Alaimo, Stacey. Bodily Natures: Science, Environment, and the Material Self. Bloomington: Indiana University Press, 2010.

Aldiss, Brian Wilson. Billion Year Spree: The True History of Science Fiction. London: Weidenfeld and Nicolson, 1973.

Alice Durant, Mark and Marsching, Jane D. Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal. Cantonsville: Center for Art, Design & Visual Culture, 2005.

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Augoyard, Jean-Francois & Torgue, Henry, eds. Sonic Experience: A Guide to Everyday Sounds. Montreal: McGill-Queens University Press. 2005.

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Ben-Tov, Sharona. The Artificial Paradise: Science Fiction and American Reality. Ann Arbor: The University of Michigan Press, 1998.

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Bukatman, Scott. Terminal Identity: The Virtual Subject in Post-Modern Science Fiction. London & Durham: Duke University Press,1993.

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Gunn, James & Candelaria, Matthew, eds. Speculation on Speculation: Theories of Science Fiction. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, 2005.

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Hanson, Matt. Building Sci-Fi Moviescapes: The Science Behind The Fiction. Mies: Rotovision SA. 2004.

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Ho, Melissa. Reconsidering Barnett Newman. Philadelphia: Philadelphia Museum of Art, 2005.

Hoagland, Ericka. Science fiction, imperialism and the third world: essays on postcolonial literature and film. Jefferson: McFarland Publishers, 2010.

Hogan, David J., ed. Science Fiction America: Essays on SF Cinema. Jefferson NC & London: McFarland & Company Publishers. 2006.

Hollander, Anne. Moving Pictures. New York: Knopf, 1989.

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Huyghe, Pierre, & Parreno, Phillippe. No Ghost Just A Shell. Köln: Verlag der Buchhandlung Walther König, 2003.

Ihde, Don. Listening and Voice: Phenomenologies of Sound. Albany: State University of New York Press. 2007.

Jameson, Frederick. Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. London: Verso, 2005.

Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. London: Verso. 1991.

Jameson, Frederic. Signatures of the Visible. New York: Routledge, 2007.

Kant, Immanuel. The Critique of Judgment, translated by James Creed Meredith, Oxford: Clarendon Press, 1964.

Kaveney, Roz. From Alien to The Matrix: Reading Science Fiction Film. London & New York: I.B. Taurus & Co. Ltd. 2005.

Kelly, John Patrick, & Kessel, John, eds. Feeling Very Strange: The Slipstream Anthology. San Francisco: Tachyon Publications. 2006.

Kerslake, Patricia. Science Fiction and Empire. Liverpool: Liverpool University Press, 2011.

Khan, Douglas. Noise Water Meat: A History of Sound in the Arts. Cambridge: The MIT Press. 1999.

Klein, Norman. The Vatican to Vegas: A History of Special Effects. New York & London: The New Press. 2004.

Kuhn, Annette, ed. Alien Zone II: The Spaces of Science Fiction Cinema. London/New York: Verso, 1999.

Leavis, F.R. Two Cultures? The Significance of C.P. Snow. London: Chato & Windus. 1962.

Labelle, Brandon. Background Noise: Perspectives on Sound Art. New York/London: Continuum International Publishing Group, 2006.

Lefebvre, Martin. Landscape and Film. New York/London: Routledge. 2006.

Lanza, Joseph. Elevator Music: A Surreal History of Muzak, Easy Listening and Other Moodsong. [Revised and Expanded Edition]. Ann Arbor: University of Michigan Press. 2004.

Longinus. On the Sublime. London & New York: Macmillan and Co, 1890.

Luckhurst, Roger. Science Fiction. Cambridge: Polity Press, 2005.

MacCabe, Colin. Godard: A Portrait of the artist at 70. London: Bloomsbury, 2003.

McCaffrey, Larry, ed. After Yesterday’s Crash: The Avant-Pop Anthology. New York: Penguin Books, 1995.

McCaffrey, Larry, ed. Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction. Durham & London, 1991.

McClean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge Mass. & London: The MIT Press, 2007.

Marcus, Greil. Lipstick Traces: A Secret History of the Twentieth Century. Cambridge Mass: Harvard University Press, 1989.

