National identity and international audiences: The case of Spanish science fiction cinema

Science fiction films have unique colors. With the development of technology and the continuous advancement of digital technology, the visual effects of domestic science fiction films are becoming more sophisticated. In science fiction films, the "color," as a primary element of the picture, is endowed with more meaning. In science fiction films, the "sense of technology" is achieved primarily through color art. Colors can not only set the atmosphere and enhance visual effects but also depict the environment and characters' emotions. Studying the elements of color in science fiction films, which have attracted attention from the audience, not only contributes to the modernization and sustainable development of intelligent scientific application in film theory but also helps improve the production and audience aesthetic level of science fiction films. Therefore, this paper will conduct an in-depth exploration and research on the application of color in science fiction films.

In this chapter, Paz presents an overview of European science fiction (sf) cinema in the twenty-first century. He argues that the production of sf films in Europe has increased significantly over the past two decades, resulting in a body of works that occupies a middle ground between the blockbuster and the art film. Emphasising the links between sf and dystopia, and drawing on the theoretical framework of biopolitics, the chapter shows how sf films convey social concerns and anxieties about problems that dominate cultural and political debates in Europe, such as immigration, social control, and identity. The chapter concludes with a case study of Yorgos Lanthimos’ The Lobster (2015).

This article studies the evolution of auteurism and commerce in Spain using technologies such as the Internet. Spanish directors are becoming mediáticos (media friendly and using media as marketing tools) in response to the new conditions in which the national cinema is immersed among them the saturation in European screens and the ever-present competition with Hollywood. Those directors who can claim the status of auteur do so as part of their commercial strategies. In this analysis of the present-day conditions in the commerce of Spanish cinema, the focus is on two case studies of media-friendly and established auteurs, Isabel Coixet and Álex de la Iglesia who have and manage homepages where information about their work, their careers and other aspects of their authorial personas. Both auteurs can be considered to be at opposite ends of the spectrum genre cinema/art cinema within the Spanish cinema traditions. The questions that inspire this exploration deal with the functions of these homepages and what they can tell us a bout the present and future of film commerce and auteurism in Spain.

Commercial cinema in Spain, as in the rest of the world, has gone to great lengths to describe visually, without any intention of protest, each and every one of the forms of violence against women: physical, psychological, financial, social and, lastly, sexual. Beyond insinuating and intimidating compliments and gazes, sexual violence is something that is excepted in scripts, even in those of famous directors who create powerful female characters. The aim of this paper is to know how the Spanish directors, of both sexes, represent the topic of sexual violence, paying attention to the masculinity of the characters. To this end, a content analysis was performed on twelve films from a narrative perspective. In a second stage, employing methodological triangulation and a questionnaire as a quantitative tool, university students were asked about how they perceived the scenes of sexual violence in these films. The results show, on one side, that rape is the act of sexual violence more represented and, on the other hand, a lack of awareness about the treatment of rape in Spanish cinema, as well as its rejection by young audiences.

This thesis examines how the Spanish film legislation that was passed between 1982 and 2010 has shaped the production, circulation and reception of contemporary Spanish cinema. The study of film legislation is crucial to understanding how the cultural value of contemporary Spanish cinema is created since laws are the main instrument through which the Spanish state has established the funding policies directed towards the production of films. Owing to the weak nature of the Spanish production sector since its inception, and the lack of private investment, the Spanish state, and, since 1999, the public and private television companies, have been the major financial support for the production of films. Furthermore, film legislation itself defines the type of films that are considered to be worthy enough to receive state funding, and, therefore, the type of films promoted by the state to be nationally consumed and internationally exported. Consequently, it is essential to understand why and how the funding policies have been established, by whom, and towards the support of what type of films. My thesis' argues that film legislation should be regarded as the key instrument through which a state tries to regulate the national film industry. It is nonetheless necessary to point out that the Spanish case is more complex, since film legislation has also been mainly enacted to solve the Spanish film industry's endemic problems. More importantly, my thesis' main contention is that film legislation has to be regarded as the site in which the debate about the type of cinema wanted for the nation acquires its main expression. In order to critically address the political, economic and cultural functions of the different funding policies established between 1982 and 2010 my thesis is informed by Pierre Bourdieu's theory of cultural production; in particular, on his notions of field, capital and habitus as specifically stated in Distinction. A Social Critique of the Judgements of Taste ([1984] 2010) and The Rules of Art ([1996 2012). Through this theoretical framework, my thesis argues that film legislation does not emerge in a vacuum because the laws respond to different demands from those involved in creating the cultural value of Spanish cinema: the policymakers in charge of the film policies, the film professionals, and, to a lesser extent, the key film critics. My thesis accounts for the ways in which the cultural value of these films has been created by locating and interrogating the main demands of the type of films regarded to be worthy of the state financial support and by pointing out who have raised them; secondly, it identifies whether those demands have been enshrined in the laws and it demonstrates the ways in which the interests of those involved in the creation of the cultural value of Spanish films have informed the funding policies set by the laws. Thirdly, it provides an understanding of how the key policymakers have acquired their ideas about cinema and how those ideas have been reflected in the laws. Finally, through four case studies, my thesis analyses the modes of cinematic production that those funding policies have led to and the types of films that they have fostered.

