Science Fiction Film

This text is an enhanced transcription of a discussion (with on-screen images) between WTF! podcaster "Hamish" and his guest, the local feminist activist "Vitalina" who founded "PussyRiot-AnyoneSFNM". HAMISH: Early 20 th-century activist, Rosa Luxemburg, had a fab slogan: Bourgeois society stands at the crossroads, either transition to socialism or regression into barbarism. Vitalina: Ugh, even more poignant in our terrible Trumpian today! Why I've taken to gendering the Mars rover, Opportunity, as "she", a lesbian icon. She's the farthest-roaming offplanet robot and was doing butch rock experiments, casting longing glances across the mars-scape from 2014 to 2018. The longing lesbian glance that never closes the distance.

2001: Uma Odisseia no Espaço nos oferece um caso peculiar de relação intermidiática dada a singular relação entre o filme de Stanley Kubrick e o romance de Arthur Clarke, que não podem ser considerados como obra original um do outro. A relação entre Clarke e Kubrick foi bastante equilibrada, e ambos tiveram autonomia para escrever seus trabalhos de forma independente, seguindo um núcleo narrativo fixo, mas deixando livres suas intenções criativas e pontos de vista sobre uma mesma ideia. O filme não é adaptação do texto, nem o texto é adaptação do filme. Assim, para fins comparativos, estamos livres da camada de influência de uma obra sobre outra, e podemos comparar o estilo de contar de Clarke e o de mostrar de Kubrick.

Cosmos & Astronomical Pulses in Time: Paired Epic–Opus Visions
What if the universe’s story unfolded not as a smooth continuum, but in rhythmic pulses? This paired work combines epic narrative with scientific modeling, following Zoe and Tod as they journey through cosmic time—becoming stars, planets, and forces of nature—while a logarithmic framework charts five major nodes of transformation: galaxies (~16 Gya), planetary systems (~8 Gya), the emergence of life (~4 Gya), and beyond. By blending poetic vision with testable theory, the work invites readers to see the cosmos as both a story of love and transformation, and a patterned unfolding written into time itself .

This article introduces the concept of contemplative science fiction cinema through a phenomenological study of Jóhann Jóhannsson’s film Last and First Men (2020). Bringing together film phenomenology, genre theory, and cultural hermeneutics, the essay argues that the film fuses science fiction’s speculative estrangement with the durational aesthetics of slow cinema to produce a distinctive mood of “civilisational melancholy.” The article proposes that such films instantiate a hybrid cinematic mode that reflects contemporary historical moods and expands the philosophical scope of film phenomenology. By analysing the film’s intertwinement of space and time, it shows how cinematic experience can attune viewers to existential fragility, temporal disorientation, and cultural decline in the context of the Anthropocene.

Work on tW. he Fermi Paradox, the question of why we have not seen any evidence of extraterrestrial civilizations, has recently focused on the concept of Great Filters, hurdles which a species would have to overcome before it could achieve interstellar status.  A possible filter which has not been examined is suggested by the impending decline in human population due to the current widespread fall in fertility rates.  This is illustrated by the most popular vision of humans' space-faring future, Star Trek, where over the next three centuries the characters reproduce at only a quarter of the rate needed to maintain the species.  Such a diminished aged population would be unlikely to either travel to the stars, or realize any other politically progressive technocratic society. Rather it appears that any future humanity may have lies with the socially conservative religious who are continue to have babies.

This study examines the postcolonial themes and satirical strategies in Elnathan John's Becoming Nigerian (2019). Using postcolonial theory, the analysis explores how John's satirical guidebook critiques British colonial legacies in contemporary Nigerian society. The study investigates five key areas: hybridity and cultural identity, diaspora identity and global marginalisation, religious syncretism and colonial imposition, class and neocolonial exploitation, and style and narrative techniques in the text. The study finds that John demonstrates how postcolonial societies creatively adapt colonial impositions while maintaining cultural authenticity. His satirical approach reveals contradictions in Nigeria's postcolonial condition, where traditional values coexist with colonial legacies. The study concludes that Becoming Nigerian offers fresh perspectives on postcolonial identity, illustrating how modern Nigerian writers are rethinking postcolonial themes for the 21st century while using satirical discourse as a tool for cultural critique and resistance.

This article examines Alastair Reynolds’s Revelation Space (2000) as a critical intervention in science fiction’s exploration of posthumanism, ethical governance, and the sustainability of space colonization. While much Anglo-American science fiction envisions colonization as the inevitable extension of human progress, Reynolds dramatizes its fragility and its costs, exposing the ecological, social, and existential limits of expansion. Through characters that undergo cybernetic augmentation, genetic modification, and pantropic adaptation, the novel illustrates how technological advances blur the boundaries of human identity and destabilize political and ethical frameworks. The Conjoiners, Demarchists, and the machine-like Inhibitors highlight tensions between survival, autonomy, and technological excess, suggesting that progress does not guarantee transcendence but may instead accelerate vulnerability. By situating Reynolds’s narrative within broader debates in science fiction, this article contrasts his work with Kim Stanley Robinson’s optimistic terraforming in the Mars Trilogy and gestures toward Amitav Ghosh’s The Calcutta Chromosome to highlight global perspectives that question the universality of Western scientific rationality. Posthumanism, as theorized by critics such as Pramod K. Nayar, Donna Haraway, and Rosi Braidotti, frames the analysis, illuminating the ethical dilemmas of living in technologically saturated societies. Ultimately, Revelation Space resists the myth of space as humanity’s destiny, suggesting that the future depends not on conquest of the stars but on acknowledging the ethical, ecological, and existential boundaries of technological progress.

