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European Cyberpunk Cinema

School of Modern Languages Literatures and Cultures, Royal Holloway, University of London, Egham TW20 0EX, UK
Received: 26 June 2018 / Revised: 23 August 2018 / Accepted: 27 August 2018 / Published: 30 August 2018
(This article belongs to the Special Issue Cyberpunk in a Transnational Context)
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Abstract

Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed at adult audiences and co-produced with other European countries, they epitomise a type of European film. In addition, they share a number of narrative premises. Set in the near future, Renaissance and Metropia depict a dystopian Europe. Recycling motifs from non-European science fiction classics, they share similar concerns with interconnectivity, surveillance, immigration, class, the representation of women, as well as the obsession with beauty and physical perfection. This article will analyse their themes and aesthetics in order to explore how European popular cinema promotes a certain idea of European cultural identity within the limits of an industry whose products are targeted at a global market. View Full-Text
Keywords: European cinema; animation; co-productions; science fiction; cyberpunk; dystopia; Renaissance; Metropia; 2000s; transnational cinema European cinema; animation; co-productions; science fiction; cyberpunk; dystopia; Renaissance; Metropia; 2000s; transnational cinema
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This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. (CC BY 4.0).
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Merás, L. European Cyberpunk Cinema. Arts 2018, 7, 45.

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