Marsh, Jackie. Popular culture, new media and digital literacy in early childhood. London: Routledge, 2005.

Marter, Karen, ed. Philippe Parreno: Films 1987-2010. Köln: Koenig Books, 2011.

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Miller, Paul D., ed. Sound Unbound: Sampling Digital Music and Culture. Cambridge: The MIT Press. 2008.

Miller, Ron & Durant, Frederic C. The Art of Chesley Bonestell. London: Paper Tiger, 2001.

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Mosco, Vincent. The Digital Sublime: Myth, Power and Cyberspace. Cambridge Mass./London: The MIT Press. 2004.

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Parrinder, Patrick. Learning from Other Worlds: Estrangement, Cognition, and the Politics of Science Fiction and Utopia. Durham: Duke University Press. 2001.

Prelinger, Megan. Another Science Fiction: Advertising the Space Race 1957-1962. New York: Blast Books, 2010.

Ray, Gene. Terror and the sublime in art and critical theory: from Auschwitz to Hiroshima to September 11. New York: Palgrave McMillan, 2005.

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Royoux, Jean-Christophe. Tacita Dean. London: Phaidon, 2006.

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Book Chapters, Journals & Magazine Articles

Aldiss, Brian W. “Introduction”. Science Fiction Art. London: Hart-Davis, MacGibbon, 1976. Unnumbered.

Anderson, Ben. “A Principle of Hope: Recorded Music, Listening Practices and the Immanence of Utopia.” Geografiska Annaler. Series B, Human Geography, Vol. 84, No. 3/4, Special Issue: The Dialectics of Utopia and Dystopia (2002): pp. 211-227.

Anderson, Daniel R., Hanson, Katherine G. “From blooming, buzzing confusion to media literacy: The early development of television viewing.” Developmental Review, 2010 #30. pp 239-255.

Anderson, Walter Truett. “Augmentation, symbiosis, transcendence: technology and the future(s) of human identity”, Futures, #35, 2003. pp 535-546.

Attali, Jacques, “Noise and Politics.”  Audio Culture: Readings in Modern Music. New York/London: Continuum Books, 2004. pp 7-10.

Baker, Brian. “Iterative Architecture: A Ballardian Text,” A Journal of Contemporary & Innovative Fiction, #21.

Ballard, J.G. “Airports: Cities of the Future”. Blueprint. Issue #42, September 1997. pp 26-29.

Ballard, J.G. “Which Way To Inner Space?” A User’s Guide to the Millennium. London: Picador, 1999. pp 187-210.

Banash, David. “Reading Baudrillard”. Science Fiction Studies, Vol. 30, No. 1 (Mar., 2003), pp. 123-129.

Baudrillard, Jean. “The Hell of the Same”. The Transparency of Evil. London/New York: Verso. 1990 [1993]. pp 113-123.

Baudrillard, Jean. “Simulacra and Science Fiction”. Science Fiction Studies, Vol. 18, No. 3, Science Fiction and Postmodernism (Nov., 1991), pp. 309-313.

Baudrillard, Jean. “Xerox to Infinity”. The Transparency of Evil. London/New York: Verso. 1990 [1993]. pp 51-59.

Bavelier, Daphne, Green, C. Shaw, Dye, Matthew W.G. “Children, Wired: For Better and For Worse”. Neuron #67, September 9, 2010. pp 692-698.

Beck, Bernard. “The Overdeveloped Society: THX 1138.” Film In Society. Arthur Asa Berger. New Brunswick: New Jersey. 1980. Pp 59-68.

Beckley, Bill. “Introduction: Sublimats Mobilis.” Beauty and the Contemporary Sublime. New York: Allworth Press, 1999. pp 2-15.

Beckman, Karen. “Film Falls Apart: ‘Crash’, Semen, and Pop”, Grey Room, No. 12 (Summer, 2003). pp. 94-115.

Berger, Arthur Asa. “War of The Worlds.” Popular Culture Genres: Theories & Texts, Foundations of Popular Culture Volume 2.  Newbury Park: Sage Publications. 1992. pp. 131-146.

Bignell, Jonathan “Familiar Aliens: Teletubbies and Postmodern Childhood”, Screen, Vol. 46, No.3, Autumn [2005]. pp 373-383.