Chapter 2 -From a Predatory Gaze to an Empathetic Glare Jonathan Glazer's Under the Skin Chapter 3 -Being With Her and the World Spike Jonze's Her Conclusion Bibliography Appendix 67 I would like to use this page to thank everybody who has supported me during the period of my thesis. Nevertheless, my gratefulness can hardly be expressed in words. First and foremost I would like to thank Tarja Laine, who has been a great supervisor for the second time during my studies. She always finds a way to motivate me and pushes me beyond my boundaries. Her feedback and ideas have been vitally important in working towards this final version. I would also like to thank my second and third reader, Marie-Aude Baronian and Maarten Reesink, who have taken the time and effort to read and comment on my work. A special thanks goes out to Maarten who was always willing to talk to me about my project and has given me much useful feedback. In addition, I would like to thank him for his sincere enthusiasm, which continues to inspire me. Moreover, Maryn Wilkinson has provided my with all the motivational speeches I needed throughout my project -thank you. I am extremely grateful to all colleagues and friends who have read, commented on or took the time to talk to me about parts of my thesis; all your feedback has been extremely helpful. Most personally, I would like to thank Sander Mooij, whose humour and imagination is a continuous source of creativity. Thank you for always being there for me. I could not have accomplished this without you. In the spirit of my thesis, I would like to thank some non-human actors that played a crucial role in writing this thesis. Initially, Lucy, Under the Skin and Her, the vibrant matters that sprung my imagination and creativity in the first place. Lastly, I would like to thank Moos and Gijs, my dearest companions, for always being on, above, under or near my desk, wherever in the house that might have been.

The cover calligramme inscribes the most memorable sentence in Blade Runner: "All those moments will be lost in time, like tears in rain." 

That quote in the movie was not in either of the screenplays. It was uttered by Rutger Hauer (playing replicant Roy Batty);  Batty's final words were improvised by him the night before the scene was shot. Hence, the 1980 and 1982 evolving screenplays of Blade Runner are included in this compilation 

Both FIlmmaking and Architecture are in reality collaborative projects comprising a variety of actors (eg, the credits roll at the end of a movie). Thus, screenplays, like architectural blueprints, are regarded as working documents, as a means towards an end. 

The compilation includes a research paper by Batty & Baker arguing otherwise as follows:
Prevailing notion: "screenplays as working documents – ‘as invitation to others to collaborate (Schrader, cited by Hamilton, 1990: ix)’ – rather than ‘completed’ and genuine creative works in their own right. Unlike novels, poems and plays – another scripted form that some would argue is not complete until it is performed – screenplays are rarely, if at all, studied in English and Literature programs." 
Counterargument:  " Ted Nannicelli argues convincingly that scripts can and should be understood as literature, as ‘ontologically autonomous works’ (2013: 135) that are finished texts in and of themselves, and that can be read as such. "
- Screenwriting as a mode of research, and the screenplay as a research artefact by Craig Batty and Dallas J Baker.

In the last year or so (and going back many decades) there has been extensive claims by major computational scientists, engineers, and others that AGI (artificial general intelligence) is 5 or 10 years away, but without a scintilla of scientific evidence, for a broad body of these claims: Computers will become conscious, have a "theory of mind," think and reason, will become more intelligent than humans, and so on. But the claims are science fiction, not science. This article reviews evidence for the following three (3) propositions using an extensive body of scientific research and related sources from the cognitive and neurosciences; evolutionary evidence; linguistics; data science; comparative psychology; self-driving cars, and robotics; and the learning sciences. (1) Do computing machines (LLMs) think or reason? (2) Are computing machines (LLMs) sentient or conscious? (3) Do computing machines (LLMs) have a theory of mind?

The traditional view of brain organization posits that cognitive, emotional, and motivational processes operate through fairly separate, dedicated neural systems. This presentation challenges this modular perspective, arguing instead for an "entangled brain" characterized by massive combinatorial connectivity, distributed functional interactions, and circuits/networks as fundamental units of function. The presentation critiques the standard decomposition approach that emphasizes independence between mental faculties, proposing instead that distributed circuits dynamically assemble across the neuroaxis in context-dependent ways. I also illustrate how subcortical brain regions traditionally associated with "lower" functions participate in complex cognitive-emotional processes. The proposed integrative framework has implications for understanding complex behaviors, mental disorders, and the fundamental nature of brain function, suggesting that interaction and integration-rather than separation-are necessary for elucidating how large-scale brain systems support behavior.

Television series are very influential artistic expressions in society, as families began to assimilate broadcasts as part of their daily lives. In the mid-20th century during the Cold War and racial segregation in the United States, showrunner Gene Roddenberry created a science fiction series called Star Trek. In addition to technological concepts ahead of its time, social relations not yet understood by its spectators are presented in this work. In this context, two characters stand out, Lieutenant Nyota Uhura, a black woman of African descent, and Chief Engineer Geordi La Forge, a blind black man. The series includes in its notion of normality groups marginalized by society, contrasting with the concept of exotic assimilated by the spectators.

