By Gary Westfahl
This ebook gathers jointly the various illuminating essays on technology fiction and fable movie penned by means of a big critic within the SF box. The items are approximately geared up within the chronological order of whilst the flicks and tv courses being mentioned first seemed, with essays delivering extra normal overviews clustered close to the start and finish of the amount, to supply the final charisma of a historic survey. even though this ebook doesn't faux to supply a entire background of technology fiction and fable motion pictures, it does intermingle analyses of movies and television courses with a few discussions of similar performs, novels, tales, and comedian books, rather within the essays in this Island Earth and 2001: an area Odyssey and its sequels. Inciteful, wonderful, and whole of clever and witty observations approximately technological know-how fiction and its occasionally curious courting with the visible media, those essays will either pride and entertain critics, enthusiasts, and audience alike.
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Extra resources for A Sense-of-Wonderful Century: Explorations of Science Fiction and Fantasy Films
However, in other Disney animated films, something different happens: the children’s mentors do not give way to true parents and do not retain the role of surrogate parents. Instead there occurs a role reversal: while animals and magical adults first appear in parental roles, the children later assume parental roles, with the animals and adults recast as their children. In effect, children manage to construct their own families, with themselves as parents. The pattern is twice enacted in the first Disney animated film, Snow White and the Seven Dwarfs.
Even at the end of the film, when Pinocchio has apparently reformed, he is still willful and disobedient: without asking permission or explaining himself, he sets fire to Geppetto’s boat so as to provoke the whale Monstro to sneeze; and later, when the drowning Geppetto tells Pinocchio to leave him and save himself, the boy disobeys him and rescues the woodcutter. From the beginning to the end of the film, Pinocchio is completely in control of his own actions, and Jiminy Cricket and Geppetto are little more than his puppets.
23. ”24 A recurring theme in these curt commentaries is that Project Moonbase does not display any of the influence of Robert A. Heinlein: Stanley asserts that Heinlein’s “style and themes are not to be found” in the movie (271); David Wingrove’s entry on the film for his Science Fiction Film Source Book (1985) says the film “has little of the zest of Heinlein’s written work of the period”;25 Brosnan in Future Tense suspects that “not much remained of Heinlein’s original” in the shooting script (77); Wright says that “The movie’s overall tone bears little resemblance to Heinlein’s literary work” (28); and Hardy concludes that “the film lacks the sense of confidence that even Heinlein’s worst novels have in abundance” (141).