[pt] A proposta dessa pesquisa é identificar os arquétipos recorrentes nos filmes norte-americanos de ficção científica. Partindo da definição do gênero e da análise da questão do papel do arquétipo na narrativa, utilizamo-nos do modelo de arquétipo junguiano para estabelecer dois mitos recorrentes no universo da ficção científica hollywoodiana. A criatura, fruto de uma inovação tecnológica que se volta contra o criador, revivendo a mitologia do Prometeu acorrentado e o invasor, a civilização alienígena, tecnologicamente mais avançada, que surge para apoderar-se de nosso planeta e exterminar nossa forma de vida. Utilizamos como corpi os filmes do cineasta alemão radicado nos EUA, Roland Emmerich. Independence Day, ilustrando a mitologia do invasor e O dia depois de amanhã, como exemplar do mito da criatura. / [en] The purpose of the research is to identify frequent archetypes in american science ficction movies. Starting from the definition of movie gender and the analysis of the archetype role in film narrative, Jung s archtype model will be used in order to establish the two most frequent myths in Hollywood´s sci-fi universe. The creature, brought up by some techonological discovery, turns its back on its creator as in Prometeu in chains, and the invader, a technologicly more equiped alien civilization that comes to conquer our planet and destroy our way of life. Two of german film-maker Roland Emmerich s movies will be used as corpi. Independence Day, as an example of the invader archetype and The Day After Tomorrow, to illustrate the criature mythological archtype.

Syftet med det här arbetet är att utforska och undersöka om färg påverkar hur en miljö uppfattas. Miljön arbetet fokuserar på är placerad inom science fictiongenren. I konceptteckning för spelproduktion tecknas eller målas koncepten ofta gråskala för att sedan testas i olika färgkombinationer. Samma process och samma tekniker används vid framställande av bilden som är i fokus för undersökningen. För att framställa bilden gjordes studier på existerande science fictionkoncept och bilden arbetades fram via en iterativ process. Undersökningen genomfördes i form av en strukturerad intervju där tio studerande vid dataspelsutvecklingsprogrammet på Högskolan i Skövde medverkade. Resultaten visar på att förändring av en bilds färgton tydligt påverkar hur bilden uppfattas. Resultaten stämmer in med tidigare forskning inom ämnet. I slutet av arbetet ges förslag på framtida forskning och hur man kan använda sig av liknande undersökningar för att lättare kunna förmedla mer specifika känslor inom underhållningsprodukter som spel eller film.

Muhammad Ali Khan Abstract August 31, 2012 Machine integration into human life: Mankind & Cyborgization Embracing technology and its utilization has always been a certain goal for human beings so it would provide benefits in long run through different ways. However access to such knowledge not only helps mankind to prosper but also reveals its dark side in form of a dilemma. My paper explores the same subject of scientific knowledge as a dilemma to human life while providing its advantages at the same time. In order to explain my claim in detail, my paper is actually based on a comparison between the novel Cyborg by Martin Caidin and the film Gamer by Mark Neveldine & Brian Taylor. This comparison is divided in two parts where the first part enlightens extension of human body with help of science and its physical & psychological effects, in reference to the novel. The second part focuses more on the rising issues due to adaptation of technology into human life by following the movie. The explanation in both parts contains events from the novel and film and connects them with each claim. Extending the claim, my digital artifact is a visual demonstration and performance at the same time. Providing a fictional example, the artifact demonstrates an advance from of virtual identity of mine and my dependence on it which explores the rising issue of lost human identity in cyberspace. Key terms: Ideology, identity, Cyborgization, Authenticity, Science fiction. / In order to explain my claim in detail, my paper is actually based on a comparison between the novel Cyborg by Martin Caidin and the film Gamer by Mark Neveldine & Brian Taylor. This comparison is divided in two parts where the first part enlightens extension of human body with help of science and its physical & psychological effects, in reference to the novel. The second part focuses more on the rising issues due to adaptation of technology into human life by following the movie. / These are 2 phone numbers where for sure i am available: 1) +46765525431 2) +4915775974431 NOTE: Please contact me on one of the following numbers first and then i will tell on what address i need my detailed documents to be posted.

