![]() On the contrary, it is the productive gap that organizes the shift between shots. Vertov’s interval is not determined to create or maintain the illusion of continuity. Vertov defines it as the passage from a shot to another, creating spatio-temporal transformations. In cinema, interval is what separates two photograms or two shots. This Atomist void isn’t considered space or container but an interval that creates a discontinuity between bodies and permits movement thanks to their contiguity or contact. In Occident, the Atomistic Philosophy maintains that nature is only composed of atoms and void. It may also describe minor changes as well as radical transformations. This term refers to the interval, the interstice but also space and boundaries. "When we focus on the notion of interval throughout History, mention should be made of the Japanese concept of Ma. Rabkin in which he reflects on his personal experiences and lifelong fascination with science fiction films. The collection also features an autobiographical essay by Eric S. The introductory essay outlines the theoretical, methodological, and didactic considerations that informed the planning and teaching processes of the course format and the conference. 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. 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. Rabkin, professor at the University of Michigan (USA) and an international expert in the field. In the summer term of 2009, students from the University of Göttingen 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 Göttingen where they presented and discussed their research on American science fiction film together with Eric S. ![]() 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. Hunter, Jason Scott, Stijn Joye, Eli Horwatt, Emma Cocker, Sérgio Dias Branco, Brigid Cherry, Darren Elliott, Jordan Lavender-Smith, Austin Fisher, Neelam Sidhar Wright, and Pamela Atzori. Shifting focus onto more imitative forms of appropriation, Part III focuses on 'Modes of Parody and Pastiche.' Finally, in Part IV, the focus shifts away from the predominant focus on US media to consider the contribution that 'Transnational Screen Cultures' can make to our understandings of the adaptive act. Part II looks to the future and examines the contemporary practice of 'Found Footage and Remix Culture'. Part I examines 'Hollywood Cinema and Artistic Imitation' and provides three complimentary historical accounts of the development of adaptation within US cinema. The issue is organised in four sections, each dealing with a different form of cultural borrowing. This special issue of 'Scope: An Online Journal of Film and Television Studies' offers an original and provocative contribution to debates around adaptation and appropriation in film, television and new media.
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