跳转到内容

用户:EzrealChen/备用沙盒123

维基百科，自由的百科全书

Johnny Mnemonic

视情况整合章节

写作背景

[编辑]

故事设定

[编辑]

剧情大纲

[编辑]

登场角色

[编辑]

主题/评价与分析

[编辑]

出版历程

[编辑]

改编电影

[编辑]
主条目：非常任务 (电影)
其他方向

[1]

特别的提及

[2]

[3]

[4]

与作者有关的提及

[5]

作者访谈

[6]

被一些文献引用/专书（但我还没有access）

[7]

Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson

William Gibson by Gary Westfahl

[8]

小说（提及至少3次或者比较详细）

[9]

[10]

[11]

女性角色（Molly）[12]

[13]

小说（仅提及2次以下或仅稍微提及）

[14]

[15]

列入Utopian Literature in English Canada的列表[16]

[17]

[18]

[19]

作者写作史[20]

[21]

Molly[22]

hard-boiled style[23]

[24]

Molly[25]

偏向电影

[26]

[27]

[28]

偏向电影（仅提及2次以下或仅稍微提及）

[29]

[30]

[31]

[32]

[33]

[34]

[35]

[36]

[37]

[38]

[39]

[40]

[41]

[42]

黑人角色[43]

  1. ^ Evans, Arthur B., and R. D. Mullen. “North American College Courses in Science Fiction, Utopian Literature, and Fantasy.” Science Fiction Studies 23, no. 3 (1996): 437–528. http://www.jstor.org/stable/4240553.
  2. ^ Gore, Al. “Editorial: The Metaphor of Distributed Intelligence.” Science 272, no. 5259 (1996): 177–177. http://www.jstor.org/stable/2889599.
  3. ^ Kirby, David. “The Future Is Now: Diegetic Prototypes and the Role of Popular Films in Generating Real-World Technological Development.” Social Studies of Science 40, no. 1 (2010): 41–70. http://www.jstor.org/stable/27793341.
  4. ^ Delany, Samuel R., and R. M. P. “On ‘Triton’ and Other Matters: An Interview with Samuel R. Delany.” Science Fiction Studies 17, no. 3 (1990): 295–324. http://www.jstor.org/stable/4240009.
  5. ^ Pond, Doug, and Cory Doctorow. “Interview with Cory Doctorow.” The Massachusetts Review 45, no. 4 (2004): 742–54. http://www.jstor.org/stable/25090946.
  6. ^ McCaffery, Larry, and William Gibson. “An Interview with William Gibson.” Mississippi Review 16, no. 2/3 (1988): 217–36. http://www.jstor.org/stable/20134176.
  7. ^ Kroker, Arthur and Marilouise Kroker. "Johnny Mnemonic: The Day Cyberpunk Died." In Hacking the Future: Stories for the Flesh-Eating 90s. New York: St. Martin's, 1996. 50-51
  8. ^ DiAmato, Brian. "Electric I: Brian DiAmato on Robert Longo's Johnny Mnemonic." Artforum 33, no. 10 (summer 1995): 23-24, 12
  9. ^ Ross Farnell. “Posthuman Topologies: William Gibson’s ‘Architexture’ in ‘Virtual Light’ and ‘Idoru.’” Science Fiction Studies 25, no. 3 (1998): 459–80. http://www.jstor.org/stable/4240725.
  10. ^ Lindberg, Kathryne V. “Prosthetic Mnemonics and Prophylactic Politics: William Gibson among the Subjectivity Mechanisms.” Boundary 2 23, no. 2 (1996): 47–83. https://doi.org/10.2307/303807.
  11. ^ Huang, Betsy. “Premodern Orientalist Science Fictions.” MELUS 33, no. 4 (2008): 23–43. http://www.jstor.org/stable/20343506.
  12. ^ Nixon, Nicola. “Cyberpunk: Preparing the Ground for Revolution or Keeping the Boys Satisfied?” Science Fiction Studies 19, no. 2 (1992): 219–35. http://www.jstor.org/stable/4240152.
  13. ^ Whalen, Terence. “The Future of a Commodity: Notes toward a Critique of Cyberpunk and the Information Age (L’Avenir d’une Marchandise: Notes Sur Cyberpunk et l’Ere de l’Information).” Science Fiction Studies 19, no. 1 (1992): 75–88. http://www.jstor.org/stable/4240123.