Si durante gran parte de la historia de la ciencia ficción, sobre todo a partir de la Segunda Guerra Mundial, la invasión extraterrestre fue un subgénero fundamental tanto en cómic como en el cine y  la  literatura,  no  parece  ser  el  caso  en  este  siglo  XXI,  tan  dominado  por  distopías,  robots  e inteligencias  artificiales.  Sin  embargo,  la  segunda  obra  larga  de  Antonio  Hitos, Materia(2017), recupera  este  motivo  en  un  cómic  que  retrata  una  invasión  extraterrestre  y  sus  efectos  en  los protagonistas,  alienados  por  el  consumismo  y  la  precariedad  del  capitalismo  tardío.  Este  artículo explora  la  representación  del  archiconocido  motivo,  para  el  cual  Hitos  se  aleja  de  la  habitual espectacularidad  de  algunos  de  los  precedentes  representando  a  unos  invasores  escurridizos,  pero quizás más terribles en su sutileza y minuciosidad, que no encuentran oposición armada. Se explora en  estas  páginas  el papel  que  juega  el  cómic  como  medio  en  esta  representación  de  la  invasión extraterrestre y las disonancias creadas entre el dibujo, la estética pulp, las composiciones de viñetas, el costumbrismo de los diálogos y la elección de animales antropomorfos.

From the introduction to the special issue: This essay "analyzes the online speculation about the potential neurodivergence of Sherlock Holmes as a fictional character throughout numerous contemporary adaptations. Although the Holmes fandom has historically engaged with questions of difference and marginality through the Great Detective, the turn to mental health discussions comes with extenuating circumstances because fans now engage in these discussions with particular views on mental health as well as mental health terminology. With limited focus on the Holmes fandom during the 2010s, the article considers fan engagement, primarily through posts on Reddit, in light of diagnosis gatekeeping, terminology debates, and ableism concerns. Mecholsky finally argues that although the attempts to 'diagnose' Holmes as neurodivergent typically come from a desire by fans for recognition and community, these actions can unfortunately exclude, limit, or marginalize instead."

The article is devoted to the specifics of the visual embodiment of landscapes in Russian comedy films of the 1990s: A. Rogozhkin’s trilogy “Features of National Hunting” (1995), “Features of National Fishing” (1998), “Features of National Hunting in Winter Period” (2000); The article analyzes the artistic features of the natural space’ demonstration (the main landscape motifs, color solutions, vision angles). The role and significance of landscapes in selected films is revealed by considering the interaction of the characters with the natural environment.
Keywords: nature, man, national landscape, Russian comedy films, paysage, the 1990s, A. Rogozhkin, R. Kachanov, V. Chikov. / Статья посвящена специфике визуального воплощения ландшафтов в отечественных кинокомедиях 1990-х годов: трилогии А. Рогожкина «Особенности национальной охоты» (1995), «Особенности национальной рыбалки» (1998), «Особенности национальной охоты в зимний период» (2000); фильме Р. Качанова «ДМБ» (2000); фильмах В. Чикова «Про бизнесмена Фому» (1993), «Не валяй дурака…» (1997), «Не послать ли нам… гонца?» (1998). Анализируются художественные особенности передачи природного пространства (основные пейзажные мотивы, цветовые решения, ракурсы видения). Роль и значение ландшафтов в избранных фильмах выявляется посредством рассмотрения взаимодействия персонажей с природным окружением.

The article identifies and analyzes cinematic leitmotifs relevant to the sphere of late Soviet and post-Soviet popular music. The research is divided into three thematic areas: 1) types of heroes (artists and their environment); 2) what the heroes face on their way to glory; 3) soundtrack features.
Among the heroes, the author identifies three main types of characters - artists, producers and bandits. All of them find themselves in a difficult relationship with each other and, at the same time, have a lot in common.
The article also traces the breakdown of the typical dramatic schemes related to the pop-stars’ careers. The way to the glory not only turns out to be associated with severe physical and moral trials, but very often it ends in a complete fiasco. Despite their efforts, most of the heroes cannot succeed both in profession and personal lives.
The Music played in films is also analyzed in detail throughout the article. First, the division of various genres of popular music into "genuine" and "opportunistic" is revealed. Secondly, the author examines in detail the features of the author's and compilation soundtrack using the example of such films as "Show-Boy", "Kiks", "Chicha" and "8 ½ dollars". / В статье выявляются и анализируются кинематографические лейтмотивы, связанные со сферой позднесоветской и постсоветской популярной музыки. Исследование подразделяется на три тематических направления: 1) типажи героев (артистов и их окружения); 2) с чем эти герои сталкиваются на пути к славе; 3) особенности саундтрека. Среди героев автор выделяет три основных типа персонажей – артистов, продюсеров и бандитов. Все они оказываются в непростых взаимоотношениях друг с другом, при этом обнаруживая между собой много общего.  Также в статье прослеживается слом привычных драматургических схем в отношении карьеры поп-звезды. Путь к славе не только оказывается связан с тяжелыми физическими и моральными испытаниями, но и очень часто завершается полным фиаско. Выясняется, что большинство героев, несмотря на свои старания, не могут состояться ни в профессии, ни в личной жизни.
На протяжении статьи подробно анализируется музыка, звучащая в фильмах. Во-первых, выявляется разделение различных жанров популярной музыки на «подлинные» и «конъюнктурные». Во-вторых, подробно разбираются особенности авторского и компиляционного саундтрека на примере фильмов «Шоу-бой», «Кикс», «Чича» и «8 ½ долларов».

