abandonado (el auténtico Valley Forge). Por otro lado, los planos de la nave sobre la vastedad del espacio profundo enfatizan la impresión de confinamiento solitario, de existencia herméticamente sellada. Son escasas las películas de ciencia ficción que se centran en la sensación de aislamien- to. Robinson Crusoe en Marte (1964) fue una; Naves misteriosas es otra. En ambas, los protagonistas pasan la mayor parte de la historia alejados del contacto con otros hombres, pero su soledad siempre queda hasta cierto punto atemperada por la presencia indirecta de la civilización y la sociedad bajo la forma de los artefactos que les rodean. En el caso que nos ocupa, ese papel recae sobre los robots de los que Freeman acaba dependiendo y con los que establece una relación a mitad de camino entre la más cálida humanidad, la demencia y la desesperación. En lo que se refiere a la producción de la película, no fueron estos robots hijos de la última tecnología de efectos especiales, sino carcasas diseñadas por el veterano de Vietnam George McCart, amputado de piernas y brazos; en su interior se colocaba a actores igualmente mutilados que utilizaban sus muñones para articular los pies y brazos de los robots. Naves misteriosas es hija de su tiempo, no ya por su mensaje ecológi- co punteado por las canciones de Joan Baez, sino en la forma en que lo escenifica. Freeman Lowell representa a una especie de jardinero celestial vestido con una larga túnica; se alimenta exclusivamente de productos naturales en lugar de procesados y la cámara nos lo muestra rodeado de su jardín y los animales que lo habitan; sus compañeros de tripulación —los únicos otros seres humanos que aparecen— son unos idiotas insensibles a la belleza de la Naturaleza. Hay un encendido monólogo de Lowell haciendo vagas y sentimentales alusiones al “auténtico sabor”, el “verdadero aroma” y la superioridad de todo lo natural sobre la obra del hombre. En este sentido, Naves misteriosas pertenece a la serie de películas de los setenta en los que se presentaba un futuro “limpio”, de un perfeccionismo antiséptico dominado por la tecnofilia:Viaje alucinante, La amenaza de Andrómeda (1971), THX 1138 (1971) o La fuga de Logan (1976 ) son otros ejemplos de la misma tendencia. Dicho esto, el mensaje del film reviste más complejidad de lo que un visionado superficial puede revelar. En primer lugar, se puede asegurar que la película aboga sin contemplaciones por el conservacionismo, pero no llega a reducir su argumento a un eslogan del estilo “plante un árbol”. Al contrario, Naves misteriosas opta por exponer un conflicto moral complejo y ma- duro. Por ejemplo, el triple asesinato cometido por Lowell parece contradecir el análisis meramente ecologista. No estamos ante un noble héroe enfrentado a las malvadas fuerzas del establishment capitalista, sino ante un neurótico —psicótico en sus peores momentos— cuyo violento comportamiento no es más que un paso más en su inevitable descenso a los abismos de la locura. Se diría que el único propósito de Lowell es conservar el jardín para su propio disfrute, como refugio contra su inestabilidad mental. A pesar de haber colaborado en “2001”, Trumbull quería lanzar un mensaje opuesto al de esa película. Los recuerdos del enloquecido ordenador HAL estaban muy recientes entre los aficionados, pero el director pensaba que la tecnología no era algo a lo que se debía temer. “Una de las cosas que quise hacer es mostrar a las máquinas como una herramienta que puede y debe permanecer bajo el control de los seres humanos, y no como una fuerza amenazadora y malevolente”, dijo en una entrevista de la época. De ahí los amables robots que salvan la vida a Lowell y conservan para la posterioridad el legado vivo de la Tierra. Blog, un universo de ficción (fragments) PROPERES SESSIONS 11 i 13 de novembre: Demain (Mañana, 2015), de Cyril Dion i Mélanie Laurent 18 i 20 de novembre: Le Tout Nouveau Testament (2015), de Jaco Van Dormael Petit Cineclub: 18 de novembre / 17.30 h i 20 de novembre / 17 h: The Secret of Kells (El secret del llibre de Kells, 2009), de Tomm Moore i Nora Twomey Dijous 10 de novembre: National Gallery (2015), de Frederick Wiseman, al Teatre Auditori de Granollers Associació Cultural Granollers AMB EL PATROCINI DE: EN CONVENI AMB: Almogàvers, 5 www.acgranollers.cat 08401 Granollers @ACGranollers T 93 861 55 98 AC Granollers [email protected] acgranollers.
