| 000 | 03404naaaa2201009uu 4500 | ||
|---|---|---|---|
| 001 | https://directory.doabooks.org/handle/20.500.12854/44475 | ||
| 005 | 20220220063652.0 | ||
| 020 | _abooks978-3-03921-422-8 | ||
| 020 | _a9783039214228 | ||
| 020 | _a9783039214211 | ||
| 024 | 7 |
_a10.3390/books978-3-03921-422-8 _cdoi |
|
| 041 | 0 | _aEnglish | |
| 042 | _adc | ||
| 100 | 1 |
_aTatsumi, Takayuki _4auth |
|
| 245 | 1 | 0 | _aCyberpunk in a Transnational Context |
| 260 |
_bMDPI - Multidisciplinary Digital Publishing Institute _c2019 |
||
| 300 | _a1 electronic resource (122 p.) | ||
| 506 | 0 |
_aOpen Access _2star _fUnrestricted online access |
|
| 520 | _aMike Mosher’s “Some Aspects of Californian Cyberpunk” vividly reminds us of the influence of West Coast counterculture on cyberpunks, with special emphasis on 1960s theoretical gurus such as Timothy Leary and Marshall McLuhan, who explored the frontiers of inner space as well as the global village. Frenchy Lunning’s “Cyberpunk Redux: Dérives in the Rich Sight of Post-Anthropocentric Visuality” examines how the heritage of Ridley Scott’s techno-noir film | ||
| 540 |
_aCreative Commons _fhttps://creativecommons.org/licenses/by-nc-nd/4.0/ _2cc _4https://creativecommons.org/licenses/by-nc-nd/4.0/ |
||
| 546 | _aEnglish | ||
| 653 | _an/a | ||
| 653 | _avirtual reality | ||
| 653 | _aTobi Hirotaka | ||
| 653 | _acollage | ||
| 653 | _acyberpunk | ||
| 653 | _aco-productions | ||
| 653 | _avirtual worlds | ||
| 653 | _aEuropean cinema | ||
| 653 | _areception history | ||
| 653 | _aMetropia | ||
| 653 | _atransnational cinema | ||
| 653 | _alayers | ||
| 653 | _amanga | ||
| 653 | _acinematism | ||
| 653 | _aLo Tek | ||
| 653 | _aaudience | ||
| 653 | _a2000s | ||
| 653 | _atechno-Orientalism | ||
| 653 | _aoutlaw technologist | ||
| 653 | _aYLEM artists using science and technology | ||
| 653 | _aanimation | ||
| 653 | _aMasaki Gor? | ||
| 653 | _a“rich sight” | ||
| 653 | _aGermany | ||
| 653 | _aextraterritorial | ||
| 653 | _aproscenium views | ||
| 653 | _acare | ||
| 653 | _aJapanese science fiction | ||
| 653 | _aUnited States | ||
| 653 | _apost-utopia | ||
| 653 | _acomics | ||
| 653 | _aflattened screens | ||
| 653 | _aWilliam Gibson | ||
| 653 | _ascience fiction | ||
| 653 | _aanimatism | ||
| 653 | _apost-apocalyptic narrative | ||
| 653 | _agenre | ||
| 653 | _aSCAN | ||
| 653 | _aHyperCard | ||
| 653 | _abOING bOING | ||
| 653 | _anostalgia | ||
| 653 | _aglobal capitalism | ||
| 653 | _avirtual idol | ||
| 653 | _aMONDO 2000 | ||
| 653 | _aTimothy Leary | ||
| 653 | _aWalter Benjamin | ||
| 653 | _avisuality | ||
| 653 | _afractal space | ||
| 653 | _aMarshall McLuhan | ||
| 653 | _aRenaissance | ||
| 653 | _aHyperart Thomasson | ||
| 653 | _aPattern Recognition | ||
| 653 | _adystopia | ||
| 653 | _aKowloon Walled City | ||
| 653 | _aparticipatory aesthetics | ||
| 653 | _aGuerrilla Games | ||
| 653 | _atranslation | ||
| 653 | _aintertextuality | ||
| 653 | _anuclear politics | ||
| 653 | _aend of history | ||
| 653 | _aHorizon: Zero Dawn | ||
| 653 | _adetritus | ||
| 653 | _aBlade Runner | ||
| 856 | 4 | 0 |
_awww.oapen.org _uhttps://mdpi.com/books/pdfview/book/1497 _70 _zDOAB: download the publication |
| 856 | 4 | 0 |
_awww.oapen.org _uhttps://directory.doabooks.org/handle/20.500.12854/44475 _70 _zDOAB: description of the publication |
| 999 |
_c70991 _d70991 |
||