  14. ^ MacKellar, Calum, ed. “Popular Understanding of Neuronal Interfaces.” In Cyborg Mind: What Brain–Computer and Mind–Cyberspace Interfaces Mean for Cyberneuroethics, 25–30. Berghahn Books, 2019. https://doi.org/10.2307/j.ctvvb7mw5.6.
  15. ^ Carl Gutiérrez-Jones. “Stealing Kinship: Neuromancer and Artificial Intelligence.” Science Fiction Studies 41, no. 1 (2014): 69–92. https://doi.org/10.5621/sciefictstud.41.1.0069.
  16. ^ SARGENT, LYMAN TOWER. “Utopian Literature in English Canada: An Annotated, Chronological Bibliography 1852-1999.” Utopian Studies 10, no. 2 (1999): 174–206. http://www.jstor.org/stable/20718100.
  17. ^ Starrs, Paul F. “The Sacred, the Regional, and the Digital.” Geographical Review 87, no. 2 (1997): 193–218. https://doi.org/10.2307/216005.
  18. ^ Russell Blackford. Review of Reading the Ruined Cities, by Sabine Heuser. Science Fiction Studies 31, no. 2 (2004): 264–70. http://www.jstor.org/stable/4241258.
  19. ^ Wong Kin Yuen. “On the Edge of Spaces: ‘Blade Runner’, ‘Ghost in the Shell’, and Hong Kong’s Cityscape.” Science Fiction Studies 27, no. 1 (2000): 1–21. http://www.jstor.org/stable/4240846.
  20. ^ Brouillette, Sarah. “Corporate Publishing and Canonization: ‘Neuromancer’ and Science-Fiction Publishing in the 1970s and Early 1980s.” Book History 5 (2002): 187–208. http://www.jstor.org/stable/30228190.
  21. ^ David N. Samuelson. Review of A Softening of the Hard-Sf Concept, by David Hartwell and Kathryn Cramer. Science Fiction Studies 21, no. 3 (1994): 406–12. http://www.jstor.org/stable/4240375.
  22. ^ Stivale, Charles J. “Mille/Punks/Cyber/Plateaus: Science Fiction and Deleuzo-Guattarian ‘Becomings.’” SubStance 20, no. 3 (1991): 66–84. https://doi.org/10.2307/3685180.
  23. ^ Hicks, Heather J. “‘Whatever It Is That She’s since Become’: Writing Bodies of Text and Bodies of Women in James Tiptree, Jr.’s ‘The Girl Who Was Plugged in’ and William Gibson’s ‘The Winter Market.’” Contemporary Literature 37, no. 1 (1996): 62–93. https://doi.org/10.2307/1208751.
  24. ^ HARDACK, RICHARD. “Pure Formalities: Living With the Nescient Dead, or the Dead Who Don’t Know They Are Dead.” Contemporary Literature 59, no. 2 (2018): 161–203. https://www.jstor.org/stable/26687153.
  25. ^ McCaffery, Larry, J. G. Ballard, Greg Bear, Gregory Benford, David Brin, Istvan Csicsery-Ronay, Thomas M. Disch, et al. “Cyberpunk Forum/Symposium.” Mississippi Review 16, no. 2/3 (1988): 16–65. http://www.jstor.org/stable/20134158.
  26. ^ Collins, Karen. “Dead Channel Surfing: The Commonalities between Cyberpunk Literature and Industrial Music.” Popular Music 24, no. 2 (2005): 165–78. http://www.jstor.org/stable/3877641.
  27. ^ Brasher, Brenda E. “Thoughts on the Status of the Cyborg: On Technological Socialization and Its Link to the Religious Function of Popular Culture.” Journal of the American Academy of Religion 64, no. 4 (1996): 809–30. http://www.jstor.org/stable/1465623.
