By Gary Westfahl
This booklet gathers jointly some of the illuminating essays on technology fiction and fable movie penned by means of a massive critic within the SF box. The items are approximately prepared within the chronological order of whilst the films and tv courses being mentioned first seemed, with essays supplying extra basic overviews clustered close to the start and finish of the quantity, to supply the general charisma of a old survey. even if this e-book doesn't faux to supply a finished historical past of technological know-how fiction and delusion motion pictures, it does intermingle analyses of flicks and television courses with a few discussions of comparable performs, novels, tales, and comedian books, really within the essays in this Island Earth and 2001: an area Odyssey and its sequels. Inciteful, enjoyable, and whole of clever and witty observations approximately technological know-how fiction and its occasionally curious dating with the visible media, those essays will either satisfaction and entertain critics, lovers, and audience alike.
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Additional info for A Sense-of-Wonderful Century: Explorations of Science Fiction and Fantasy Films
27 One is compositional: certain elements must be present if the story is to proceed. A story involving a theft requires a cause for the theft and an object to be stolen. The classical causal factors we have reviewed constitute compositional motivation. A second sort of motivation is realistic motivation. Many narrative elements are justified on grounds of verisimilitude. In a film set in nineteenth-century London, the sets, props, costumes, etc. will typically be motivated realistically. Realistic motivation extends to what we will consider plausible about the narrative action: in *The Black Hand, Gio’s quest for revenge is presented as ‘realistic,’ given his personality and circumstances.
From another angle, Brecht’s ruminations upon Aristotelian dramaturgy suggest that causality could be taken out of the power of the individual character. 26 Even when personal causation remains central to a film, however, there is still the possibility of making it more ambiguous and less linear; characters may lack clear-cut traits and definite goals, and the film’s events may be loosely linked or left open-ended. ’ Motivation Understanding classical story causality takes us toward grasping how a classical film unifies itself.
This actor is called a character. The adventures of these characters are called a film. Wind from the East ‘Plot,’ writes Francis Patterson in a 1920 manual for aspiring screenwriters, ‘is a careful and logical working out of the laws of cause and effect. The mere sequence of events will not make a plot. ’3 Here in brief is the premise of Hollywood story construction: causality, consequence, psychological motivations, the drive toward overcoming obstacles and achieving goals. , personal or psychological—causality is the armature of the classical story.