Borenstein, Eliot. “Survival of the Catchiest: Memes and Postmodern Russia”. The Slavic and East European Journal, Vol. 48, No. 3, Special Forum Issue: Innovation through Iteration: Russian Popular Culture Today (Autumn, 2004). pp. 462-483

Bradbury, Ray. “Foreword: One Thousand Giant Steps for Mankind”, Infinite Worlds: The Fantastic Visions of Science Fiction Art, Vincent di Fate, London: Virgin Books, 1997. pp -6-9.

Bratlinger, Patrick. “The Gothic Origins of Science Fiction” NOVEL: A Forum on Fiction, Vol. 14, No. 1 (Autumn, 1980). pp. 30-43

Brian Britt, “The fall from Eden, critical theory, and The Teletubbies”, Culture and Religion, Vol. 5, No. 1, [2004]. pp 3-21.

Matt Briggs, “Beyond the Audience”, 
European Journal of Cultural Studies. 2006 #9. pp 441-457.

Boutoux, Thomas, ed. “JG Ballard.” Hans Ulrich Obrist Interviews.  Milan: Charta. pp 58-68.

Brzozowska-Brywcyynska, Maja, “Monstrous/Cute: Notes on the Ambivalent Nature of Cuteness, Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. Niall Scott, ed. Amsterdam/New York: Rodopi, 2007. pp 213-225.

Clarke, David B., Doel, Marcus. A. “Engineering space and time: moving pictures and motionless trips”. Journal of Historical Geography 2005, #31. pp 41-60.

Collins, Jim. “When the Legend Becomes Hyperconscious, Print the…” Architecture of Excess: Cultural Life in the Information Age. London: Routledge. 1995. pp 125-149.

Collins, Karen. “Dead Channel Surfing: the commonalities between cyberpunk literature and industrial music.” Popular Music (2005) Volume 24/2. (2005): Cambridge University Press. pp. 165–178.

Cholodenko, Alan. “Apocalyptic Animation: In the Wake of Hiroshima, Nagasaki, Godzilla and Baudrillard”. Baudrillard West of The Dateline. Palmerston North: Dunmore Press. 2003. pp 241.

Colatrella, Carol. “Science Fiction in the Information Age”. American Literary History, Vol. 11, No. 3 (Autumn, 1999). pp. 554-565.

Conner, James A. “Strategies for Hyperreal Travelers”. Science Fiction Studies, Vol. 20, No. 1 (Mar., 1993), pp. 69-79.

Consolmagno, Guy J. “Astronomy, Science Fiction and Popular Culture: 1277 to 2001 (And beyond)”, Leonardo, Vol. 29, No. 2 (1996). pp. 127-132

Csicsery-Ronay Jr., Ronay. “Antimancer: Cybernetics and Art in Gibson’s ‘Count Zero’”. Science Fiction Studies, Vol. 22, No. 1 (Mar., 1995), pp. 63-86.

Csicsery-Ronay Jr., Ronay.  “Science Fiction and Empire.” Science Fiction Studies, Vol. 30, No. 2, Social Science Fiction (Jul., 2003): pp. 231-245.

Csicsery-Ronay Jr., Ronay.  “The SF of Theory: Baudrillard and Haraway”. Science Fiction Studies, Vol. 18, No. 3, Science Fiction and Postmodernism (Nov., 1991): 387-404.

Csicsery-Ronay Jr., Ronay. “Review: Postmodern Technoculture or the Gordian Knot Revisited.” Science Fiction Studies, Vol. 19, No. 3 (Nov., 1992), pp. 403-410.

Dahl, Curtis. “The American School of Catastrophe”, American Quarterly, Vol. 11, No. 3 [Autumn 1959]. pp 380-390.

Diken, Bülent. “From refugee camps to gated communities: biopolitics and the end of the city”, Citizenship Studies, 2004, Volume 8, #1. pp 83 — 106.

Doyle, Peter. “From ‘My Blue Heaven’ to ‘Race with the Devil’: echo, reverb and (dis)ordered space in early popular music recording.” Popular Music [2004] Volume 23/1. Cambridge University Press, pp. 31–49.