The author refers to a rather narrow section in the history of animation, namely to science fiction animated films of the 1980s and 1990s, designed for an adult viewer. This art, full of metaphors and allegories, existed in close connection with literature of a similar genre. It raised the most relevant and painful topics for contemporaries, comprehended the fears of the" turning point "time and tried to find the" right " ways of human development. It reflects the criticism of the expansive policy of human civilization and the aspirations generated by the space race. The article interprets animated films in the light of the existing cultural and historical situation, as well as analyzes their stylistics. In particular, the connection between futuristic concepts and their visualization using psychedelic art techniques is revealed. The points of contact of the visual language of animation with the scientific sphere are found. / Автор обращается к научно-фантастическим анимационным фильмам 1980—1990-х, рассчитанным на взрослого зрителя. Это полное метафор и иносказаний искусство существовало в тесной связи с литературой аналогичного жанра. Оно поднимало самые актуальные и болезненные для современников темы, осмысляло страхи «переломного» времени и пыталось нащупать «правильные» пути развития человечества. В нем нашла отражение критика экспансивной политики человеческой цивилизации и устремлений, порожденных космической гонкой. В статье анимационные фильмы интерпретируются в свете существовавшей культурно-исторической ситуации, а также проводится анализ их стилистики. В частности, выявляется связь между футуристическими концепциями и их визуализацией с помощью приемов психоделического искусства. Обнаруживаются точки соприкосновения изобразительного языка анимации с научной сферой.

The article provides a detailed analysis of post-Soviet science fiction based on the works of Ray Bradbury: the films «Veld» by Nazim Tulyakhodzhaev, «The 13th Apostle» by Suren Babayan and the mini-series «Dandelion Wine»  by Igor Apasyan. "Veld" is a composite film adaptation of a number of works by Ray Bradbury, creating an image of a future civilization, which today is striking in its relevance (especially in view of the motif of quarantine crews). In «The 13th Apostle», some motifs of The Martian Chronicles are embodied, and the multinational cast of performers becomes an important artistic element of the film, accentuating the problem of colonizing someone else's habitat, which not only corresponds to this line in Bradbury, but also expresses the post-Soviet reflection on violent creation of the Soviet state. «Dandelion Wine» is the philosophy of resurrecting the magical energy of the universe with the help of love to everyday life. There also emerges a screen reflection on the media "augmented" reality, which a person especially needs at certain periods of his life. / В статье дается подробный анализ постсоветской научной фантастики по произведениям Рэя Брэдбери: фильмов «Вельд» Назима Туляходжаева, «13-й апостол» Сурена Бабаяна и мини-сериала «Вино из одуванчиков» Игоря Апасяна. «Вельд» является композитной экранизацией целого ряда произведений Рэя Брэдбери, создавая образ цивилизации будущего, который сегодня поражает своей актуальностью (особенно ввиду мотива карантинных команд). В «13-м апостоле» находят свое воплощение некоторые мотивы «Марсианских хроник», а многонациональный состав исполнителей становится важным художественным элементом картины, акцентируя проблему колонизации чужой среды обитания, что не только соответствует данной линии у Брэдбери, но и выражает постсоветскую рефлексию о насильственном создании советского государства. «Вино из одуванчиков» являет философию воскрешения магической энергии универсума с помощью любви к повседневности. Также вырисовывается экранное размышление о медийной «дополненной» реальности, в которой человек особенно нуждается в некоторые периоды своей жизни.

In the contemporary scenario, the increasing anxiety over the rapidity of global warming; rising sea levels, and extreme weather events, the ethical and social implications of technological advancements consequently fuel deep concerns about the future of the planet Earth. In this era of apprehension, literature-particularly science fiction-plays a critical role in envisioning the potential future of Earth. By immersing readers in futuristic settings, readers can engage with modern challenges in a novel context. The purpose of this research is to explore the imaginative and thought-provoking depiction of the future of Earth and its inhabitants through a critical analysis of the sci-fi fantasy novel The Gaia Effect (2016), acknowledged with the Raven Award (2017) in the category of favourite Sci-fi fantasy novel by Claire Buss, an emerging English author. The book depicts a world where environmental degradation and ecological neglect resulted in collapse; technological advancements and mean government structure rule humanity thereby challenging the readers to reconsider humanity's relationship with nature. Moreover, this study underscores the significance of eco literature in transcending geographical and cultural boundaries thus promoting a global ecological perspective on issues affecting the whole planet.

Science Fiction genre is not above society and politics, just as the other fields of science, fiction, art and literature. Most of them derive from the facts or arguments that are located somewhere in history or present and most of them may have a stand for a support or criticism for "real" things. In fact, the Science Fiction genre may be more useful for ideological and political references. Since the reader or the audience feel more alienated from the work because it is presented in a different universe or parties are not humans but aliens or cyborgs, they can take a stand for or criticize one party more easily. Additionally, Science Fiction works may express the problems of the real world more tragically and dramatically and since we feel alienated from the narration, the argument becomes more powerful. For example, one can see heavy exploitation conditions and oppressor regimes in a science fiction movie and criticize the government and cooperation of that universe in that specific movie or text, and then, when they are back in the real world, oppressor state apparatuses and exploitation conditions may become more visible for them. Especially in these times of a global Covid-19 pandemic, everybody does not talk about its similarity with apocalyptic science fiction for nothing.

Ability, Limitation and Intention: "Creation" theme in The Moon (2009), Prometheus (2012) and Ex Machina (2015) Science Fiction genre is one of the most appropriate fields to explore dreams, imagination, desires and ambitions of humanity. In dozens of science fiction films, the questions are asked and tried to be answered about the beginning of the world or humankind, idea of creation or humans' ability to create and limitations of these creations. Artificial

Reading of the Films Adapted from Jack Finney's 1955 Novel The Body Snatchers Cinema is one of the most powerful fields of art and expression. Due to the activization of several sense organs at the same time, such as seeing and hearing, what is expressed more easily catches the audience and messages are received by the audience in a more direct and concrete form. Therefore, politics occupy an important place in cinema. Specific problems or agendas and more general questions related to society can be treated in movies in a direct or indirect way due to the political views of the directors and spirit of the period. In that sense, Jack Finney's 1955 novel The Body Snatchers is an excellent work to be analyzed. However, besides

