SCIENCE FICTION AND CINEMA

Informations du Cours
TitreΕΠΙΣΤΗΜΟΝΙΚΗ ΦΑΝΤΑΣΙΑ ΚΑΙ ΚΙΝΗΜΑΤΟΓΡΑΦΟΣ / SCIENCE FICTION AND CINEMA
Code8ΕΦ1
Cycle / Niveau1er cycle / Licence
Semestre de l’annéeSpring
CoordinatorDespoina Kaklamanidou
CommonOui
StatutActif
Course ID600017709

Programme d' Études: PPS Tmīma Kinīmatográfou (2009-sīmera)

Registered students: 54
OrientationAttendance TypeSemesterAnnéeECTS
KORMOSEPILOGĪS YPOCΗREŌTIKO846

Informations de la Classe
Année Académique2020 – 2021
Semestre de l’AnnéeSpring
Instructors from Other Categories
Weekly Hours3
Class ID
600177306
Course Type 2016-2020
  • Domaine Scientifique
Mode d’Enseignement
  • En présentiel
Accès en Ligne
Language of Instruction
  • Grec (Enseignement, Examens)
Aptitudes Générales
  • Application des connaissances à la pratique
  • Prise de décision
  • Travail en autonomie
  • Production de nouvelles idées de recherche
  • Promotion de la pensée libre, créatrice et inductive
Type de Matériels Éducatifs
  • Vidéoconférences
Use of Information and Communication Technologies
Use of ICT
  • Emploi de TIC pour l’enseignement
  • Emploi de TIC pour communiquer avec les étudiants
  • Emploi de TIC pour l’évaluation des étudiants
Organisation du Cours
ActivitésCharge de travailECTSIndividuelEn groupeErasmus
Conferences391.3
Etude & analyse bibliographiques511.7
Redaction de travaux602
Total1505
Student Assessment
Student Assessment methods
  • Examen écrit : résolution de problèmes (Sommative)
Bibliography
Course Bibliography (Eudoxus)
Βιβλίο [32998089]: Τα είδη ταινιών του Χόλιγουντ, Schatz G. Thomas, Επιμ. Κοκκώνης Μιχάλης
Additional bibliography for study
Bould, Mark .2003. “Film and Television.” In The Cambridge Companion to Science Fiction, edited by Edward James and Farah Mendlesohn, 79-95. Cambridge: Cambridge University Press. Bould, Mark and Vint, Sherryl. 2011. The Routledge Concise history of Science Fiction. New York: Routledge. Bukatman, Scott. 1993. Terminal Identity. The Virtual Subject in Postmodern Science Fiction. Durham and London: Duke University Press. Cornea, Cornea. 2007. Science Fiction Cinema. Between Fantasy and Reality. Edinburgh: Edinburgh university press. Creed, Barbara. 1990. “Alien and the monstrous-feminine.” In Alien Zone. Cultural theory and contemporary science fiction cinema, edited by Anne Kuhn, 128-141. London and New York: Verso. Doane, Mary Anne. 2004. “Technophilia: Technology, Representation and the Feminine.” In Liquid Metal. The Science Fiction Film Reader, edited by Sean Redmond, 182-190. London: Wallflower Press. Geraghty, Lincoln. 2009. American Science Fiction Film and Television. Oxford and New York: Berg Graham, Elaine L. 2002. Representations of the Post/Human. Monsters, Aliens and Others in Popular Culture. New Brunswick: Rutgers University Press. Greimas, Algirdas J. and François Rastier. 1968. “The Interaction of Semiotic Constraints.” Yale French Studies, 41: 86-105. Gunning, Tom. 1986. “The cinema of attractions: Early film, its spectators and the avand-garde.” Wide Angle 8 (3-4): 63-70. Haraway, Donna. 2004. “A Manifesto for Cyborgs: Science, Technology and Socialist Feminism in the 1980s.” In Liquid Metal. The Science Fiction Film Reader, edited by Sean Redmond, 158-181. London: Wallflower Press. Hayles, Katherine N. 1999. How we became Posthuman. Virtual Bodies in Cybernetics, Literature and Informatics. Chicago: University of Chicago Press. Jancovich, Mark. 2004. “Re-examining the 1950s Invasion Narratives.” In Liquid Metal. The Science Fiction Film Reader, edited by Sean Redmond, 325-335. London: Wallflower Press. Jancovich, Mark & Johnston, Derek .2009. “Film and Television, the 1950s.” In The Routledge Companion to Science Fiction, edited by Mark Bould, Andrew M. Butler, Adam Roberts and Sherryl Vint, 71-79. London and New York: Routledge. Johnston, Keith M. 2011. Science Fiction Film: A Critical Introduction. Oxford, New York: Berg. King, Geoff. Spectacular Narratives. Hollywood in the Age of the Blockbuster. I.B.Tauris, 2000. King, Geoff and Tanya Krzywinska. 2000. Science Fiction Cinema. From Outerspace to Cyberspace. London: Wallflower. Kuhn, Anne (ed.) 1990. Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. London and New York: Verso. Pierson. Michelle .2002. Special Effects. Still in Search of Wonder. New York and Chichester: Columbia University Press. Redmond, Sean .2009. “Film since 1980.” In The Routledge Companion to Science Fiction, edited by Mark Bould, Andrew M. Butler, Adam Roberts and Sherryl Vint, 134-143. London and New York: Routledge. Schatz, Thomas. 2009. “New Hollywood, New Millennium.” In Film Theory and Contemporary Hollywood. Sobchack, Vivian. 1987. Screening Space: The American Science Fiction Film. New Brunswick, NJ: Rutgers University Press. Sobchack, Vivian. 2004. “Postfuturism.” In Liquid Metal. The Science Fiction Film Reader, edited by Sean Redmond, 220-22. London: Wallflower Press. Sontag, Susan .1965. “The Imagination of Disaster.” Commentary 65: 42-48. Suvin, Darko. 1972. “On the poetics of the Science Fiction Genre.” College English 34, no.3 (December): 377-382. Telotte, Jay P. 2001. Science Fiction Film. Cambridge: Cambridge University Press. Telotte, Jay P. 2009. “Film, 1895-1950.” In The Routledge Companion to Science Fiction, edited by Mark Bould, Andrew M Butler, Adam Roberts and Sherryl Vint, 42-51. London and New York: Routledge. Todorov, Tzvetan. 1975. The Fantastic. A Structural Approach to a Literary Genre. Translated by Richard Howard. Ithaca, New York: Cornell University Press. Vint, Sherryl, ed. 2016. Science Fiction and Cultural Theory. A Reader. London and New York: Routledge.
Last Update
01-10-2020