Between cultural confidence and ideological insecurity: China’s soft power strategy for the cultural industries

Through reproducing, representing, and recreating the real world, science fiction films create a fascinating picture of a possible future for human beings. People's enthusiasm for science fiction films demonstrates their constant self-reflection and desire for a brighter future. Currently, the enthusiasm for such films among people in China and the international market continues to grow. According to a survey, 45% of young Chinese audiences have high expectations for science fiction films, which have consistently topped the box office charts. The practitioners concerned enjoy the opportunity, however, they are still faced with challenges as the audience continuously hopes to see better works. Moreover, for a science fiction movie, the construction of the worldview serves as a more important foundation than the script or plot. The establishment of a comprehensive and captivating worldview is a crucial step toward the success of a science fiction film. But it is more difficult to build a new world in a science fiction film than to replicate the real world. The paper aims to explain the connotation of worldview and its key elements in science fiction films. Additionally, it will analyze how the worldview conveyed by science fiction films establishes a connection with the audience. In addition, it provides relevant theoretical guidance for the creation of science fiction films.

The failure of developing an architectural national identity has been highlighted by most scholars and architectural experts in Malaysia. Most architecture produced since Malaysia’s independence are influenced by imported architectural styles. Majority of the country’s architecture do not reflect the identity of its people, nor does it reflect the climate in which it is built in. Furthermore, effects of globalisation and the universalisation of architecture itself creates a plethora of issues that contribute to the lack of diversity in design, unresponsiveness to environmental concerns as well as the needs of the user. Lack of cultural heritage and national identity in architecture can be attributed to the lack of guideline or framework that allows for architects to use as a reference in designing architecture with national identity. Therefore, this study’s objective is to provide a theoretical rationale for the development of an architectural national identity framework, to identify methods of adaptation of culture and cultural elements into modern contemporary architecture and lastly to identify key factors and common values that contribute to successful architecture. This study identified 5 architecture projects that reflect an adaptation of culture in modern contemporary architecture. The study revealed that there are tangible and intangible elements that contribute to design adaptation of culture in modern contemporary architecture. The role of architecture as a bridging point can both protect, preserve, and revitalise cultural heritage as well as link the tangible and intangible elements with modern contemporary architecture. The study also suggests future opportunities for research on this topic.

3Scenario building presents a valuable tool for the development of design concepts for unprecedented long-duration space missions. Aside from quantitative modelling techniques, one medium that routinely illustrates scenarios through speculative but manifested design concepts is science fiction (SF) film. Set and prop design in such films are sometimes the product of consulting, research and development efforts by multi-disciplinary teams comparable to, or including experts from, technical groups conducting pre-concept studies in the field of human space exploration. This paper presents results from a study into the production design of SF films, with special focus on the psychological challenges of extended spaceflight. The aim was to provide preliminary insight into the potential validity and application of SF film design in the context of scenario building for space, in particular at pre-phase-A stage of the system development process. The study consisted of two parts: the focus of the first was the systematic identification of a relevant set of SF productions and the description of products, environments and interactions portrayed in the films according to habitability criteria set out in the literature. The second part involved an illustrative case study reconstructing, from previously unpublished archive material, the main conceptualisation stages of the design of the food dispensing system in one particular film from the sample set, Stanley Kubrick’s 2001: A Space Odyssey. It is suggested that, in the particular case examined, the process of film production design development can be regarded as a space design study. The findings indicate that SF films offer a set of rich and detailed cases of design concepts and design issues that are of possible interest in the planning of long-duration missions. Concepts can be situated at the periphery of the range of traditional bodies of reference available to the system development process; issues can act as critical impulse of debate into future user needs and wants, thus helping increase the robustness of traditional scenarios. However, for this fictional approach to be truly meaningful and effective in a space scenario building context, future exercises should be conducted based on agendas set by space mission, rather than film, planners.