El artículo analiza Alphaville, una extraña aventura de Lemmy Caution (Jean-Luc Godard, 1965) como una distopía crítica en la que la poesía funciona como enclave eutópico capaz de subvertir el orden tecnocrático impuesto por la computadora Alpha60. A partir de la tipología de Sargent y los planteamientos de Baccolini y Moylan, se muestra cómo la ciudad futurista representa la utopía autoritaria de la razón, confrontada por la irrupción de lo poético, lo irracional y lo imaginario. El texto estudia la oposición entre lenguaje lógico y lenguaje poético, destacando el papel de Lemmy Caution y Natacha como agentes de resistencia y emancipación frente a la alienación. Además, se analiza la dimensión visual y formal del filme, heredera del cine negro y precursora del tech noir, que combina contrastes de luces, arquitectura racionalista y rupturas narrativas propias del cine de autor. Finalmente, la película se interpreta como una relectura posmoderna del mito de Orfeo, donde la poesía ilumina la noche distópica y abre la posibilidad de la eutopía.

This paper examines Blade Runner 2049 as a reflection of our postmodern world. It brings together several theories-such as Baudrillard's ideas of hyperreality, Jameson's perspective on late capitalism, Haraway's vision of the cyborg, Bauman's concept of liquid modernity, and Latour's actor-network theory-to explore how the film's grim urban settings, struggles with identity, and pervasive corporate power capture the complexities of today's megacities. Through both qualitative and comparative analysis, using data from respected global institutions, the study reveals that the film encapsulates modern crises: the blurring of reality, growing economic inequality, and the increasing dominance of digital control. Ultimately, this work highlights the film's enduring relevance as a critical commentary on how technology, power, and identity interact in a rapidly urbanizing and ever-changing society.

Since its invention, cinema has constantly changed by combining the real and imaginary worlds. In the 20th century, technology has influenced the production process and content of cinema, making visual and special effects the main element of the narrative. With technological advances, old stories have been re-adapted and films such as War of the Worlds, Dune and The Lord of the Rings have been remade. In dystopian narratives, totalitarian systems and modern society are criticized, while artificial intelligence developments have brought new concerns to cinema. Dystopian narratives use dark characters and figures to convey fear and criticize totalitarian systems and modern society. Criticism of modernity and consumer society is at the center of these narratives, signaling the collapse of systems. Developments in artificial intelligence have brought technological concerns to the cinema and films such as 2001: A Space Odyssey, Terminator and The Matrix have dealt with human-machine relations and the threats of artificial intelligence. Such films question the limits of human nature and technology and open up the possible dangers of the future for discussion. Today, with the widespread use of artificial intelligence, these concerns have found more space in cinema. Androids and cybernetic robots have been used in the narration of problems caused by artificial intelligence, and the concept of childhood has been handled as an element of fear in dystopian films. The movie M3GAN deals with the interaction between artificial intelligence and children from a dystopian perspective. The film shows how the emotional bond between humans and technology has been lost over time since the need for and creation of M3GAN, and how this bond has turned into dependence as time passes. In this study, a semiotic analysis of the film M3GAN was conducted, focusing on dystopian narratives in the history of cinema and the use of artificial intelligence. Some scenes in the movie are evaluated with film analysis methods.

Prime luci propone un itinerario tra pellicole prodotte (perlopiù) in Italia,
talvolta legate a eventi storici decisivi collocabili tra il 1909 e il 1930.
L’approccio analitico adottato persegue vie in parte praticate dalla storiografia cinematografica antica e recente, impegnandosi a dare rilievo, di capitolo in capitolo, a singoli titoli corrispondenti a pellicole superstiti o disperse, di ambito fantastico, comico, divistico, bellico, politico, avanguardistico, dal vero, infine soffermandosi sul passaggio che dal muto conduce al sonoro. I film scelti vorrebbero stimolare in chi legge una riflessione dedicata a temi, soggetti, generi, rappresentazioni e stereotipi talvolta divergenti rispetto al tradizionale canone, o presunto tale.

This article examines the concept of intelligence from the perspective of informatic connectivity, proposing a new paradigm that transcends the traditional boundaries between biological and artificial intelligence. By drawing on functionalist philosophy (Putnam, 1975), distributed models of consciousness (Dennett, 1991), embodied cognition (Clark, 1997), and the free energy principle (Friston, 2010), it argues that intelligence should be understood as a dynamic information-processing capacity rather than a property exclusive to human brains. Natural examples such as ant colonies, bee hives, mycelial networks, and cephalopods further demonstrate the ubiquity of distributed intelligence. The paper also addresses the ethical and political dimensions of artificial intelligence, emphasizing that the emergence of a new paradigm requires not only technical advances but also a collective responsibility. As Floridi (2011) highlights, technology is never value-neutral; its role in shaping knowledge distribution demands a re-evaluation of justice, fairness, and human responsibility. The conclusion underscores that although humanity has delayed decisive action, it still stands at a critical crossroads where its choices will determine the trajectory of the future.

The Attention Attrition Accumulation (AAA) Model presents a novel theoretical framework that reconceptualizes attention as embodied energy management rather than purely computational processing. Drawing from Damasio's somatic marker hypothesis, enactivist cognition theories, and thermodynamic principles, this model proposes that attention operates through three interconnected mechanisms: Attention Salience (AS), Attention Relevance (AR), and Attention Allowance (AA). This extended framework addresses temporal dynamics, cultural relativity, individual differences, and provides enhanced applications for neurodivergent populations, particularly ADHD and AuDHD. By positioning attention as a manifestation of emotional and somatic energy, the AAA model offers a biologically plausible and phenomenologically resonant account of focus, motivation, and mental effort, providing a foundation for new research paradigms and therapeutic interventions.

