Science-fiction film in the context of Cyborg


Science-fiction film in the context of Cyborg

⭐ Core Definition: Science-fiction film

Science fiction (or sci-fi) is a film genre that uses speculative, science-based depictions of phenomena that are not fully accepted by mainstream science, such as extraterrestrial lifeforms, spacecraft, robots, cyborgs, mutants, interstellar travel, time travel, or other technologies. Science fiction films have often been used to focus on political or social issues, and to explore philosophical issues like the human condition.

The genre has existed since the early years of silent cinema, when Georges Méliès' A Trip to the Moon (1902) employed trick photography effects. The next major example (first in feature-length in the genre) was the film Metropolis (1927). From the 1930s to the 1950s, the genre consisted mainly of low-budget B movies. After Stanley Kubrick's landmark 2001: A Space Odyssey (1968), the science fiction film genre was taken more seriously. In the late 1970s, big-budget science fiction films filled with special effects became popular with audiences after the success of Star Wars (1977) and paved the way for the blockbuster hits of subsequent decades.

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Science-fiction film in the context of Wolfgang Petersen

Wolfgang Petersen (14 March 1941 – 12 August 2022) was a German film and television director, screenwriter and producer. His international breakthrough was the war film Das Boot (1981), which earned him Academy Award nominations for Best Director and Best Adapted Screenplay. He subsequently directed the blockbuster fantasy film The NeverEnding Story (1984), based on the 1979 novel of the same name.

After moving to the United States in the mid-1980s, Petersen directed his first American production, the science-fiction film Enemy Mine (1985). He directed a variety of major studio productions through the mid-2000s, including In the Line of Fire (1993), Outbreak (1995), Air Force One (1997), The Perfect Storm (2000), Troy (2004) and Poseidon (2006).

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Science-fiction film in the context of Metropolis (1927 film)

Metropolis is a 1927 German expressionist science-fiction silent film directed by Fritz Lang and written by Thea von Harbou in collaboration with Lang, based on von Harbou's 1925 novel of the same name (which was intentionally written as a treatment). It stars Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge, and Brigitte Helm. Erich Pommer produced it in the Babelsberg Studio for Universum Film A.G. (UFA). Metropolis is regarded as a pioneering science-fiction film, being among the first feature-length ones of that genre. Filming took place over 17 months in 1925–26 at a cost of more than five million Reichsmarks, or the equivalent of about €21 million.

Made in Germany during the Weimar period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city master, and Maria, a saintly figure to the workers, to overcome the vast gulf separating the classes in their city and bring the workers together with Joh Fredersen, the city master. The film's message is encompassed in the final inter-title: "The Mediator Between the Head and the Hands Must Be the Heart".

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Science-fiction film in the context of Return of the Fly

Return of the Fly is a 1959 American horror science-fiction film and sequel to The Fly (1958). It is the second installment in The Fly film series. It was released on July 22, 1959 as a double feature with The Alligator People (1959). It was directed by Edward Bernds. Unlike the previous film, Return of the Fly was shot in black and white.

Vincent Price was the only returning cast member from the original. It was intended that Herbert Marshall reprise his role as the police inspector, but due to illness he was replaced by John Sutton who plays a new character, Inspector Beauchamp.

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