Load more

Recommended publications
  • Organisms and Human Bodies As Contagions in the Post-Apocalyptic State
    CHAPTER 1 Organisms and Human Bodies as Contagions in the Post-Apocalyptic State Robert A. Booth n this chapter, I show how discourses of contagion and pollution not only imbue many post-apocalyptic cinema and television narratives but also mirror public discourse about immigration. Further, I examine the often- I 1 racialized immigrant in post-apocalyptic film and television that is, in essence, a discourse on insider–outsider social divisions and relationships of power. Finally, I elucidate the argument that post-apocalyptic film and television rein- force the primacy of centralized political authority, namely the State, and post- 9/11 post-apocalyptic film in particular reinforces the hegemony of the State. The post-apocalyptic subgenre of science fiction and/or horror has become popular fodder for cinema and television. As Susan Sontag notes, “the science fiction film . is concerned with the aesthetics of destruction, with the pecu- liar beauties to be found in wreaking havoc, making a mess. And it is in the imagery of destruction that the core of a good science fiction film lies.”2 Portrayals of the post-apocalypse often index or echo visual memories of terrible societal traumatic events of the past.3 With the experience of the social, political, economic, and emotional trauma of the 9/11 attacks, one might reasonably assume that Americans would acquire a distaste for graphic destructive violence. Certainly, after the attacks, filmmakers occasionally felt pressured to remove images of the Twin Towers or to change content that might evoke the tragedy, such as planes crashing into skyscrapers. However, post-apocalyptic genres remain ever popular in American television and cinema.
    [Show full text]
  • Favorite Movies
    Favorites as of June 2011 Favorite Movies - 00s The Boondock Saints Kiss Kiss, Bang Bang Lord of War The Machinist The Prestige The Punisher Harold and Kumar Go to White Castle The Butterfly Effect Confessions of a Dangerous Mind The Ring We Were Soldiers Ghost World Snatch Memento Serendipity Shoot „Em Up Taken Rules of Attraction Resident Evil & (Apocalypse) American Psycho Favorite Movies - 90s Fight Club PI Election The Usual Suspects Reservoir Dogs The Player Gattaca True Romance Freeway Dogfight ----------------------------- Free Enterprise Groundhog Day Goodwill Hunting The Inner Circle Dark City From Dusk till Dawn Reality Bites Sixth Sense Chasing Amy Fear and Loathing in Las Vegas Avalon/Liberty Heights American Beauty Go Something About Mary Office Space Oleanna Forrest Gump Wild Things Pulp Fiction Scream 1 & 2 Lock, Stock, & Two Smoking Barrels Favorites as of June 2011 Favorite Movies - 80s The Sure Thing Valley Girl Real Genius Terminator Baby Its You Breakfast Club 48 Hours Amadeus A Fish Called Wanda Jacob's Ladder -------------------- Repo Man Into the Night Die Hard Insignificance Field of Dreams Sixteen Candles One Crazy Summer Better Off Dead Weird Science The Empire Strikes Back Aliens Raiders of the Lost Ark/Temple of Doom Robocop The Hitcher The Manhattan Project Heartbreak Ridge Peggy Sue Got Married Favorites as of June 2011 Favorite Movies - Previous Citizen Kane (1941) Casablanca (1943) Dead of Night (1945) Its a Wonderful Life (1946) Curse of the Demon (1957) Touch of Evil (1958) Psycho (1960) David and Lisa
    [Show full text]
  • Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman.
    [Show full text]
  • The Portrayal of Women in Futuristic Science Fiction Movies
    Rochester Institute of Technology RIT Scholar Works Theses 2005 Realm of Possibilities: The Portrayal of Women in Futuristic Science Fiction Movies Aru Basu Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Basu, Aru, "Realm of Possibilities: The Portrayal of Women in Futuristic Science Fiction Movies" (2005). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. REALM OF POSSIBILITIES: THE PORTRAYAL OF WOMEN IN FUTURISTIC SCIENCE FICTION MOVIES By Aru Basu Paper Presented in Partial Fulfillment of the Master of Science Degree in COMMUNICATION &MEDIA TECHNOLOGIES Rochester Institute of Technology March 10, 2005 ThesisfDissertation Author Permission Statement Title of thesis or dissertation: REALM OF POSSIBILITIES: THE PORTRAYAL OF WOMEN IN FUTURISTIC SCIENCE FICTION MOVIES Name of author: Aru Basu Degree: Master of Science (MS) Program: Communication & Media Technologies College: College of Liberal Arts I understand that I must submit a print copy of my thesis or dissertation to the RIT Archives, per current RIT guidelines for the completion of my degree. I hereby grant to the Rochester Institute of Technology and its agents the non-exclusive license to archive and make accessible my thesis or dissertation in whole or in part in al forms of media in perpetuity. I retain all other ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation.