Detta kandidatarbete undersöker science fiction, en av de större och vanligast använda genrerna inom medier såsom spel, film och litteratur, genom att studera dess undergrupper, de så kallade subgenrerna. Dessa är specialiserade versioner av genren i fråga och använder den inom vissa förutsatta ramar, exempelvis hur samhället ser ut eller vilken typ av teknologi det huvudsakliga fokuset kretsar runt. Genom att studera hur subgenrer är beskrivna i The Encyclopedia of Science Fiction kan man avgöra att de består av sex punkter: plats, tidsperiod, karaktärer, teknologi, narrativ och visuell estetik. Dessa punkter har använts som ramverk för att utveckla en ny subgenre; Mystech, där scenarier utspelar sig i vad som kan ses som en typisk fantasyvärld med magi och monster, men där dessa egentligen bara är teknologi majoriteten av de påverkade inte förstår sig på. För att demonstrera Mystech har två olika miljöer utvecklats, både i bild och skriven form. Dessa är två mycket olika skådeplatser för scenarier att berättas i men som trots sina olikheter har nog med faktorer gemensamt för att kunna klassificeras som delar av samma subgenre. / Dess populäritet är tydlig, men hur spridd är användingen av science fiction i dagens spelindustri? Hur kan man använda sagda populäritet för att slå igenom som utvecklare utan att försvinna i mängden? Detta arbetet studerar subgenrer, specialiserade undergrupper till science fiction som tar upp just de områden du vill utnyttja för din projektidé och hur du kan utveckla egna sådana om du inte finner vad du söker bland de befintliga. / Hampus Juhlin telnr. 076-1853950 Pontus Novén telnr. 073-4448595

Science fiction och populärmedia är en stor del av vardagen i dagens samhälle. Elever konsumerar den typen av media på egen tid och söker sig till den för underhållning utanför skolans väggar, möjligen utan att reflektera över vad det är som konsumeras. Den här studien fokuserar på science fiction och hur de välproducerade medierna tas emot och reflekteras kring av konsumenterna, som i det här fallet är elever. Finns det möjlighet för lärare inom fysik eller någon annan naturvetenskap att utnyttja det intresse och den pseudovetenskap, som dessa medier kan förmedla, i skolan? Elever har en bild av vad fysik är i skolans värld efter hur fysikundervisningen är upplagd och syftet för arbetet är att undersöka möjliga sätt som de olika världarna kan mötas. Det riktar sig mot att utvärdera en undersökning gjord i en elevgrupp bestående av 6 fysikstuderande elever på gymnasiet. Kärnan i undersökningen är att se vilka typer av diskussioner som uppstår efter visning av ett eller flera filmklipp från populära spelfilmer, innehållande fysiska moment. De fysiska momenten är sekvenser som kan förklaras med den fysik vi har idag eller så kan det vara orimliga sekvenser som inte går att förklara. Eftersom den här typen av media ofta bygger på att skapa känslor hos konsumenten så förekommer det att verklighetsförankringen ofta försvinner. Det teoretiska ramverk som undersökningen håller sig till utgår i konceptet ägandeskap av lärande och syftar till hur elever utvärderar sina egna idéer och tar ansvar för att följa upp tidigare funderingar eller frågor som de själva uttryckt. På så vis kan eleverna själva förhoppningsvis se värdet av kritiskt tänkande och även att eleverna kan minnas vad de lärt sig över en längre tid. / Science fiction or rather popular media is a major part of everyday life in today's society. Students consume this media in their spare time and watch it for entertainment, possibly without even reflecting over the consumed content. This paper will focus on science fiction and how the well-produced media is received and reflected upon by the consumers, in this case upper-secondary physics students. Is there an opportunity for physics teachers or other natural sciences teachers to make good use of the interest and the pseudo science, that these media can convey, at school? Pupils have an idea of what physics is in school considering how physics education is laid out and the purpose of this work is to explore possible ways that these different worlds can meet. The work is aimed at evaluating a one hour session done with a student group consisting of 6 physics students in high school. The essence of the survey is to see what types of discussions occur after viewing one or more movie clips containing different physical phenomena. The physical events are shown in movieclips and can be explained by the physics we have today or there may be unrealistic events that cannot be explained. This kind of popular media is often based on creating emotional connections with the consumer which can take away the connection to reality and the real world physics. The theoretical framework that the study was based on is the concept of ownership of learning, this aims to consider how students evaluate their own ideas and take responsibility for following up on previous ideas or questions that they themselves expressed. That way the students hopefully find value in critical thinking and the retention of knowledge might increase.

