Science fiction film

Science fiction film is a film genre that uses science fiction: speculative, fictional science-based depictions of phenomena that are not fully accepted by mainstream science, such as extraterrestrial life forms, alien worlds, extrasensory perception and time travel, along with futuristic elements such as spacecraft, robots, cyborgs, interstellar space travel or other technologies. Science fiction films have often been used to focus on political or social issues, and to explore philosophical issues like the human condition. In many cases, tropes derived from written science fiction may be used by filmmakers ignorant of or at best indifferent to the standards of scientific plausibility and plot logic to which written science fiction is traditionally held.

The genre has existed since the early years of silent cinema, when Georges Melies' A Trip to the Moon (1902) employed trick photography effects. The next major example in the genre was the 1927 film Metropolis - being the first feature length science fiction movie. From the 1930s to the 1950s, the genre consisted mainly of low-budget B-movies. After Stanley Kubrick's 1968 landmark 2001: A Space Odyssey, the science fiction film genre was taken more seriously. In the late 1970s, big-budget science fiction films filled with special effects became popular with audiences after the success of Star Wars and paved the way for the blockbuster hits of subsequent decades.

Fictional film

Fictional film or narrative film is a film that tells a fictional or fictionalized story, event or narrative. In this style of film, believable narratives and characters help convince the audience that the unfolding fiction is real. Lighting and camera movement, among other cinematic elements, have become increasingly important in these films. Great detail goes into the screenplays of narratives, as these films rarely deviate from the predetermined behaviours and lines of the screenplays to maintain a sense of realism. Actors must deliver dialogue and action in a believable way, so as to persuade the audience that the film is real life.

General

Probably the first fictional film ever made was the Lumière's L'Arroseur arrosé, which was first screened at the Grand Café des Capucins on December 28, 1895. A year later in 1896, Alice Guy-Blaché directed the fictional film "La fee aux choux." Yet perhaps the best known of early fictional films is Georges Méliès’s A Trip to the Moon from 1902. Most films previous to this had been merely moving images of everyday occurrences, such as L'Arrivée d'un train en gare de La Ciotat by Auguste and Louis Lumière. Méliès was one of the first directors to progress cinematic technology, which paved the way for narratives as style of film. Narrative films have come so far since their introduction that film genres such as comedy or Western films, were, and continue to be introduced as a way to further categorize these films.

Science fiction

Science fiction is a genre of speculative fiction dealing with imaginative concepts such as futuristic settings, futuristic science and technology, space travel, time travel, faster than light travel, parallel universes and extraterrestrial life. Science fiction often explores the potential consequences of scientific and other innovations, and has been called a "literature of ideas." It usually eschews the supernatural, and unlike the related genre of fantasy, historically science fiction stories were intended to have at least a faint grounding in science-based fact or theory at the time the story was created, but this connection has become tenuous or non-existent in much of science fiction.

Definitions

Science fiction is difficult to define, as it includes a wide range of subgenres and themes. Author and editor Damon Knight summed up the difficulty, saying "science fiction is what we point to when we say it", a definition echoed by author Mark C. Glassy, who argues that the definition of science fiction is like the definition of pornography: you do not know what it is, but you know it when you see it.

Full Length LP

Full Length LP is the debut album by the Huntington Beach, California punk rock band Guttermouth, released in 1991 by Dr. Strange Records. It introduced the band's style of fast, abrasive punk rock with tongue-in-cheek humor and sarcastic lyrics. The album was originally released as an LP but was repackaged the following year as a CD including tracks from the band's first 2 EPs Puke and Balls, as well as the previously unreleased tracks "Malted Vomit" and "Ghost." It was re-released again in 1996 by Nitro Records under the title The Album Formerly Known as Full Length LP.

The album proved to be a success for the band, expanding their fan base and giving them opportunities to play shows all over southern California alongside other popular punk rock bands. An animated music video was made for the song “1, 2, 3…Slam!” and played on local punk rock and skateboarding video programs. Many of the songs from Full Length would remain staples in the band's live set throughout their career.

The New Science

The New Science (original title Scienza Nuova [ˈʃɛntsa ˈnwɔːva]) is the major work of Italian philosopher Giambattista Vico, published in 1725. It has been highly influential in the philosophy of history, sociology, anthropology, and for historicists like Isaiah Berlin and Hayden White. The central concepts were highly original, and prefigured the Enlightenment.

The original full title is Principi di Scienza Nuova d'intorno alla Comune Natura delle Nazioni, which may be literally translated as "Principles/Origins of New/Renewed Science About/Surrounding the Common Nature of Nations".

Production and publication

In 1720, Vico began work on the Scienza Nuova as part of a treatise on Universal rights. Although a full volume was originally to be sponsored by Cardinal Corsini (the future Pope Clement XII), Vico was forced to finance the publication himself after the Cardinal pled financial difficulty and withdrew his patronage. The first edition of the New Science (Scienza Nuova, rather than Nuova Scienza, for which Galileo had been known) appeared in 1725, and a second, reworked version was published in 1730; neither was well received during Vico’s lifetime.