Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science
Blade Runner, de 2019 a 2049. El cine de ciencia ficción como divulgador de la ciencia
Blade runner, de 2019 a 2049. O filme da ficção científica como divulgador da ciência
| 2018 | |
|
cinema science fiction scientific dissemination new technologies. cine ciencia ficción divulgación científica nuevas tecnologías. cinema science fiction scientific dissemination new technologies |
|
| Español | |
| Universidad ORT Uruguay | |
| RAD | |
|
https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/2873
http://hdl.handle.net/20.500.11968/3892 |
|
| Acceso abierto | |
| Derechos de autor 2018 InMediaciones de la Comunicación |
| _version_ | 1807261351402274816 |
|---|---|
| author | Marín Ramos, Esther |
| author_facet | Marín Ramos, Esther |
| author_role | author |
| collection | RAD |
| dc.creator.none.fl_str_mv | Marín Ramos, Esther |
| dc.date.none.fl_str_mv | 2018-12-27 |
| dc.description.en-US.fl_txt_mv | It’s been 35 years since the premiere of Blade Runner (Ridley Scott, 1982) until the arrival of its sequel Blade Runner 2049 (Villeneuve, 2017). This gives us the opportunity to prove to what extent how changes in our culture modified the discourse of one of the best science fiction films that, with greater emphasis, represented the fear of the adverse effects of progress. In the present article, both films will analyzed from a comparative perspective using theoretical concepts from the sociology and communication studies. One of the results shows that the apocalyptic alarmism, a main characteristic of the genre in the past century, has given place to a more lucid and complete vision of the risks. But also the possibilities and dilemmas that awakens the techno-scientific advance and establishes the science-fiction genre as a valuable resource for its reflection and dissemination. |
| dc.description.es-ES.fl_txt_mv | Han pasado treinta y cinco años desde el estreno de Blade Runner (Ridley Scott, 1982) a su secuela, Blade Runner 2049 (Denis Villeneuve, 2017) y, eso, nos proporciona la oportunidad de observar en qué medida los cambios acaecidos en nuestra cultura han modificado el discurso de una de las tramas de ciencia ficción que con mayor énfasis representó el temor a los efectos adversos del progreso. Desde una perspectiva sociológica y comunicológica, el análisis comparativo de ambos filmes demuestra que el alarmismo apocalíptico que impregnó al género la mayor parte del siglo pasado ha dado paso a una visión más lúcida y completa de los riesgos, posibilidades y dilemas que suscita el avance tecno-científico, confirmando el valor del cine de ciencia ficción como barómetro de las percepciones sociales sobre la ciencia y la tecnología. |
| dc.description.pt-BR.fl_txt_mv | It’s been 35 years since the premiere of Blade Runner (Ridley Scott, 1982) until the arrival of its sequel Blade Runner 2049 (Villeneuve, 2017). This gives us the opportunity to prove to what extent how changes in our culture modified the discourse of one of the best science fiction films that, with greater emphasis, represented the fear of the adverse effects of progress. In the present article, both films will analyzed from a comparative perspective using theoretical concepts from the sociology and communication studies. One of the results shows that the apocalyptic alarmism, a main characteristic of the genre in the past century, has given place to a more lucid and complete vision of the risks. But also the possibilities and dilemmas that awakens the techno-scientific advance and establishes the science-fiction genre as a valuable resource for its reflection and dissemination. |
| dc.format.none.fl_str_mv | application/pdf |
| dc.identifier.none.fl_str_mv | https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/2873 10.18861/ic.2018.13.2.2873 |
| dc.identifier.uri.none.fl_str_mv | http://hdl.handle.net/20.500.11968/3892 |
| dc.language.iso.none.fl_str_mv | spa |
| dc.publisher.es-ES.fl_str_mv | Universidad ORT Uruguay |
| dc.relation.none.fl_str_mv | https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/2873/2889 |
| dc.rights.license.none.fl_str_mv | Derechos de autor 2018 InMediaciones de la Comunicación |
| dc.rights.none.fl_str_mv | info:eu-repo/semantics/openAccess |
| dc.source.es-ES.fl_str_mv | InMediaciones de la Comunicación; Vol. 13 Núm. 2 (2018): Inmediaciones de la Comunicación; 187-211 |
| dc.source.none.fl_str_mv | 1688-8626 1510-5091 10.18861/ic.2018.13.2 reponame:RAD instname:Universidad ORT Uruguay instacron:Universidad ORT |
| dc.subject.en-US.fl_str_mv | cinema science fiction scientific dissemination new technologies. |
| dc.subject.es-ES.fl_str_mv | cine ciencia ficción divulgación científica nuevas tecnologías. |
| dc.subject.pt-BR.fl_str_mv | cinema science fiction scientific dissemination new technologies |
| dc.title.none.fl_str_mv | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science Blade Runner, de 2019 a 2049. El cine de ciencia ficción como divulgador de la ciencia Blade runner, de 2019 a 2049. O filme da ficção científica como divulgador da ciência |
| dc.type.es-ES.fl_str_mv | vol10 |
| dc.type.none.fl_str_mv | info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
| dc.type.version.none.fl_str_mv | info:eu-repo/semantics/publishedVersion |
| description | It’s been 35 years since the premiere of Blade Runner (Ridley Scott, 1982) until the arrival of its sequel Blade Runner 2049 (Villeneuve, 2017). This gives us the opportunity to prove to what extent how changes in our culture modified the discourse of one of the best science fiction films that, with greater emphasis, represented the fear of the adverse effects of progress. In the present article, both films will analyzed from a comparative perspective using theoretical concepts from the sociology and communication studies. One of the results shows that the apocalyptic alarmism, a main characteristic of the genre in the past century, has given place to a more lucid and complete vision of the risks. But also the possibilities and dilemmas that awakens the techno-scientific advance and establishes the science-fiction genre as a valuable resource for its reflection and dissemination. |