Artificial intelligence is an emerging technology; something far beyond smartphones, cloud integration, or surgical microchip implantation. Utilizing the work of Ray Kurzweil, Nick Bostrom, and Steven Shaviro, this thesis investigates technology and artificial intelligence through the lens of the cinema. It does this by mapping contemporary concepts and the imagined worlds in film as an intersection of reality and fiction that examines issues of individual identity and alienation. I look at a non-linear timeline of films involving machine advancement, machine intelligence, and stages of post-human development; Elysium (2013) and Surrogates (2009) are about technology as an extension of the self, The Terminator franchise (1984-2015), Blade Runner (1982), and Bicentennial Man (1999) portray artificial intelligent androids and cyborgs, Transcendence (2013) is a contemporary depiction of human consciousness fusing with technology, and Chappie and Ex Machina are both released in 2015 are situated in contemporary society with sentient artificial intelligence. Looking at these films portrayals of man’s relationship with machines creates a discourse for contemporary society’s anxiety surrounding technology. I argue that recent film’s depiction of artificial intelligence signals a contemporary change in our perception of technology, urging that we reevaluate the ways that we define our identity.

The study explores the complex relationship between various manifestations of the self and the other in twentieth century Science Fiction (SF). According to Richard Bernstein (1983), much modem thought is still influenced by Cartesian Anxiety, a deeply-rooted tendency to polarise or dichotomise arguments and living entities, demarcating one side as positive, necessary and desirable and the other as negative and destructive. Various embodiments of the self and the other are polarised in such a manner in both literature and life and this results in an impoverishment as the parties involved never really engage in dialogue, understand or learn from one another. Because it features a variety of truly alien creatures, SF literature has been chosen as the genre within which the concept of otherness will be discussed. Moreover, as an innovative and subversive genre, SF approaches old issues from a new perspective. It is believed that SF can shed new light on the old dichotomy of the self and the other. The study includes randomly and personally chosen works by authors such as Wells, Wyndham, Butler, Le Guin, Card and Tepper. The tendency to demarcate women, alien offspring and alien life forms in general as the other is discussed in separate chapters, with the focus on why given selves and society feel compelled to marginalise and destroy otherness. Various theories as to what the fear of the other represents are laid out and the Jungian interpretation that fear of the other is linked to anxiety about expressing what Jung calls the psyche's shadow side is suggested. Hermeneutic principles, particularly the theories of H-G Gadamer, are then used to provide a model of a fruitful discourse between a self and other where the decentered self engages in an equal and open-ended dialogue with the other, resulting in greater understanding and acceptance as both parties learn from one another and incorporate that new understanding into their sense of self-identity and humanity. / Dissertation (MA (English))--University of Pretoria, 2006. / English / unrestricted

