LEADER 05422nam 22011413a 450 001 9910367567303321 005 20250203235437.0 010 $a9783039214228 010 $a3039214225 024 8 $a10.3390/books978-3-03921-422-8 035 $a(CKB)4100000010106073 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/44475 035 $a(ScCtBLL)09ca7118-f4be-4586-8406-9e39777478ba 035 $a(OCoLC)1163820759 035 $a(oapen)doab44475 035 $a(EXLCZ)994100000010106073 100 $a20250203i20192019 uu 101 0 $aeng 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aCyberpunk in a Transnational Context$fTakayuki Tatsumi 210 $cMDPI - Multidisciplinary Digital Publishing Institute$d2019 210 1$aBasel, Switzerland :$cMDPI,$d2019. 215 $a1 electronic resource (122 p.) 311 08$a9783039214211 311 08$a3039214217 330 $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 Blade Runner (1982) that preceded Gibson's Neuromancer (1984) keeps revolutionizing the art of visuality, even in the age of the Anthropocene. If you read Lunning's essay along with Lidia Meras's "European Cyberpunk Cinema," which closely analyzes major European cyberpunkish dystopian films Renaissance (2006) and Metropia (2009) and Elana Gomel's "Recycled Dystopias: Cyberpunk and the End of History," your understanding of the cinematic and post-utopian possibility of cyberpunk will become more comprehensive. For a cutting-edge critique of cyberpunk manga, let me recommend Martin de la Iglesia's "Has Akira Always Been a Cyberpunk Comic?" which radically redefines the status of Akira (1982-1993) as trans-generic, paying attention to the genre consciousness of the contemporary readers of its Euro-American editions. Next, Denis Taillandier's "New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk" interprets the significance of Japanese hardcore cyberpunk novels such as Goro Masaki's Venus City (1995) and Hirotaka Tobi's Grandes Vacances (2002; translated as The Thousand Year Beach, 2018) and Ragged Girl (2006), paying special attention to how the authors created their virtual landscape in a Japanese way. For a full discussion of William Gibson's works, please read Janine Tobek and Donald Jellerson's "Caring About the Past, Present, and Future in William Gibson's Pattern Recognition and Guerilla Games' Horizon: Zero Dawn" along with my own "Transpacific Cyberpunk: Transgeneric Interactions between Prose, Cinema, and Manga". The former reconsiders the first novel of Gibson's new trilogy in the 21st century not as realistic but as participatory, whereas the latter relocates Gibson's essence not in cyberspace but in a junkyard, making the most of his post-Dada/Surrealistic aesthetics and "Lo-Tek" way of life, as is clear in the 1990s "Bridge" trilogy. 610 $avirtual reality 610 $aTobi Hirotaka 610 $acollage 610 $acyberpunk 610 $aco-productions 610 $avirtual worlds 610 $aEuropean cinema 610 $areception history 610 $aMetropia 610 $atransnational cinema 610 $alayers 610 $amanga 610 $acinematism 610 $aLo Tek 610 $aaudience 610 $a2000s 610 $atechno-Orientalism 610 $aoutlaw technologist 610 $aYLEM artists using science and technology 610 $aanimation 610 $aMasaki Gor? 610 $a"rich sight" 610 $aGermany 610 $aextraterritorial 610 $aproscenium views 610 $acare 610 $aJapanese science fiction 610 $aUnited States 610 $apost-utopia 610 $acomics 610 $aflattened screens 610 $aWilliam Gibson 610 $ascience fiction 610 $aanimatism 610 $apost-apocalyptic narrative 610 $agenre 610 $aSCAN 610 $aHyperCard 610 $abOING bOING 610 $anostalgia 610 $aglobal capitalism 610 $avirtual idol 610 $aMONDO 2000 610 $aTimothy Leary 610 $aWalter Benjamin 610 $avisuality 610 $afractal space 610 $aMarshall McLuhan 610 $aRenaissance 610 $aHyperart Thomasson 610 $aPattern Recognition 610 $adystopia 610 $aKowloon Walled City 610 $aparticipatory aesthetics 610 $aGuerrilla Games 610 $atranslation 610 $aintertextuality 610 $anuclear politics 610 $aend of history 610 $aHorizon: Zero Dawn 610 $adetritus 610 $aBlade Runner 700 $aTatsumi$b Takayuki$01326365 801 0$bScCtBLL 801 1$bScCtBLL 906 $aBOOK 912 $a9910367567303321 996 $aCyberpunk in a Transnational Context$93037382 997 $aUNINA