摘要：The present text is a protocol of research whose principal objective is to identity and explore those aesthetic elements where the artistic ^rw.y and the industrial forms converge in the cinematographic discourse of three woiks representative of the variant of science fiction called cyberpunk. The films selected as units of analysis are Blade Runner (1982 Dir. Ridley Scott), Nirvana (1996. Dir. Gabirele Salvatores), and The Matrix (1999. Dir. Hermanos Wachowski). The central questions that guide this project are the following: How do the values of the movie industry and film as an art interrelate in a sample of films representative of cyberpunk? How is the aesthetic dimension of the cinematographic discourse of cyberpunk constituted? And how is the aesthetic configured when conceived as a communicative strategy in this type of film?
其他摘要：The present text is a protocol of research whose principal objective is to identity and explore those aesthetic elements where the artistic ^rw.y and the industrial forms converge in the cinematographic discourse of three woiks representative of the variant of science fiction called cyberpunk. The films selected as units of analysis are Blade Runner (1982 Dir. Ridley Scott), Nirvana (1996. Dir. Gabirele Salvatores), and The Matrix (1999. Dir. Hermanos Wachowski). The central questions that guide this project are the following: How do the values of the movie industry and film as an art interrelate in a sample of films representative of cyberpunk? How is the aesthetic dimension of the cinematographic discourse of cyberpunk constituted? And how is the aesthetic configured when conceived as a communicative strategy in this type of film?
