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The sky above the port was the colour of television, tuned to a dead channel. William Gibson revolutionised science fiction in his 1984 debut Neuromancer. The writer who gave us the matrix and coined the term 'cyberspace' produced a first novel that won the Hugo, Nebula and Philip K. Dick Awards, and lit the fuse on the Cyberpunk movement. More than three decades later, Gibson's text is as stylish as ever, his noir narrative still glitters like chrome in the shadows and his depictions of the rise and abuse of corporate power look more prescient every day. Part thriller, part warning, Neuromancer is a timeless classic of modern SF and one of the 20th century's most potent and compelling visions of the future.
This critical study traces the common origins of film noir and science fiction films, identifying the many instances in which the two have merged to form a distinctive subgenre known as Tech-Noir. From the German Expressionist cinema of the late 1920s to the present-day cyberpunk movement, the book examines more than 100 films in which the common noir elements of crime, mystery, surrealism, and human perversity intersect with the high technology of science fiction. The author also details the hybrid subgenre’s considerable influences on contemporary music, fashion, and culture.
Something exciting has been happening in modern SF. After decades of confusion, many of the field's best writers have been returning to the subgenre called, roughly, "hard SF"-science fiction focused on science and technology, often with strong adventure plots. Now, World Fantasy Award-winning editors David G. Hartwell and Kathryn Cramer present an immense, authoritative anthology that maps the development and modern-day resurgence of this form, argues for its special virtues and present preeminence-and entertains us with some spectacular storytelling along the way. Included are major stories by contemporary and classic names such as Poul Anderson, Stephen Baxter, Gregory Benford, Ben Bova, David Brin, Arthur C. Clarke, Hal Clement, Greg Egan, Joe Haldeman, Nancy Kress, Paul McAuley, Frederik Pohl, Alastair Reynolds, Kim Stanley Robinson, Robert J. Sawyer, Karl Schroeder, Charles Sheffield, Brian Stableford, Allen Steele, Bruce Sterling, Michael Swanwick, and Vernor Vinge. The Hard SF Renaissance will be an anthology that SF readers return to for years to come. A major anthology of the "hard SF" subgenre-arguing that it's not only the genre's core, but also its future: Poul Anderson Stephen Baxter Gregory Benford Ben Bova David Brin Ted Chiang Arthur C. Clarke Hal Clement Greg Egan Michael Flynn Joe Haldeman James P. Hogan James Patrick Kelly Nancy Kress Geoffrey A. Landis David Langford Paul Levinson Paul McAuley David Nordley Frederik Pohl Robert Reed Alastair Reynolds Kim Stanley Robinson Robert J. Sawyer rdKarl Schroeder Charles Sheffield Joan Slonczewski Brian Stableford Allen Steele Bruce Sterling Michael Swanwick Vernor Vinge Peter Watts Sarah Zettel At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This hugely acclaimed collection is now in its 14th successful year, and Gardner Dozois's selection for 2001 maintains its high standards of excellence with more than 25 SF stories from contemporary talents such as John Kessel, Ursula K Le Guin, Nancy Kress, Paul J. McAuley, Alastair Reynolds, Brian Stableford, Stephen Baxter, Greg Egan, Charles Stross, Ian McDonald and many other bright stars of SF, as well as the usual thorough summation of the year and recommended reading lists.
Will novels and stories be relevant in the next millennium, when the boundaries between illusion and reality, and observer and observed, may dissipate in a whirl of images, signals and data? This essay collection divines the prospects of fiction in the information age by examining cyberpunk literature. A movement less than a decade old, cyberpunk is driven by deep concerns about society, ethics, and new technology and has been defined as the literature of the first generation of science-fiction writers actually to live in a science-fiction world. These essays were first presented at the 1989 annual J. Lloyd Eaton Conference on Science Fiction and Fantasy Literature, the field's most prestigious international gathering. They address concerns common not only to cyberpunk and traditional science-fiction scholars, critics, and writers but to their counterparts outside the genre as well. Interdisciplinary in perspective, the essays consider the origins of cyberpunk, the appropriation of its conventions by the mass media, the literature's paradoxical retrogressive/iconoclastic nature, cyberpunk's affinities to and deviations from both traditional science fiction and postmodernist literature, the parameters and components of the cyberpunk canon, and the movement's future course. Some essays are theoretical, but all are grounded in works familiar to serious science-fiction readers: Neuromancer, Frontera, Deserted Cities of the Heart, Islands in the Net, Great Sky River, the Mirrorshades anthology, and others; cyberpunk TV and cinema like the Max Headroom programs, Blade Runner, and Tron; and precursory literature, including Frankenstein, Le Roman de l'avenir, Ralph I24C 41 +, and A Clockwork Orange. Useful for its views on a volatile science-fiction subgenre, Fiction 2000 is also valuable for what it tells us about the fate of mainstream literature.
"In these essays, the authors consider the importance given today to the research for new narrative modes in artistic practices (whether in visual arts, cinema or literature).

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