    [Show full text]
  • Silent Running (Dir
    Silent Running (Dir. Douglas Trumbull, 1972) Lesson by Kitty Chapman, English teacher, Greenwich Free School English Key Stages 3/4 This lesson uses the film Silent Running as a stimulus for debate, supporting writing to argue. The principal character, Freeman Lowell (Bruce Dern), is alone on a large spacecraft for much of the film, opting to protect a forest he has cultivated on the ship after forests on Earth have become extinct. Students will analyse the ethics of Freeman’s actions, after he kills crewmates in order to preserve the last samples of Earth vegetation and animal life (other than humans) ever to exist. Media Literacy links: Mise-en-scène, symbolism, soundtrack, message. Lesson Objective You will need… • To write to argue the ethics of Freeman Lowell’s DVD of Silent actions in Silent Running. Running (1972) Curriculum Links • Writing: Communicate clearly and imaginatively, using and adapting forms and selecting vocabulary appropriate to task and purpose in ways that engage the reader. 1 Activities TRAILER: Ethics and the Environment Fertile Question: How might a filmmaker present an ethical viewpoint? Half the class come up with group responses to a statement justifying killing in some circumstances. The other come up with responses to a statement arguing that humanity has a responsibility to protect nature at all costs. Share responses. Groups allocated one area to look at whilst watching the film, and are given the fertile question above to consider (check for understanding). Areas to record: Costume; Music and Sound; Plot; Characters and Names. MAIN ATTRACTION: The Filmmaker’s Position Watch the film.
    [Show full text]
  • SCIENCE FICTION CINEMA Spring 2016
    SCIENCE FICTION CINEMA Spring 2016 "Learn from me . how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow." Victor Frankenstein Frankenstein: The Modern Prometheus (1818) Course Description and Objectives Communication 323, Science Fiction Cinema, will primarily focus on the examination of the North American science fiction film genre. The readings, lectures, and screenings are organized historically to facilitate an understanding of the evolution of science fiction cinema within a cultural context. The course is also designed to expand the student's understanding of the critical/cultural theoretical approaches most commonly employed in the analysis of science fiction texts. The format for each class will consist of lecture, screening, and discussion. Assigned readings and screenings must be completed on time to facilitate the class discussions. Students are expected to watch at least one assigned film outside of class each week. Informed class participation is an important part of this class Faculty Jeff Harder Office: Lewis Tower 908 Phone: 312-915-6896 e-mail: [email protected] Office Hours: Monday 3-4 and 7-8, Tuesday 5-6:30, Wednesday 1-3, and by appointment. Required Texts Frankenstein by Mary Shelley (available online at gutenberg.org) Liquid Metal: The Science Fiction Film Reader edited by Sean Redmond (online) Science Fiction Film by J.P. Telotte Reserve Readings and EBL/Full Text A Distant Technology: Science Fiction Film and the Machine Age by J.P. Telotte Alien Zone II edited by A.
    [Show full text]
  • Fear of Deaf Cinema
    1 Fear of Deaf Cinema Alex Burns ([email protected]), 2010 [Note: Accepted for publication in M/C 13(3) (2010) but undelivered to publisher at final edit stage due to illness.] The French experimental film composer Michel Chion has proposed ‘deaf cinema’ as a new aesthetic framework to interpret film dialogue, multi-layered soundtracks and silence. This article suggests Chion’s aesthetic theory is fragmentary. Through a sampling of Hollywood films in different historical periods, the article explores the implications of Chion’s ‘deaf cinema’ versus Robert Bresson’s ‘tactics of silence’, for the boundaries of film soundtracks; aesthetic strategies of silence; the variations in silent, experimental, genre and contemporary films, and the absence of deaf filmmakers and perspectives. Film Studies scholars who use these aesthetic strategies to develop more emancipatory and inclusive frameworks, as demonstrated in the work of deaf filmmakers Samuel Dore and Robert Hoskin. “Against the tactics of speed, of noise, set tactics of slowness, of silence.” ‐ Robert Bresson (Bennett, Hickmann and Wall, 15) Defining Deaf Cinema Michel Chion (www.michelchion.com) the French experimental music composer has proposed ‘deaf cinema’ as a new aesthetic framework to interpret film dialogue, multi-layered soundtracks, and silence. “The silent film may be called deaf,” Chion observes, “insofar as it prevented us from hearing the real sounds of the story. It had no ears for the immediate aural space, the here and now of action.” (Chion 7). As a past assistant to ‘musique concrete’ composer Pierre Schaeffer, Chion is sensitive to how inductive theories can shape how we perceive film and music.