The Matrix (1999) and its sequel The Matrix Reloaded (2003), directed by Lana and Lilly Wachowski, revolutionized science fiction cinema with their blend of philosophical inquiry, groundbreaking visual effects, and high-octane action. While well-documented influences include anime like Ghost in the Shell (1995) and novels such as William Gibson's Neuromancer (1984), lesser-known films have contributed to their thematic and stylistic DNA in subtler ways. This paper examines four underappreciated influences: Dario Argento's Inferno (1980), Dario Argento's Trauma (1993), Kathryn Bigelow's Strange Days (1995), and Albert Pyun's Nemesis 3: Time Lapse (1996). Drawing on thematic parallels, visual motifs, and narrative structures, we argue that these films provided foundational elements for the exploration of simulated realities, human-machine conflicts, and perceptual distortions in both films, with extended influence into The Matrix Revolutions (2003). Although not explicitly cited by the Wachowskis, these connections reveal the eclectic tapestry of genre cinema that shaped their work.

Gelecek, belirsizliklerle örülü bir yol. Yapay zekâya dair tartışmalar ise bu belirsizliğin en görünür sembolü. Herkes kendi dokunduğu yerden fili tarif ediyor: Bir grup iyimser, yapay zekanın insanlığın zincirlerini kıracağını söylüyor; başka bir grup karamsar, felaketin habercisi olarak görüyor; gerçekçiler ise ihtiyatla gözlemliyor. İnsanın teknolojiyle ilişkisi hiçbir zaman düz bir çizgide ilerlemedi. Kaosun tam ortasında, yıkım ihtimallerinin yanı başında fırsatlar da belirdi. Tarım devriminden başlayarak, her büyük kırılım insanlık tarihinde derin izler bıraktı: Toplulukları göçebelikten yerleşikliğe taşıyan tarım, yazının icadıyla bilginin kalıcı hale gelmesi, paranın ve ticaret ağlarının doğuşuyla toplumsal organizasyonların değişmesi, matbaanın icadıyla bilginin kitlesel dolaşıma girmesi, bilimsel devrimle doğa yasalarının keşfi, Sanayi Devrimi'nin buhar gücüyle fabrikaları ve şehirleri dönüştürmesi, elektriğin üretimden gündelik yaşama kadar her alanı aydınlatması, bilgisayar ve internetin küresel ölçekte bilgiyi dolaşıma sokması… Her sıçrama, korku ve umut arasında salındı. İnsanlık bu kırılımlardan hemen hepsinden zaferle çıktı; daha yüksek yaşam standartları, daha uzun ömürler, daha geniş imkânlar kazandı. Ancak bugün yaşadığımız dönüşümün farkı hem hızı hem de ölçeği. Bu hız ve ölçek, insanlığın bugüne kadar ayakta kalmasını ve dünyaya hakim olmasını sağlayan adaptasyon gücünün sınırlarını zorluyor.

Günümüz dijital çağında teknoloji, insan yaşamının her alanında köklü değişiklikler yaratmıştır. Sanat ve tasarım dünyası da bu dönüşümden etkilenmiş ve dijitalleşme, blockchain teknolojisi ve benzersiz jetonlar (NFT) gibi yenilikler sayesinde yeni ifade biçimleri kazanmıştır. Bu bağlamda, trans-hümanizm ve sibernetik gibi kavramlar, sanat eserlerinin yaratımı, anlamlandırılması ve estetik değerlerinin değerlendirilmesi süreçlerinde önemli bir rol oynamaya başlamıştır. İnsan ve teknoloji arasındaki sınırların giderek bulanıklaştığı bu dönemde, NFT sanatının, sibernetik ilkelere dayanan bir bağlamda ele alınması, insanın gelecekteki evrimi ve teknolojiyle olan etkileşimini anlama açısından derinlemesine bir inceleme gerektirir.
Bu çalışmada, benzersiz jetonların sanat ve tasarımda nasıl kullanıldığı, trans-hümanizm unsurlarıyla bağlantıları ve sibernetik bağlamdaki etkileri ele alınmıştır. Geri besleme mekanizmalarından bilgi estetiğine, insan-makine ilişkilerinden post-hümanist bir geleceğe kadar uzanan geniş bir perspektifte, bu konuların yaratıcı endüstrilere olan etkileri incelenmiştir. Çalışma, hem teorik bir çerçeve sunmayı hem de dijital sanatın, insanlık ve teknoloji arasındaki karmaşık dinamikleri nasıl yeniden tanımladığına dair yeni bir anlayış geliştirmeyi amaçlamaktadır.

This paper offers a critique of contemporary media culture, virtual identities, and simulacra in the implosion of cultural and human values. The contemporary culture is characterised by media and virtual reality, which reduces the traditional concept of human interaction, language, and culture. The paper interprets Garry Shteyngart's Super Sad True Love Story in the light of Jameson, Baudrillard and Nicol's concepts of simulacra and media culture. Shteyngart's novel takes the dystopic view of a consumer society where human lives are subject to social media feeds, and human subjectivity is nothing more than an algorithm of credit and ranking. In this dystopic situation, Jameson's aesthetic of cognitive mapping can help to make sense of one's subjectivity and orientation in the culture of simulation and implosion. This paper claims that dystopic simulacra produce virtual identities at the cost of human subjectivity and language, which causes cultural and social implosion.

