22 Jan. 2014. Dick, Philip K. We Can Remember It for You Wholesale. New York, NY: Carol Pub. Group, 1990. Print.
It’s the End of the Worldand I Feel Fine It’s the End of the World…and I Feel Fine! (The role of intellectuals in the creation and justification of nuclear weapons.) In Fail Safe and Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb, Sidney Lumet and Stanley Kubrick question the relationship between technology and humanity by emphasizing mankind’s tendency to create machines that cannot be adequately controlled. By blatantly revealing the absurdity of game theory (Mutual Assured Destruction as a reasonable deterrence for nuclear war), both directors call into question the dominant pro-Cold War American ideology. One of the most quintessential aspects of this ideology includes the drive for constant technological advance and strategic superiority.
Our more evolved elders were here to save us from ourselves. In the 1970s, abduction reports began to bring home the idea that alien contact may be more for the aliens' benefit than anything. And now, from its position at the heart of US ufology and its firm position in contemporary entertainment, alien abduction exerts an influence making an alien and/or government collusion plausible to many people. Themes of literature and movies Tensions from the great global political contest of the second half of this century formed the subject of much news and academic output, but were also at the core of a great deal of entertainment. We can see this in sci-fi movies from this era: "The Day the Earth Stood Still," in which nuclear weapons testing provokes stern warnings from our galactic neighbors; "This Island Earth," where Earth scientists are forced to help their alien counterparts in a losing battle against an unseen enemy; "Invasion of the Body Snatchers," interpreted as either a McCarthyite warning of Communist infiltration of a denunciation of McCarthyism; and even the many monster movies like "Them" with its giant ants, comments on the destructive effects of heedless technological tampering with nature.
Cyberpunk and Science Fiction Science fiction can be defined as a method of story telling that steps outside of the box of life as we know it and into the realm of the impossible. Science fiction works are often designed to be only truthful in the eyes of the author and the reader. However, there are times when either a science fiction work parallels closely to the future of our world and therefore becomes a possibility or life pursues a science fiction-like ideal making the quest heroic in itself. The latter of the two can describe the viewpoint of our growing cyberpunk culture and its belief that technology is the end no matter what means be. The stories in the book Cyberpunk seems to focus on the life of a hacker.
The fear of government corruption along with the fear of the Soviet Union and nuclear warfare was very much a real thing. Alan Moore uses political symbols, real and fictional, to represent this rough time and create a realistic setting to an otherwise fictional plot of superheroes. By incorporating mature messages and illustrations it does not only appeal to young adults looking to be entertained by a picture book. It allows Watchmen to stand alone in the category of graphic novels and be looked at as an icon of its time.
William Gibson’s Neuromancer is Cyberpunk Science fiction somehow manages to place human characters in situations where the ideas and the thoughts of science and morality are intertwined. Science fiction must have some idea components and some human components to be successful. This novel seems to be a contrast to the believers in technological progress as it presents a colorful, but depressing and desolate future. The loss of individuality due to technological advances becomes a major theme in cyberpunk. This presents a dismal view of the individual in society.
Offering an explanation for what the effects of the new discoveries, happenings or developments will have on us in the future. Another key cornerstone of the genre, as described by Adam Roberts in The History of Science Fiction (2005) , is the encounter with ‘otherness’. Roberts argues that science fiction is a symbolist genre, different from other symbolist genres due to the fact that the symbols are rooted in science and pseudoscience. The point of the symbolic mediums used is to connect the voyage of the un-encountered with our own experience of being in the real world. This is the same effect Wells is trying to elicit from his readers by adhering to his law of science fiction writing.
Literature has taken these abstract thoughts and put them to reality on paper. Science fiction is a genre of literature that is frequently misinterpreted by general readers. Aside from the stereotypes of alien invasions in science fiction, this genre uses the concepts of reality and expands on it; it deviates from the truth, reads the future, and answers the questions many humans fear. Analyzing the structure of the novel Dreamchild, and comparing Hillary Hemingway and Jeffry P. Lindsay writing style to other science fiction novelist, one can see how they stay within the stereotype of science fiction literature. The many differences in sci-fi books are exposed when reading this particular book and others of this kind.