Doyle, Peter. “Harnessing the Echo”, Echo & Reverb: Fabricating Space in Popular Music Recording, 1900-1960. Middletown Connecticut: Wesleyan University Press, 2005. pp 38-63.

Easterbrook, Neil. “Alternate Presents: The Ambivalent Historicism of “Pattern Recognition”, Science Fiction Studies, Vol. 33, No. 3 (Nov., 2006). pp. 483-504.

Edwards, Malcolm J. “Hugo Gernsback”. The Encyclopedia of Science Fiction. John Clute & Peter Nicholls, eds. London: 1999 [2nd Ed]. p 490.

Engström, Timothy H. “The Postmodern Sublime?: Philosophical Rehabilitations and Pragmatic Evasions.” Boundary 2, Vol. 20. No. 2, [Summer 1993]. pp 190-204.

Evans, Arthur B. “Optograms and Fiction: Photo in a Dead Man’s Eye.” Science Fiction Studies, Vol. 20, No. 3 (Nov., 1993). pp. 341-361.

Farnell, Ross. “Posthuman Topologies: William Gibson’s ‘Architexture’ in ‘Virtual Light’ and ‘Idoru’”, Science Fiction Studies, Vol. 25, No. 3 (Nov., 1998). pp. 459-480.

Fischlin, Daniel, Hollinger, Veronica, Andrew Taylor et al. “’The Charisma Leak’: A Conversation with William Gibson and Bruce Sterling”. Science Fiction Studies, Vol. 19, No. 1 (Mar., 1992). pp. 1-16.

Fleming, Robin. “Picturesque History and the Medieval in Nineteenth-Century America”. The American Historical Review, Vol. 100, No. 4 (Oct., 1995), pp. 1061-1094

Foss, Imogen. “Earthman, Come Home”. Hardware: The Definitive SF Works of Chris Foss. London: Titan Books, 2011. pp 8-13.

Franklin, H. Bruce. “Don’t Look Where We’re Going: Visions of the Future in Science-Fiction Films, 1970-82.” Science Fiction Studies, Vol. 10, No. 1 (Mar., 1983). pp. 70-80.

Freedman, Carl. “2001 and the Possibility of a Science-Fiction Cinema”. Science Fiction Studies, Vol. 25, No. 2 (Jul., 1998). pp. 300-318.

Gasché, Rodolphe. “The Sublime, Ontologically Speaking”. Yale French Studies, No. 99, Jean-Francois Lyotard: Time and Judgment (2001), pp. 117-128.

Gemtou, Eleni. “Depictions of Sunsets as Information Sources”, Leonardo, Vol. 44, No. 1, 2011. pp 49–53,

Gibson, William, “Cloning the Future: Science Fiction Film 1895-1996”, Sight and Sound Sci-Fi supplement, Nov. 1996. Unnumbered.

Grant, John, & Nicholls, Peter. “Chesley Bonestell”. The Encyclopedia of Science Fiction. John Clute & Peter Nicholls, eds. London: 1999 [2nd Ed]. p 143.

Grunenberg, Christopher. “Capability Brown: Spectacles of Hyperrealism, The Panorama and the Abject Horror in the Painting of Glenn Brow.” Glenn Brown. London: Tate Publishing, 2009. pp 17-28.

Haslam, Jason. “Coded Discourse: Romancing the (Electronic) Shadow in ‘The Matrix’” College Literature, Vol. 32, No. 3 (Summer, 2005). pp. 92-115.

Hartwell, David G. & Cramer, Kathryn. “How Shit Became Shionola: Definition and Redefinition of Space Opera”. The Space Opera Renaissance. New York: Orb/Tom Doherty Associates, 2007. pp 9-18.

Hathaway, Rosemary V. “’Life in the TV’: The Visual Nature of 9/11 Lore and Its Impact on Vernacular Response”, Journal of Folklore Research, Vol. 42, No. 1 (Jan. – Apr., 2005). pp. 33-56.

Hayward, Philip. “Sci-Fidelity”. Off The Planet: Music, Sound and Science Fiction Cinema. New Barnet: John Libbey Publishing, 2004. pp 1-29.