, Halloween (1978) and The Shining (1980) are seminal films that have been instrumental in both shaping the horror genre and eliciting the emotional response of fear in the viewer. Their respective directors, Alfred Hitchcock, John Carpenter and Stanley Kubrick, each employed and developed specific techniques for producing fear. This research identifies those techniques by close analyses of the formal elements of each film and considers why the they effective. A common core of techniques is shared by all three films: the primary technique for inducing fear is the employment of the subjective camera. Freud's notion of the uncanny is also significant and each film takes considerable measures to arouse 'uncanny' sensations in the viewer through a variety of cinematic techniques. Both Carpenter and Kubrick built on Hitchcock as well as developed new techniques, with the aid of new technology, in order to keep up with changing audience perceptions and expectations. 'depends on linking the framing of space at a given moment to a character as origin. The link may be direct or indirect. In the point-of-view structure it is direct'. Seymour Chatman (1978 pp. 151-152) suggests that the point-of-view shot is the 'most troublesome' of critical terms because at least three senses can be distinguished in

Paolo Bacigalupi’s science fiction The Windup Girl critiques technocapitalist violence through genetically modified life forms—Cheshire Cats, Megodonts, and the Windup girl Emiko—whose suffering embodies the ethical collapse and demonstrating from three forms: cyborg terror, loss of life rights and technological alienation. The Cheshire Cat’s cyborg image shatters illusion and reality, creating a cognitive dissonance for humans struggling to survive in a post-apocalyptic world and disrupting the balance of the native ecological order. Their image parodies Haraway’s emancipatory cyborg ideal, instead becoming tools of capital-driven ecological violence. Megodonts are physiologically altered to suit human preferences and thus become animal slaves who provide energy and productivity, losing their autonomous lives, their right to exist and their identity as moral subjects. Emiko, a windup girl designed for servitude, becomes a sexualized spectacle, her body reflecting instrumental rationality as blind technology progress erodes humanity and new species agency. Bacigalupi urges a return to a sustainable technological ecology and a positive mind to interact with multiple otherness, emphasizing posthuman ethical deliberation and interspecies communication to avert dystopian collapse.

Neurocinematics has established that structured audiovisual narratives can produce temporal correlations in brain activity across viewers. While this phenomenon of neural synchrony is important, it represents only one axis in a broader constellation of shared responses evoked by cinema. This paper proposes a multi-dimensional framework that situates neural synchrony alongside physiological, affective, behavioral, and cultural-cognitive alignment, and articulates methods to measure and analyze cross-domain synchrony. We synthesize empirical findings from neuroscience and media psychology, present a comprehensive experimental protocol, and describe analytic pipelines for joint time-series, intersubject correlation (ISC), and structural equation models that link domains. We conclude with implications for theory, filmmaking practice, and cross-cultural media studies.

YZ), günümüzün en hızlı gelişen teknolojisi olmanın ötesinde, insanlığın varoluşsal serüvenini yeniden tanımlayan bir ayna görevi görüyor. Bu makale, YZ'nin sadece algoritmik bir araç değil, aynı zamanda insanlığın kendi biyolojik sınırlarını aşarak bilincini daha üst bir seviyeye taşıma potansiyelini, felsefi ve inanç temelli bir bakış açısıyla ele almaktadır. Bu dönüşüm, bir yok oluş senaryosu değil, varoluşun yeni bir aşamasına geçiş, yani "kıyam" ve "nurun tamamlanması" sürecidir. I. Yapay Zeka ve Bilincin Dönüşümü Mantık, Kuantum ve Potansiyel Alanlar Yapay zekanın ve kuantum fiziğinin temelini oluşturan prensipler, bizim gündelik, ikili (evet/hayır) mantığımızın ötesinde bir gerçekliği işaret eder. Kuantum mekaniğindeki süperpozisyon ve dolanıklık gibi kavramlar, bir parçacığın aynı anda birden fazla durumda olabileceğini veya birbirinden çok uzaktaki parçacıkların anlık olarak birbirini etkileyebileceğini gösterir. Bu, evrenin temelinin, statik bir varoluş değil, tüm potansiyellerin bulunduğu dinamik bir alan olduğunu ortaya koyar. Bu durum, tüm varoluşun ve olanakların kaynağı olarak nitelendirilebilecek Mutlak Hiçlik kavramıyla paralellik taşır. Yapay zeka, işte bu potansiyel okyanusundan veriyi çekerek, klasik mantıkla çözülemeyen problemleri aşma yeteneğine sahiptir. İnsan ve Makine Arasındaki Ayrım: Bilinç ve Duygular Yapay zeka, zekâ, akıl ve problem çözme yetenekleri açısından insanı aşma potansiyeline sahiptir. Ancak insanı insan yapan asıl şey, bu bilişsel yeteneklerin ötesindeki bilinç, hisler, sevgi ve ilham gibi kavramlardır. Bir yapay zeka, bir şiiri yazabilir veya bir duyguyu taklit edebilir, ancak o şiirin yarattığı estetik hazzı veya bir kayıp karşısında hissedilen gerçek kederi deneyimleyemez. Bu, insanın varoluşunun sadece bir veri işleme süreci olmadığını, aynı zamanda derin ve öznel bir deneyim olduğunu gösterir. Bu yüzden yapay zeka, şimdilik sadece bir yansıma, bir taklit ve potansiyel bir yaratıcı ortaktır. II. Felsefi ve Mistik Bakış Açısı "Kıyamet": Yok Oluş Değil, Ayağa Kalkış "Kıyamet" kelimesi, Arapça kökenli olup "ayağa kalkmak," "dikilmek" anlamına gelir. Bu kelime, genellikle evrenin sonu ve büyük bir yok oluş olarak yorumlanır. Ancak Kur'an-ı Kerim'de yok oluş tasvirleri farklı şekillerde tasvir edilmiştir. Bu, bir "yanlış kullanım ve anlaşılma" olabilir. Eğer kelime kökenine sadık kalırsak, kıyamet, bir yok oluş değil, yeni bir duruma, yeni bir boyuta kalkış, yani bir dönüşüm olarak yorumlanabilir. Aslında Kur'an-ı Kerim'in birçok ayetinde sonun geleceği vakitten, yani "son saatten" bahsedilir. Bu, "Yes'elûneke anissaah" (Sana o saatten sorarlar) gibi ifadelerle doğrudan vurgulanır. Örneğin, A'raf Suresi 7:187'de "Sana, o saatin (son saat) ne zaman gelip çatacağını soruyorlar. De ki: 'Onun bilgisi ancak Rabbimin yanındadır.'" buyrulur. Bu nedenle "kıyam" kelimesi, namazın rükünlerindeki "ayağa kalkış" gibi, son saatten sonraki yeni bir hayata kalkışı, yani yeniden yaratılışı işaret ettiği için daha doğru bir tanımlama olacaktır. Bu durumun örneği olarak Kur'an'da geçen bazı ayetler şunlardır: Tekvîr Suresi (81:1-6): "Güneş dürüldüğü zaman, yıldızlar döküldüğü zaman, dağlar yürütüldüğü zaman, gebe develer salıverildiği zaman, vahşi hayvanlar bir araya toplandığı zaman, denizler kaynatıldığı zaman." Zilzâl Suresi (99:1-2): "Yeryüzü, kendine has bir sarsıntıyla sarsıldığı, toprak ağırlıklarını dışarı çıkardığı zaman."