    [Show full text]
  • Silent Running Et Dark Star : Science-Fiction, Contre-Culture Et Le « New Hollywood »
    SILENT RUNNING ET DARK STAR : SCIENCE-FICTION, CONTRE-CULTURE ET LE « NEW HOLLYWOOD » Mehdi Achouche Université Stendhal Grenoble III Lorsque l’on songe à l’impact et à la représentation de la contre-culture à Hollywood, on songe immédiatement à Easy Rider (1969), sans doute le film emblématique du mouvement, où la figure du biker semble à la fois satiriser et régénérer celle du cow-boy sur sa monture, road trip d’un nouveau genre réconciliant dans une certaine mesure les valeurs beatniks et hippies. Néanmoins au-delà du cycle biker de la deuxième partie des années soixante, la science-fiction (SF) est sans doute le genre hollywoodien le plus empreint des valeurs et du regard typiques de la contre-culture. Pourtant la science-fiction est aussi historiquement un des genres les plus fortement ancrés dans l’imaginaire et même dans l’identité américaine, au même titre que le Western. La science-fiction tend de même à mettre en scène des tropes et des valeurs qui n’ont a priori que peu à voir avec celles de la contre-culture. Le détournement satirique et dystopique du genre dans les années soixante-dix rend donc l’évolution de celui-ci particulièrement emblématique de l’impact de la contre-culture sur Hollywood et sur la culture « populaire » américaine en général. Le New Hollywood Avant même 1969, Hollywood commence à se faire l’écho, sinon de la mentalité hippie ou de la contre-culture, du moins du vent de renouveau et de révolte qui agite alors la société américaine. C’est le cas dès 1967 avec The Graduate et Bonnie and Clyde qui, chacun à leur manière bousculent les traditions esthétiques, thématiques et éthiques du Hollywood de l’ancienne génération.
    [Show full text]
  • A Genre Study of the Hypothetical Space Film
    Wesleyan University The Honors College Beyond the Infinite: A Genre Study of the Hypothetical Space Film by Graham Martin Brown Class of 2018 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors from the College of Film and the Moving Image Middletown, Connecticut April, 2018 ! 1 Acknowledgments First, a huge thank you to my advisor, Scott Higgins. Without your constructive and incisive feedback, this thesis would be little more than a nebulous idea trapped in the back of my mind. Your guidance and wisdom have been nothing short of invaluable throughout this entire process. From Street Angel to Suspiria, I couldn’t have asked for a better teacher and mentor throughout my film education. Thank you to my family: Mom, Dad, Austin, Grandma, Grandpa, Jason, John, and Pete. Thank you for your unending support throughout the most trying times, and everything else too. Thank you to the entire faculty of the College of Film and the Moving Image, for enriching my understanding of film and giving me the necessary tools to think critically about film. Thank you to Julia Randall, Meredith Hughes, Terttu Uibopuu, Tushar Irani, Bill Dawson, and Andrew Szegedy-Maszak, the professors and teachers who shaped the way I think about the world, taught me how to approach problems, and expanded my own universe. Thank you to Allison, for always keeping my head on my shoulders and being an extraordinary friend through everything. Thank you to all of my dear friends from Wesleyan and Westhampton: Charlie, Joey, Sam, Ben K., Austin, Karina, Arianna, Willa, Ben V., Ari G., Max, Gabe, Pate, Abby, Will F., Seamus, Liz M., Ruby, Alex, Tate, Keith, Will D., Eric, Taylor, Sadie, Emma, Liza, Liv, Nate, Matthew, Alvaro, Cameron, Noah, Thor, Ames, Carly, Eli, Marc, Greg, Jake, Peter-John, Francesco, Liz M., Toni, Jesse, Connor, Aiden, Tahsin, Beecher, Luke, Patricolo, Roger, Lauren, and last but certainly not least, John-Henry.