Hesier, Jorg. “Romantic Conceptualism and the Trouble with the Sublime. Now Is The Time: Art & Theory in the 21st Century. Rotterdam: Now Is The Time/NAi Publishers. 2009. pp 176-185.

Hollinger, Veronica. “Contemporary Trends in Science Fiction Criticism, 1980-1999”, Science Fiction Studies, Vol. 26, No. 2 (Jul., 1999). pp. 232-262.

Kakoudaki, Despina. “Spectacles of History: 
 Race Relations, Melodrama, and the Science Fiction/Disaster Film”, Camera Obscura 50, Volume 17, Number 2, 2002. pp 109-148.

Kelley, Mike. “In Conversation with Thomas McEvilley.” The Sublime: Documents of Contemporary Art. London: Whitechapel Gallery/Cambridge Mass: The MIT Press, 2010. pp 199-239.

de Kerckhove, Derrick. 
 “Connectivity: Art and Interactive Telecommunications” (1991), Leonardo, Vol. 24, No. 2. pp. 131-135.

Khouri, Nadia. “Lost Worlds and the Revenge of Realism (Les Mondes perdus et la revanche du réalisme)” Science Fiction Studies, Vol. 10, No. 2 (Jul., 1983). pp. 170-190.

Klein, Yves. “Truth becomes reality.” The Sublime: Documents of Contemporary Art. London: Whitechapel Gallery/Cambridge Mass: The MIT Press, 2010. pp 72-73.

Lacoue-Labarthe, Philippe, Kuchta, David. “Sublime Truth (Part 1)”. Cultural Critique, No. 18 (Spring, 1991). pp. 5-31.

Leydon, Rebecca. “The Soft-Focus Sound: Reverb as a Gendered Attribute in Mid-Century Mood Music”. Perspectives of New Music, Vol. 39, No. 2 (Summer, 2001): pp. 96-107.

Luckhurst, Roger. “Border Policing: Postmodernism and Science Fiction”. Science Fiction Studies, Vol. 18, No. 3, Science Fiction and Postmodernism (Nov., 1991): pp. 358-366.

Luckhurst, Roger. “Found-footage science fiction: Five films by Craig Baldwin, Jonathan Weiss, Werner Herzog and Patrick Keiller.” Science Fiction and Television, 2008. Volume 1, #2. Pp 193-214.

Lyotard, Jean-Francois. “The Sublime and the Avant-Garde.” The Inhuman: Reflections on Time. Stanford, California: Stanford University Press, 1991. pp 89-107.

Mather, Philip. “Figures of Estrangement in Science Fiction Film.” Science Fiction Studies, Vol. 29, No. 2 (Jul., 2002): pp. 186-201.

McEvilley, Thomas. “Turned Upside Down and Torn Apart.” Sticky Sublime. New York: Allworth Press, 2001: pp 57-83.

McLeod, Ken. “Space Oddities: Aliens, Futurism and Meaning in Popular Music.” Popular Music, Vol. 22, No. 3 (Oct. 2003): pp 337-355.

McLuhan, Marshall. “Visual and Acoustic Space”, Audio Culture: Readings in Modern Music. New York/London: Continuum Books, 2004. pp 67-73.

Mul, Jos De. “Radical Romanticism”. Now Is The Time: Art & Theory in the 21st Century. Rotterdam: Now Is The Time/NAi Publishers. 2009. pp 167-175.

Mercer, Kobena. “The Cross-Cultural and the Contemporary”. 21st Century: Art in the First Decade, catalogue. Queensland Art Gallery/ Gallery of Modern Art, 2010.

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American Graffiti. Dir. George Lucas. Lucas Film/Coppola Co./Universal, 1973. Film.

Another Earth. Dir. Mike Cahill. Artists Public Domain/Twentieth Century Fox, 2011. Film.

Battlestar Galactica. Dirs. Michael Rymer, Michael Nankin, Rod Hardy et al. David Eick Productions/Universal Television, 2004-2009. TV series.

Ben & Holly’s Little Kingdom. Dir. Neville Astley. Astley Baker Davies Ltd, 2009. TV Series.

Blade Runner. Dir. Ridley Scott. Warner Bros./Ridley Scott Productions, 1982. Film.

Blindness. Dir. Fernando Meirelles. Rhombus Media/02 Filmes, 2008. Film.