| eu_rights_str_mv | openAccess |
| format | article |
| id | RAD_1d714e768e95cb9271774f337f2afea6 |
| identifier_str_mv | 10.18861/ic.2018.13.2.2873 |
| instacron_str | Universidad ORT |
| institution | Universidad ORT |
| instname_str | Universidad ORT Uruguay |
| language | spa |
| network_acronym_str | RAD |
| network_name_str | RAD |
| oai_identifier_str | oai:rad.ort.edu.uy:20.500.11968/3892 |
| publishDate | 2018 |
| reponame_str | RAD |
| repository.mail.fl_str_mv | rodriguez_v@ort.edu.uy |
| repository.name.fl_str_mv | RAD - Universidad ORT Uruguay |
| repository_id_str | 3927 |
| rights_invalid_str_mv | Derechos de autor 2018 InMediaciones de la Comunicación |
| spelling | Marín Ramos, Esther2018-12-27It’s been 35 years since the premiere of Blade Runner (Ridley Scott, 1982) until the arrival of its sequel Blade Runner 2049 (Villeneuve, 2017). This gives us the opportunity to prove to what extent how changes in our culture modified the discourse of one of the best science fiction films that, with greater emphasis, represented the fear of the adverse effects of progress. In the present article, both films will analyzed from a comparative perspective using theoretical concepts from the sociology and communication studies. One of the results shows that the apocalyptic alarmism, a main characteristic of the genre in the past century, has given place to a more lucid and complete vision of the risks. But also the possibilities and dilemmas that awakens the techno-scientific advance and establishes the science-fiction genre as a valuable resource for its reflection and dissemination.Han pasado treinta y cinco años desde el estreno de Blade Runner (Ridley Scott, 1982) a su secuela, Blade Runner 2049 (Denis Villeneuve, 2017) y, eso, nos proporciona la oportunidad de observar en qué medida los cambios acaecidos en nuestra cultura han modificado el discurso de una de las tramas de ciencia ficción que con mayor énfasis representó el temor a los efectos adversos del progreso. Desde una perspectiva sociológica y comunicológica, el análisis comparativo de ambos filmes demuestra que el alarmismo apocalíptico que impregnó al género la mayor parte del siglo pasado ha dado paso a una visión más lúcida y completa de los riesgos, posibilidades y dilemas que suscita el avance tecno-científico, confirmando el valor del cine de ciencia ficción como barómetro de las percepciones sociales sobre la ciencia y la tecnología.It’s been 35 years since the premiere of Blade Runner (Ridley Scott, 1982) until the arrival of its sequel Blade Runner 2049 (Villeneuve, 2017). This gives us the opportunity to prove to what extent how changes in our culture modified the discourse of one of the best science fiction films that, with greater emphasis, represented the fear of the adverse effects of progress. In the present article, both films will analyzed from a comparative perspective using theoretical concepts from the sociology and communication studies. One of the results shows that the apocalyptic alarmism, a main characteristic of the genre in the past century, has given place to a more lucid and complete vision of the risks. But also the possibilities and dilemmas that awakens the techno-scientific advance and establishes the science-fiction genre as a valuable resource for its reflection and dissemination.application/pdfhttps://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/287310.18861/ic.2018.13.2.2873http://hdl.handle.net/20.500.11968/3892spaUniversidad ORT Uruguayhttps://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/2873/2889info:eu-repo/semantics/openAccessDerechos de autor 2018 InMediaciones de la ComunicaciónInMediaciones de la Comunicación; Vol. 13 Núm. 2 (2018): Inmediaciones de la Comunicación; 187-2111688-86261510-509110.18861/ic.2018.13.2reponame:RADinstname:Universidad ORT Uruguayinstacron:Universidad ORTcinemascience fictionscientific disseminationnew technologies.cineciencia ficcióndivulgación científicanuevas tecnologías.cinemascience fictionscientific disseminationnew technologiesBlade Runner, from 2019 to 2049. Science fiction films as disseminators of ScienceBlade Runner, de 2019 a 2049. El cine de ciencia ficción como divulgador de la cienciaBlade runner, de 2019 a 2049. O filme da ficção científica como divulgador da ciênciainfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionvol10info:eu-repo/semantics/publishedVersion20.500.11968/38922020-07-15 12:40:09.726oai:rad.ort.edu.uy:20.500.11968/3892https://rad.ort.edu.uyUniversidadhttps://www.ort.edu.uy/https://rad.ort.edu.uy/server/oai/requestrodriguez_v@ort.edu.uyUruguayopendoar:39272020-07-15T12:40:09RAD - Universidad ORT Uruguayfalse |
| spellingShingle | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science Marín Ramos, Esther cinema science fiction scientific dissemination new technologies. cine ciencia ficción divulgación científica nuevas tecnologías. cinema science fiction scientific dissemination new technologies |
| status_str | publishedVersion |
| title | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science |
| title_full | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science |
| title_fullStr | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science |
| title_full_unstemmed | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science |
| title_short | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science |
| title_sort | Blade Runner, from 2019 to 2049. Science fiction films as disseminators of Science |
| topic | cinema science fiction scientific dissemination new technologies. cine ciencia ficción divulgación científica nuevas tecnologías. cinema science fiction scientific dissemination new technologies |
| url | https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/2873 http://hdl.handle.net/20.500.11968/3892 |