  28. ^ Nelson, Diane M. “A Social Science Fiction of Fevers, Delirium and Discovery: ‘The Calcutta Chromosome’, the Colonial Laboratory, and the Postcolonial New Human.” Science Fiction Studies 30, no. 2 (2003): 246–66. http://www.jstor.org/stable/4241172.
  29. ^ Blackford, Holly. “PC Pinocchios: Parents, Children, and the Metamorphosis Tradition in Science Fiction.” In Folklore/Cinema: Popular Film as Vernacular Culture, edited by Sharon R. Sherman and Mikel J. Koven, 74–92. University Press of Colorado, 2007. https://doi.org/10.2307/j.ctt4cgnbm.7.
  30. ^ Bostic, Adam I. “Automata: Seeing Cyborg through the Eyes of Popular Culture, Computer-Generated Imagery, and Contemporary Theory.” Leonardo 31, no. 5 (1998): 357–61. https://doi.org/10.2307/1576595.
  31. ^ Park, Jane Chi Hyun. “Stylistic Crossings: Cyberpunk Impulses in Anime.” World Literature Today 79, no. 3/4 (2005): 60–63. https://doi.org/10.2307/40158943.
  32. ^ Neil Gerlach, and Sheryl N. Hamilton. “Telling the Future, Managing the Present: Business Restructuring Literature as SF.” Science Fiction Studies 27, no. 3 (2000): 461–77. http://www.jstor.org/stable/4240923.
  33. ^ “The E-Files.” Science Fiction Studies 26, no. 2 (1999): 346–49. http://www.jstor.org/stable/4240806.
  34. ^ Groys, Boris. “Invisibility of the Digital: Religion, Ritual, Immortality.” RES: Anthropology and Aesthetics, no. 55/56 (2009): 336–40. http://www.jstor.org/stable/25608854.
  35. ^ Laura Salisbury. “Michel Serres: Science, Fiction, and the Shape of Relation.” Science Fiction Studies 33, no. 1 (2006): 30–52. http://www.jstor.org/stable/4241407.
  36. ^ Haslam, Jason. “Coded Discourse: Romancing the (Electronic) Shadow in ‘The Matrix.’” College Literature 32, no. 3 (2005): 92–115. http://www.jstor.org/stable/25115289.
  37. ^ Bordun, Troy Michael. Science Fiction Studies 46, no. 3 (2019): 636–39. https://www.jstor.org/stable/10.5621/sciefictstud.46.3.0636.
  38. ^ Australian National University. “ANU Reporter - Vol.29, No.04 (8 April 1998),” 1998. https://jstor.org/stable/community.32685308.
  39. ^ Cristiano, Anthony. “A Virtual Revisitation of the Relationship between Creature and Creator in Gabriele Salvatores ‘Nirvana.’” Italica 83, no. 3/4 (2006): 583–95. http://www.jstor.org/stable/27669107.
  40. ^ Taylor, Jonathan. “The Emerging Geographies of Virtual Worlds.” Geographical Review 87, no. 2 (1997): 172–92. https://doi.org/10.2307/216004.
  41. ^ RUPPERT, PETER. “Tracing Utopia: Film, Spectatorship and Desire.” Utopian Studies 7, no. 2 (1996): 139–52. http://www.jstor.org/stable/20719514.
  42. ^ Dyson, Frances. “Immersion.” In Sounding New Media: Immersion and Embodiment in the Arts and Culture, 1st ed., 107–35. University of California Press, 2009. http://www.jstor.org/stable/10.1525/j.ctt1pn6r1.10.
  43. ^ “Book Reviews.” Film Quarterly 56, no. 2 (2002): 50–62. https://doi.org/10.1525/fq.2002.56.2.50.
检索自“https://zh.wikipedia.org/w/index.php?title=User:EzrealChen/備用沙盒123&oldid=81706299”