Children of Men. Dir. Alfonso Cuarón. Universal Pictures, 2006. Film.

Citizen Kane, Dir. Orson Welles. Mercury Productions/RKO Radio Pictures, 1941. Film.

Close Encounters of the Third Kind. Film. Dir. Steven Spielberg. Columbia Pictures/EMI 1977. Film.

The Conquest of Space. Dir. Byron Haskin. Paramount Pictures, 1955. Film.

Contact. Dir. Robert Zemeckis. Southside Amusement Company/Warner Bros. Pictures, 1997. Film.

The Day After Tomorrow. Dir. Roland Emmerich. Twentieth Century Fox/Centropolis Entertainment, 2004. Film.

The Day The Earth Stood Still. Dir. Robert Wise. Twentieth Century Fox, 1951. Film.

Destination Moon. Dir. Irving Pichel. George Pal Productions Inc. George Pal, 1950. Film.

Donnie Darko. Dir. Richard Kelly. Flower Films, 2001. Film.

Ed Wood. Dir. Tim Burton. Touchstone Pictures, 1994. Film.

Flood. Dir. Tony Mitchell. Flood Productions/Muse Entertainment Enterprises, 2007. Telemovie.

Forbidden Planet. Dir. Fred M. Wilcox. Metro-Goldwyn-Mayer, 1956. Film.

The Fountainhead. Dir. King Vidor. Warner Bros./ Henry Blanke, 1949. Film.

Idiocracy. Dir. Mike Judge. 20th Century Fox, 2006. Film.

Impostor. Dir. Gary Fleder. Dimension Films/Mary Katz Productions/Mojo Films, P.K. Pictures, 2001. Film.

Independence Day. Dir. Roland Emmerich. Twentieth Century Fox/Centropolis Entertainment, 1996. Film.

John Carter. Dir. Andrew Stanton. Disney, 2012. Film.

Judy, Frank and Dean: Once in a Lifetime. Dir. Norman Jewison. Famous Artists Productions Ltd, 1962. TV Special.

Knowing. Dir. Alex Proyas. Summit Entertainment, 2009. Film.

Logan’s Run. Dir. Michael Anderson. MGM, 1976. Film.

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The Matrix. Dir. Andy & Larry Wachowski. Village Roadshow Pictures/Warner Bros. 1999. Film.

Monsters. Dir. Gareth Edwards. Vertigo Films, 2010. Film.

La nuit américaine. Dir. François Truffaut. Les Films du Carrosse, 1973. Film.

Planet of The Apes. Dir. Franklin J. Schaffner. 20th Century Fox, 1968. Film.

Prince of Darkness. Dir. John Carpenter. Alive Films/Larry Franco Productions, 1987. Film.

Primer. Dir. Shane Carruth. Palisades/Tartan Video. 2004. DVD.

A Scanner Darkly.  Dir. Richard Linklater. Warner Independent Pictures/Thousand Words/Section Eight/Detour Filmproduction/3 Arts Entertainment. 2006. Film.

Screamers. Dr. Christian Duguay. Allegro Films/Fries Film Group/Fuji Eight Company Ltd/Triumph Films, 1995.

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Tom Corbett, Space Cadet. Dir. Robert Ward, George Gould et al. Rockhill Productions/CBS/ABC/NBC/Du Mont Television, 1951-53. TV Series.

Total Recall. Dir. Paul Verhoeven. Carolco Pictures, 1990. Film.

The Truman Show. Dir. Peter Weir. Paramount Pictures, 1998. Film

The Thing From Another World. Dir. Christian Nyby. Winchester Pictures, 1951. Film.

THX 1138. Dir. George Lucas. American Zoetrope/Warner. Bros, 1971. Film.

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2001: A Space Odyssey. Dir. Stanley Kubrick. MGM/Stanley Kubrick Productions, 1968. Film.

War of The Worlds. Dir. Byron Haskin. Paramount Pictures, 1953. Film.

The Wizard of Oz. Film. Dir. Victor Fleming. Mervyn LeRoy. Metro-Goldwyn-Mayor, 1939.

Zardoz. Dir. John Boorman. John Boorman Productions, 1974. Film.


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