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Utopia, Dystopia, Film – Cuprins


Radu Toderici, Utopia, Dystopia, Film. An Introduction [7-26]


Cinema as a Cultural Phenomenon

Miruna Runcan, The Body of the Empathic Spectator [29-52]

Cristian Rusu, Abstract Cinema and Aesthetic Utopia in the Interwar Period [53-64]

Călin Stegerean, With the Avant-Garde to the Cinema [65-75]

Alexandra Noemina Răduţ, The Nudity of the Visage. Ingmar Bergman and Persona [76-87]

Generic Affinities: From Science Fiction Cinema to Political Filmmaking

Andrei Lazăr, Hervé Guibert spectateur-photographe de La Jetée de Chris Marker [91-100]

Andrada Fătu-Tutoveanu, Far and Away: Utopian Projections, Mythological Quest and the American Dream in Kazan’s America America [101-110]

Cristian Paşcalău, The Death of Individual Freedom and Its Mass Effects over the Young Generation in Roberto Faenza’s H2S [111-119]

Cosmin Perţa, Melting Reality, Rising Utopia, or Why You Should Never Come Back to Reality [120-126]

Ioan Pop-Curşeu, De l’utopie sur grand écran: Jean-Jacques Rousseau et le cinéma [127-136]

Dana Bizuleanu, Teaching Dystopia: The Wave (1981). A Classroom Experiment [137-146]

Laurenţiu Malomfălean, Les machines à rêver dans le cinéma hypermoderne [147-155]

Luiza-Maria Filimon, “Beware the Cosmic String, My Son”: Highjacked Realities and Accidental Utopias in Shinichirō Watanabe’s Space Dandy [156-182]

Themes and Ideologies

Doru Pop, Mad Max – Spare-Parts Heroes, Recycled Narratives, Reused Visualities and Recuperated Histories [185-206]

Adriana Carrijo & Marilena Jamur, Une cartographie des désirs utopiques – Observations sur le film Mad Max: Fury Road [207-224]

Olga Ştefan, Identity Dissolutions in the Context of the Reality-Dream-Hyperreality Relationship in Vanilla Sky, Truman Show and The Matrix [225-241]

Carmen-Veronica Borbély, Body Drift: On the Precariousness of Posthuman Life in Never Let Me Go [242-251]

Marius Conkan, From Fantasy Fiction to Film: The Chronicles of Narnia as Religious Spaces [252-262]

Petronia Popa Petrar, The Resurrected Future of Cloud Atlas: Writing and Filming Dystopian Time [263-271]

Corin Braga, Antiutopies critiques post-apocalyptiques [272-281]

Ştefan Borbély, The Divergent Series & The Giver: A Stroll into the Post-Geometric World [282-292]

Theodora-Eva Örmény, Phenomenological Insights into Cinematographic Dystopia as It Unfolds in the Productions Divergent and Insurgent [293-300]

Andrei Simuţ, The Post-Human Utopian Paradise and the Impossible Gaze from Philip K. Dick to Spike Jonze’s Her [301-313]

Ştefan Bolea, The Phantasm of Revolution from Fight Club to Mr. Robot [314-321]

Francisc Ormeny, Digging out the Heideggerian Linguistic Utopia from Bryan Fuller’s and Mads Mikkelsen’s Hannibal (Seasons 1 & 2)  [322-331]

National Cinemas, Auteur Dystopias

Eduardo Portanova Barros, Ruy Guerra et Dionysos ou la contre-utopie de l’imaginaire de l’auteur au cinéma: racines de l’éthéré [335-343]

Ruxandra Cesereanu, Dystopian Reminiscences in the Romanian Contemporary Film (Miserabilist Stances in the Films of Mircea Daneliuc, Lucian Pintilie and Cristi Puiu) [344-352]

Laura T. Ilea, Soumission ou capitulation? Une France antiutopique dans le roman Soumission et dans le film L’enlèvement de Michel Houellebecq [353-359]

Cristina Vidruţiu, The Blind Spot. Utopian and Dystopian Seeds in José Saramago’s Novel Blindness [360-364]

Anca Ursa, Dystopia, Bureaucracy and Identity in Crulic – The Path to Beyond [365-371]

Book Reviews [373-406]

 

 
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