    [Show full text]
  • Science Fiction Cinema
    Science Fiction Cinema One Day Course Tutor: Michael Parkes Science Fiction Cinema This course will examine how the science fiction genre has explored the relationship between humanity, technology and the other, to try to answer the question “what does it mean to be human?” The course will chart the history of the genre; from the early worlds of fantasy depicted in silent films, through to the invasion anxieties of the war years, the body politics of the 70s and 80s and the representation of technology in contemporary sci-fi cinema. The one day course will also examine how the genre is currently being rebranded for contemporary audiences and how fandom has been important to its success. The course will include lots of clips, resources for you to take away and the opportunity to discuss the important questions that science fiction cinema asks. What is Science Fiction? Most film genres are difficult to compartmentalise but there often tends to be one key convention that allows us to understand the nature of the film. Horror films are scary, Comedies make us laugh but Science Fiction appears to be a little more complicated and difficult to tie down. They can be about the future, but then again can be set in the past, they explore themes of identity, technology and the other but then again sometimes don’t! It has been a long standing struggle in Film Studies to really define what science fiction is; some believe it is a sub-genre of Horror whereas others believe it is a genre of its own merit.
    [Show full text]
  • Cosmopolitan Struggles in Twenty-First Century Science Fiction Cinema
    2020 110 Pablo Gómez Muñoz A Better World? Cosmopolitan Struggles in Twenty-First Century Science Fiction Cinema Departamento Filología Inglesa y Alemana Director/es Deleyton Alcalá, Celestino © Universidad de Zaragoza Servicio de Publicaciones ISSN 2254-7606 Tesis Doctoral A BETTER WORLD? COSMOPOLITAN STRUGGLES IN TWENTY-FIRST CENTURY SCIENCE FICTION CINEMA Autor Pablo Gómez Muñoz Director/es Deleyton Alcalá, Celestino UNIVERSIDAD DE ZARAGOZA Filología Inglesa y Alemana 2018 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Tesis Doctoral A Better World? Cosmopolitan Struggles in Twenty-First Century Science Fiction Cinema Autor Pablo Gómez Muñoz Director Celestino Deleyto Alcalá Facultad de Filosofía y Letras Departamento de Filología Inglesa y Alemana 2018 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es CONTENTS Acknowledgments vii Abstract/Resumen xi Introduction 1 Chapter 1. Transnational Science Fiction and Discourses on Cosmopolitan Conflicts 11 1.1. Beyond the Nation: New Approaches to the Study of Cinema and Science Fiction 11 1.1.1. Defining Transnational Cinema 13 1.1.2. Transnational Science Fiction Film 15 1.2. Towards a Critical Cosmopolitan Turn in the Study of Science Fiction Cinema 20 1.2.1. Critical Cosmopolitanism: The Methodological and Normative Dimensions 20 1.2.2. Connecting Cosmopolitanism and Science Fiction: The Modern/Colonial Complex 24 1.2.3. Epistemological Borders as Cosmopolitan Method 30 1.3. Approaching and Analyzing Science Fiction Cinema from a Critical Cosmopolitan/Border Perspective 34 1.3.1. Critical Cosmopolitanism and Western(-ized) Films 35 1.3.2. Generic Galaxies: Science Fiction Films as Complex Systems 38 1.3.3.
    [Show full text]
  • Silent Running (1972) De Douglas Trumbull Apolline Caron-Ottavi
    Document generated on 09/25/2021 3:40 p.m. 24 images Silent Running (1972) de Douglas Trumbull Apolline Caron-Ottavi Number 178, July–September 2016 URI: https://id.erudit.org/iderudit/82828ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Caron-Ottavi, A. (2016). Review of [Silent Running (1972) de Douglas Trumbull]. 24 images, (178), 63–63. Tous droits réservés © 24/30 I/S, 2016 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ VIDÉOTHÈQUE INTERDITE The Stunt Man (1980) de Richard Rush orsqu’un journaliste américain demande à François Truffaut en 1981 du cinéma, développera un rapport L quel est son cinéaste américain préféré, celui-ci répond qu’il s’agit du amour-haine avec son réalisateur réalisateur de The Stunt Man. Cet adoubement n’a malheureusement pas et tombera amoureux de l’actrice aidé la carrière de l’obscur Richard Rush à prendre son envol. Depuis 1980, principale du film. seul The Color of Night, petit thriller érotique avec Bruce Willis réalisé « All they care about is the script », en 1994, figure à son actif.
    [Show full text]