Latin American science fiction (SF) cinema does exist, although it is seldom noted by most film critics, scholars, and historians—and perhaps even by major audiences. Unlike other countries across the globe, Latin American countries generally lack more visible and consistent SF film production. This circumstance can be ascribed to limited film budgets and the lack of a consistent film industry in Latin America, which, in turn leads to a type of production and aesthetics that relies on the audiences’ imagination more than special effects per se. The alleged “invisibility” of Latin American SF film can be partially (if not totally) explained by the historical instability affecting the Latin American film industry. Thus, cultural biases align with economic circumstances in the preclusion of Latin American SF cinema. Exceptions, however, may be found in the scenarios of Argentina and Mexico, countries where speculative fiction (including both the fantastic and SF) appear to have developed differently, in comparison with other Latin American nations, such as Brazil. In any case, a systematic and consistent body of film criticism and academic work dedicated to Latin American SF film has yet to be constructed. Unlike the literature on the United States, Europe, and Japan, the available bibliography on Latin American manifestations of this film genre is generally sporadic and scattered. Yet, this situation appears to be gradually changing. Internet and digital technologies have scaffolded a (still) fragile web for film scholars interested in SF cinema. And, interest in Latin American SF—literary and audiovisual—seems to be growing, on the part of international scholars. This article will provide a basic bibliography for further investigation into the field of Latin American SF cinema, with a special focus on three countries: Argentina, Brazil, and Mexico.

Gottinger Schriften zur Englischen Philologie Band 5 Since its beginnings, science fiction has served as an intellectual playground where pressing issues such as scientific and technological progress, population growth, nuclear power, environmental protection, or genetic engineering have been projected onto different times and spaces in order to warn about inherent dangers, offer solutions, or to simply speculate about and experiment with the future. In the summer term of 2009, students from the University of Gottingen and the University of Siegen participated in two parallel courses entitled “Of Body Snatchers and Cyberpunks: American Science Fiction Film from the 1950s to the Present” and met for an undergraduate conference in Gottingen where they presented and discussed their research on American science fiction film together with Eric S. Rabkin, professor at the University of Michigan (USA) and an international expert in the field. The result of this project is the present volume of twelve student essays that were first presented at the conference, and then selected and revised for publication. Considering science fiction film as an essential element of American popular culture, the essays analyze and discuss the films Invasion of the Body Snatchers (Siegel, 1956), 2001: A Space Odyssey (Kubrick, 1968), Soylent Green (Fleischer, 1973), The Matrix (Wachowski, 1999), and Minority Report (Spielberg, 2002) against the background of social, political, cultural, and/or ecological developments in their contemporary U.S. societies. The introductory essay outlines the theoretical, methodological, and didactic considerations that informed the planning and teaching processes of the course format and the conference. The collection also features an autobiographical essay by Eric S. Rabkin in which he reflects on his personal experiences and lifelong fascination with science fiction films.

This collection of essays offers a new lens through which to examine Spain’s cinema production following the decades of isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of 35 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary). Both popular (Los Abrazos Rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la Ciudad de Sylvia/In the City of Sylvia, El Espiritu de la Xolmena/Spirit of the Beehive). They are made in different languages: English (as both first and second language), Basque, Castilian, Catalan and French.

Toward the finish of the 20th 100 years and the start of the twenty-first 100 years, cinema tended to produce science fiction films, and these films derive their ideas from scientific theories in various fields of science in addition to the imaginary ideas of the author of the film. In these films the characters were characterized by superhuman and unfamiliar traits and ideas. The producers tried to load these characters with ideas and messages addressed to the audience. Therefore, this study expected to recognize "the job of the person in sci-fi films by conveying the message to the beneficiary."A sample was chosen, which is the movie “Terminator” directed by James Cameron Because this director was distinguished in the production of science fiction films that won many awards, and to achieve the goal of this research, the researcher prepared an analysis and observation form (research tool), and after the experts approved it, he reached the most important results: The imaginary character (not real) does not have feelings and sensations like natural characters, and it carries the ideas of the author or the producer. The imaginary and natural characters carry messages through which they try to influence the recipient. Photography, montage, visual and sound effects, in addition to the rest of the techniques, contribute to drawing the personal, intellectual, psychological and social dimensions. This film was able to send a key message to the world showing America's scientific, economic and political power. This research was concluded with conclusions, recommendations, and a list of sources and references.

This article discusses the interplay of nationalism and internationalism in the Soviet Union after Stalin. Exploring the ways in which the Armenian, Kazakh, Uzbek and Ukrainian Soviet Socialist Republics (SSRs) developed their own national identities in encounters with international audiences, it compares the similarities and differences between these union republics in regulating and experiencing international ties. How did this exchange affect the national and supranational identities of Soviet actors? Interaction with visitors took place in universities from Yerevan to Tashkent, at competitions and festivals, and in international clubs. It was often the Communist Youth League (Komsomol) that organised and supervised this interaction. Focusing specifically on republics in the ‘Soviet South’, the article explores the usefulness of this concept, as the experiences of international encounter were highly diverse. The Uzbek and Armenian SSRs opened up in the 1960s but still followed different national and international agendas. The Kazakh SSR remained more closed. The Ukrainian sea ports were connected to the wider Mediterranean world, which could not but leave a mark on local youth activists. The analysis is based on archival materials from Armenian, Ukrainian and Central Asian archives and published sources in a variety of languages.

The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.