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Influence of science fiction
Influence of science fiction
Influence of science fiction
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S.T.A.L.K.E.R., by Andrei Tarkovsky, is a film based on the book Roadside Picnic, by Arkady and Boris Strugatsky. Both stories take place in a science fiction location known as “the Zone”. The Zone is a place where bad things happen and is the main source of science-fiction throughout the stories. Although the stories were quite similar, the Zone in Roadside picnic is more fascinating and has a stronger sense of fantasy, whereas S.T.A.L.K.E.R. is more realistic and not as engaging. The Zones from both Roadside Picnic and S.T.A.L.K.E.R. are both forbidden areas that only a select few dare to enter. These select few were known as the “Stalkers”. These zones had many similar characteristic that I found very fascinating. For example, in S.T.A.L.K.E.R., in the Zone there was a place called the “Room”, which was said to grant the wishes of whomever entered. Similarly, in Roadside Picnic, there …show more content…
In Roadside Picnic, the Zone was created by the visitation of aliens, whereas the Zone in S.T.A.L.K.E.R. was created by some form of nuclear catastrophe. This difference is another example for the different level of science-fiction use. The zone created by the visitation of aliens is more surreal and fascinating because it is nearly impossible to happen. While reading the Zone in Roadside Picnic, I pictured the Zone to be almost like a different dimension. Although the Zone was formed by the visitation of aliens which is highly unlikely, the way the actual imagery of was told could easily reflect a very realistic environment. The Zone seemed to just be an abandoned town because the items that were left in the Zone were unmoved were smothered with the wild growth of mysterious vines. Meanwhile, the Zone in S.T.A.L.K.E.R. did not have the same impossible surreal effect; it seemed like an environment similar to Chernobyl that was not a fantasy setting
Roll the windows down, turn the music up, and drive slowly. Now you're cruising. Cruising is the art of seeing and being seen, and in Tucson the center of this art is Speedway Boulevard. This six-lane street runs east to west through Tucson and is one of the busiest thoroughfares in the city. It hosts a mix of commercial and private buildings: small shops, offices, restaurants, grocery stores, apartment buildings and older homes, as well as the University of Arizona. Despite the apartments and occasional houses, Speedway is mostly a commercial street populated with strip malls and other businesses. Cruising is most visible along the more commercial, business-oriented East Speedway, which for the purposes of this essay is defined as the three mile stretch of road from Alvernon to Wilmot. Like most streets, Speedway was built for an entirely practical reason: to conduct automobile traffic from one place to another with a minimum of waiting. This utilitarian reason is inverted by cruising. The purpose of cruising, unlike driving, is not to arrive but to not arrive. Cruising is a social activity wherein the cars become tools for meeting other people as well as a means of getting from one place to another. The reputation of cruising, and of the nighttime Speedway, is not nearly so benign. As traffic slows and the music increases, the character of Speedway as a place - that is, a focus for human memory and experience - changes to reflect the activities and desires of the cruisers.
People who enjoy science fiction would enjoy the movie or the short story the Minority Report. This paper is being written to express the differences between the movie and the story. The paper will be written based on the scenes, characters, and the technologies.
Director Thomas Carter, incorporates an extensive range of film techniques into his film, that all influence the emotional, racial and
The story takes place in a city in the year of 2053 A.D. Cities are imagined to be busy and energetic at night but in this city it is portrayed as deserted and noiseless as the author wrote ¨To enter that silence that was the city at eight o'clock of a misty evening in November...¨ Author Ray Bradbury goes on to explain the setting in several different parts of the story like that the ¨cement was vanishing under flowers of grass¨ or the ¨...cottages and homes with their dark windows...¨ to give an image to each reader. The setting can create a mood or an atmosphere- a subtle emotional overtone that can strongly affect our feelings. An example would be “On a dark, cold night in November 2053, the pedestrian - Leonard Mead- walks alone through the city. The streets and freeways are deserted. Dark tomblike homes line the streets.” Bradbury uses mood and details to explain how dehumanization and technology ruined the society that the character Mr. Mead was
Boom, Corrie, John L. Sherrill, and Elizabeth Sherrill. The Hiding Place, . Washington Depot, Conn.: Chosen Books; [distributed by Revell, 1971. Print.
