References
- Aristotle. 2000. Nichomachean Ethics. Cambridge: Cambridge University Press.
- Barone, T., and E. W. Eisner. 2012. Arts Based Research. Los Angeles: Sage.
- Barrett, E. 2007. “Introduction.” In Practice as Research: Approaches to Creative Arts Enquiry, edited by E. Barrett and B. Bolt, 1–14. London: I. B. Tauris.
- Baudrillard, J. 1994. Simulacra and Simulation. Ann Arbor: University of Michigan Press.
- Bazin, A. 1967. “The Myth of Total Cinema.” In What Is Cinema? 17–22. London: University of California Press.
- Borgdorff, H. 2006. The Debate on Research in the Arts. Accessed: 14 January 2017. http://www.ips.gu.se/digitalAssets/1322/1322713_the_debate_on_research_in_the_arts.pdf.
- Bukatman, S. 1990. “Who Programs You? The Science Fiction of the Spectacle.” In Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema, edited by A. Kuhn, 196–213. London: Verso Books.
- Bukatman, S. 1993. Terminal Identity: the Virtual Subject in Postmodern Science Fiction. Durham, NC: Duke University Press.
- Deleuze, Gilles, and Félix Guattari. 2004. Anti-Oedipus. London: Continuum International Publishing Group.
- van Dijck, J. 2008. “Future Memories: The Construction of Cinematic Hindsight.” Theory, Culture and Society 25: 71–87. doi: 10.1177/0263276408090658
- Fleming, D. 2000. “Mystory: Inventing a Genre for Practical Media Studies.” In Formations: A 21st-Century Media Studies Textbook, edited by D. Fleming, 389–393. Manchester: Manchester University Press.
- Gane, N. 2006. When We Have Never Been Human, What Is to Be Done?: Interview with Donna Haraway. Accessed: January 14, 2017. http://tcs.sagepub.com/content/23/7-8/135.full.pdf+html
- Goddard, S. 2007. “A Correspondence between Practices.” In Practice as Research: Approaches to Creative Arts Enquiry, edited by E. Barrett, and B. Bolt, 113–122. London: I. B. Tauris.
- Haraway, D. 1991. Simians, Cyborgs and Women: The Reinvention of Nature, 149–181. New York: Routledge.
- Jameson, F. 1991. Postmodernism, or, The Cultural Logic of Late Capitalism. London: Verso.
- King, G., and T. Krzywinska. 2000. Science Fiction Cinema: From Outerspace to Cyberspace. London: Wallflower.
- Kuhn, A. 1990. “Reflections: Introduction.” In Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema, edited by A. Kuhn, 15–18. London: Verso.
- Shaviro, S. 2003. Connected, or What It Means to Live in the Network Society. Minneapolis: University of Minnesota Press.
- Short, S. 2005. Cyborg Cinema and Contemporary Subjectivity. New York: Palgrave Macmillan.
- Smith, M. K. 1999, 2011. “What is Praxis?” In The Encyclopaedia of Informal Education. Accessed: January 14, 2017. http://infed.org/mobi/what-is-praxis/
- Smith, H., and R. T. Dean. 2009. “Introduction.” In Practice-led Research, Research-led Practice in the Creative Arts, edited by H. Smith and R. T. Dean, 1–40. Edinburgh: Edinburgh University Press.
- Sobchack, V. 2001. Screening Space: The American Science Fiction Film. 4th ed. New Brunswick, NJ: Rutgers University Press.
- Stewart, G. 2007. Framed Time: Toward a Postfilmic Cinema. Chicago: University of Chicago Press.
- Telotte, J. P. 1995. Replications: A Robotic History of the Science Fiction Film. Urbana: University of Illinois Press.
- Telotte, J. P. 2001. Science Fiction Film. Cambridge: Cambridge University Press.
- Ulmer, G. L. 1994. Heuretics: The Logic of Invention. Baltimore: The John Hopkins University Press.
Selected Filmography
- Blade Runner (Ridley Scott 1982).
- Dark City (Alex Proyas, 1998).
- Johnny Mnemonic (Robert Longo, 1995).
- The Thirteenth Floor (Josef Rusnak 1999).
- Total Recall (Paul Verhoeven, 1990).
- The Truman Show (Peter Weir, 1998).
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