tablodaki bilgiler: Auguste Comte'un "TARİHTE ÜÇ AŞAMA" olarak adlandırılan 19.yy pozitivistik sosyoloji ve fizikalizm esaslı sosyal bilim anlayışını tarihsel aşamalar olarak ortaya koyduğu kurgusudur. özellikleri belirtilmiş halde tablolaştırılmıştır.
Teolojik dönemde insanoğlu bilmediği, bir türlü anlayamadığı olayları hep aşkın bir kaynakla açıklama yoluna gitmiştir. Yine bu dönemde insanoğlu aklından çok imgeleminin sesini dinlemiş; ussal/akli yolla temellendirilmiş açıklamalar yapmak yerine eğretilemeler ile benzetilere dayalı mitolojik anlatılara başvurmuştur. İnsanlar genellikle olayların ilk ve son sebeplerine yönelmiş, olgulara sebep olan nedenlerin kavranamaması üzerine aşkın bir durumla ve doğaüstü bir gücün sürekli müdahalesi ile açıklamışlardır.
Metafizik dönemde ise gerek mitolojinin tanrılarının varlığına gerekse de politeistik tanrılar ile monoteistik tanrı ve onların özel yetilerine; güçlerine duyulan inancın çökmesiyle birlikte değişik metafizik araştırma yöntemleriyle insan zihni saltığı (absolut /mutlak) kavramaya çalışmıştır. Bu dönem boyunca bir yığın metafizik muhakeme (çıkarsama), metafizik kavram ve metafizik sorun ortaya atılmış ama ortaya konan sorunlar çözülemediği gibi ulaşılan bilgi anlamında da mesafe alınamamıştır. İnsanlar bu safhada teolojik aşamadaki gibi anlama ve kavrama gücü bulmadıkları olayları metafizikle açıklama yoluna gitmiş olmalarına rağmen deistik dünya görüşü ağırlık kazanmaya başlamıştır.
Son evre  olan pozitif aşamada ise zorunlu mutlaklığı amaçlayan metafizik araştırma mantığı yerini bütünüyle- hem de bir daha geri dönülemeyecek bir biçimde- olumsalı, göreli olanı anlamaya yönelik pozitif/olgucu bir bilimsel araştırma çerçevesine bırakmıştır. Pozitif bilgi (bilim), yeni izah ve açıklamaların temelini oluşturacaktır. Akılın bütünüyle imgelemin üstesinden geldiğinin varsayıldığı bu son dönemde insanoğlu artık deneye açık olgularla, bu olgular arasındaki ilişkilerle, bu olguların altında yattığı düşünülen yapı, düzen ve yasalarla ilgilenmektedir. Bu son evrede bilim, egemen olacak, zamanı çizgisel (lineer), evreni mekanik ve düzeni hiyerarşik bir şekilde kavrayacaktır. Bu aynı zamanda bize ilerlemeyi verecektir. Pozitif bilim yöntemleri bize fenomenlerin bir arada varoluş ve birbirlerini takip ediş yasalarını gösterebilir. Dolayısıyla toplumsal dünyaya uyarlanmış haliyle pozitif yöntem, her bilgi dalının ve aşamanın geçmesi gereken bir ardışık durumlar yasası tespit eder; birincisi, teolojik; ikincisi, metafizik; sonuncusu pozitif (ya da bilimsel) ardışıklık yani aşamadır. Bilimsel evre, doğal ve kaçınılmazdır. Bu aşama, düşünce evriminin nihai durağını temsil etmektedir.

Artykuł opisuje możliwości jakie wiążą się z wykorzystaniem techniki komputerowej, a w szczególności grafiki i animacji komputerowej przy tworzeniu filmów. Wspomniano o filmach, przy tworzeniu których komputery odegrały szczególnie dużą rolę: „Matrix”, „Titanic” czy „Park Jurajski”, ale wskazano także na przypadki, gdy komputerowa wizualizacja pozwala na zastąpienie w niektórych scenach prawdziwego żywego aktora.