...e black comedy, Dr. Strangelove, incorporates Kubrick’s political beliefs through the film’s distinctive style, utilization of motifs, and the suggested affiliations between war and sex. Stanley Kubrick emotionally distances the viewer from this terrifying issue by illustrating the absurdity of the war. By implying sexual frustration and suppression as a reason for war tension, Kubrick displays a worst-case scenario of the Cold War in comical fashion. Dr. Strangelove is an anti-war satire that implicitly conveys the importance of sexual expression while humorously portraying the worthlessness of war and violence that ravaged the sanity of the 1960s American public.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
In Juan Pablo Villalobos' novel, Down the Rabbit Hole, the main character, Tochtli, is growing up in a luxurious hideout that he shares with hit men, prostitutes, dealers and servants. He even has his own zoo, which his current fascination, Liberian Pigmy Hippopotamuses, revolves around. There is a lot of symbolism in this tale of innocence and secrets, including the names, the drugs themselves, the Alice in Wonderland theme, and the perspective from which the story is told.
The novel takes place within a tremendous subterranean silo surrounded by scorched earth and lethal air. The survivors live under strict rules, taboos, and restrictions that are seldom contested due to the generational gap from the original catastrophe. Couples must apply with the state to court and marry, a lottery system determines child bearing, speaking of the outside world is utterly prohibited, and systems of social hierarchy are well in play. Television screens of the toxic landscape contribute to psychological well-being; though over time, the sensors become hazy due to the elements.
Imagine for a moment, a world of death. For 200 years your family has been sealed away with a thousand other people, to protect you from the dangers outside. Now your father has disappeared, and it’s up to you to find him. After a harrowing escape from your subterranean home, you walk through a tunnel to the outside world, past dead bodies, stretched out in front of the door, as if to say “don’t leave us out here to die!” As you walk through the gate to the outside, and as your eyes slowly adjust to the sun you have never seen, a wasteland emerges before you. The world is devastated, destroyed and annihilated. Broken twisted hunks of metal lie next to a sign on the side of the mountain saying “scenic overlook” on your right, the broken remains of the interstate bridge stand as a monument to a destroyed culture. Petrified trees are all that remains of the local fauna. Off in the distance, all that remains is destruction. While you may think of this stunning visualization of a wonderful novel, this is actually one of the opening scenes from Todd Howard and Bethesda Game Studios’ “Fallout 3.”
The sidewalk is a social structure for the people who work and live in it. They are mentors for each other. They play the same role of self-direction and psychological fulfillment of a formal job or family for example; where the society is shrunken on that one sidewalk. They form an informal social organization and social control so they can survive against the outer social system; meanwhile, this social organization organizes property rights and division of labor. Although their life seems deviant, they still practice conventional social practices and norms. Although it might seem that these men are engaged in random behavior, yet there is an organized interaction of norms and goals, and a shared collective self-consciousness from having a shared common history.
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.
Even though Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb screened in the midst of the sobering Cold War, critics were keen on praising the film for its mastery of humor applied to such a sensitive matter. The film is exceedingly loaded with metaphors, innuendos, and allusions that nothing can be left undissected or taken for face value; the resulting effect is understood to be part of Kubrick’s multifarious theme. Kubrick has stated that what began as a “the basis for a serious film about accidental war ” eventually birthed an absurd and farcical classic comedy. The director fuses together irony, satire, and black humor to create a waggish piece but most of all the situation of the times and its gravity is the essence of what the audience finds so hilarious . Using caricatures rather than characters, exaggerated script, and sexual undertones, Kubrick manifests to the audience their own predicament and just how ridiculous it is to even consider brinksmanship as a means to preserve the American lifestyle.
Spatial and temporal relations are important concepts in the editing of both these films. It allows the time and space of the film to be illustrated in a way that determines what will be shown to the audience and how. Continuity and discontinuity is depicted in different scenes in both films by the space and time presented. Space and time that is demonstrated in each shot can be manipulated through the cooperation of each shot.