Cette thèse se compose de deux parties. La première propose une théorie de l’humour, elle commence par étudier la notion en explicitant ses structures énonciatives, logiques ou encore syntaxiques afin d’en dégager une vision claire, avant de proposer une première tentative de définition. Puis elle établit des distinctions nécessaires entre les diverses catégories du risible afin d’affiner la délimitation des contours de l’humour. Une fois la notion circonscrite, la théorie de l’humour propose une typologie originale des thèmes humoristiques et une étude des trois variations principales de l’humour, avant de s’arrêter sur sa finalité. La deuxième partie aborde, à la lumière de certains concepts développés dans la première partie, la question de l’humour dans la littérature de science-fiction. En raison du peu d’études préalables sur la question, elle privilégie une optique large et traite divers aspects du phénomène. Dans un premier temps, la réflexion s’arrête sur la genèse, les thèmes et le pacte de lecture de la science-fiction pour analyser leur impact sur l’humour. Puis elle analyse la part effective de l’humour au regard des autres genres du risible avant d’interroger son développement et son rayonnement dans la science-fiction. Le dernier développement de la thèse interroge et classifie l’interaction entre l’humour et la science-fiction de la moins significative à la plus typique. Il aboutit au constat de l’existence d’un humour science-fictionnel qui s’appuie sur la puissance créatrice du genre. Enfin l’étude constate une distinction entre l’existence d’humour dans la science-fiction et la science-fiction humoristique en fonction de la quantité d’humour présente dans les textes. Elle s’intéresse alors plus précisément à la science-fiction humoristique et en dégage les structures en analysant les éléments saillants des récits, avant de s’intéresser à l’impact de cette dynamique relationnelle sur la construction des personnages. / This thesis is divided in two parts. The first part suggests a theory of humour, it starts studying that concept by explaining its enunciative, logical or syntactical structures in order to draw a clear vision of it, before offering a first attempt to define it. Then it establishes necessary distinctions between the various categories of the risible to refine the delineation of the contours of humour. Once the concept is marked out, the theory of humour suggests an original typology of humourous themes and a study of the three main variations of humour, before focusing on its purpose. The second part discusses, in the light of certain concepts developed in the first part, the question of humour in science fiction literature. Because of the few previous studies on the matter, it opts for a broad perspective and deals with various aspects of the phenomenon. At first, thought dwells on the origins, themes and reading pact of science fiction to analyze their impact on humour. Then it analyzes the actual share of humour compared to the other categories of risible before studying its development and its influence in science fiction. The last development of the thesis examines and classifies the interaction between humour and science fiction from the least significant to the most typical. It reaches the conclusion of the existence of a science-fictional humour that leans upon the creative power of the genre. Finally, the study finds a distinction between the existence of humour in science fiction and humourous science fiction depending on the amount of humour in the texts. It then focuses on the humourous science fiction and identifies its structures by analyzing the prominent elements of the stories, before looking at the impact of this relational dynamics on the construction of the characters.

Speculative fiction is a genre that is gaining urgency in the contemporary Canadian literary scene as authors and readers become increasingly concerned with what it means to live in a nation implicated in globalization. This genre is useful because with it, authors can extrapolate from the present to explore what some of the long-term effects of globalization might be. This thesis specifically considers the long-term effects of globalization on communities, a theme that speculative fictions return to frequently. The selected speculative fictions engage with current theory on globalization and community in their explorations of how globalization might affect the types of communities that can be enacted. This thesis argues that these texts demonstrate how Michael Hardt and Antonio Negri’s notion of “cooperative autonomy” can be uniquely cultivated in the conditions of globalization – despite the fact that those conditions are characterized by the fragmentation of traditional forms of community (Empire 392).

This paper will detail the making of The Marked, exploring from concept to completion, with special focus on creating a dystopian, science fiction, film with an element of fantasy. I will begin by examining my inspirations. Next, I will explore preproduction, examining screenwriting, casting, location scouting, production, and preparation. Part three will look at production, focusing on directing, production design, cinematography, and on-set operations. Part four will examine post production, including, editing, color correction, sound design, and music. Each element of production will be evaluated to determine if they helped successfully create a believable, dystopian, fantasy story for the viewer. I will also be examining whether the themes I originally sought to explore come across in the film.