AAAI (American Association for Artificial Intelligence), 118
Adler, Renata, 19–20, 38
Adorno, Theodor W., 145n19
advertising campaigns, 14, 25n4
Agamben, Giorgio, 91
Age of Spiritual Machines, The (Kurzweil), 115
Agre, Philip, 117
A.I. (Spielberg, 2001), 11, 76, 159, 169, 173–74
Alice in Wonderland (Carroll), 155
Alien (Scott, 1979), 61, 75–76, 78–79
aliens, 7, 32
in Clarke’s novel, 35, 41n18
and gender, 72, 74, 75, 82
and science fiction conventions, 36–39
allegories, 44, 87–91, 94–97, 100
Alphaville (Godard, 1965), 7
Also Sprach Zarathustra (Strauss), 32, 35, 41n20, 90, 141, 149
Altman, Robert, 5
ambiguities, 19, 22, 33, 79–80, 83
Andersen, Han Christian, 158, 168
Andreas (Hoffmannsthal), 151
animal brain, 89–91
anthropology, 30, 37
ape-men, 9, 32. See also Moon-Watcher
and AI and transcendence, 115
and animal brain, 89–91, 99
in Clarke’s novel, 35, 41n18
and fairy tales, 153, 169–70
and gender, 70, 77, 79, 82
and gravity, 16, 21, 43, 45, 47–51, 53n19
and obscene shadow, 128, 130
and space, 62–63
Apollo missions, 30, 39–40n4, 44
architectures, 117, 119, 121
Armstrong, Neil, 72
ARPA (Advanced Research Projects Agency), 113
ARPAnet, 113
art based on AI, 105, 118–20
art films, 13, 16–17, 23, 101
artificial intelligence (AI), 9, 11, 105–23, 123n4
and AI-based art, 118–20
and classical AI, 110–12, 113
and critical technical practice, 117–18
and expressive AI, 116, 117, 120–23
and representation, 106–7, 112, 116–17
and transcendence, 112–15
Astaire, Fred, 163
astronomy, 31, 33
Atmospheres (Ligeti), 35
auteurism, 4, 10, 29–39
Bacon, Francis, 70
banality, 57, 62, 92, 163
Barbarella (Vadim, 1968), 75
Barry Lyndon (Kubrick, 1975), 6, 11
and obscene shadow, 129, 134, 138–40
and space, 57, 59, 63, 64, 66
Basic Training I (Wiseman, 1971), 57
bathrooms, 47, 60, 135–39, 143, 144n12, 154, 157, 172–73
Beckett, Samuel, 155–56
Beethoven, Ludwig van, 133
believable agents, 119–20
La Belle et la Bête (Cocteau), 173
Bergman, Ingmar, 173
Bernstein, Jeremy, 18–19, 25n2, 52n14
Bigelow, Kathryn, 75
Black Prince, The (Murdoch), 155
Blake, William, 156
Bledsoe, Woody, 118
blockbusters, 14, 18, 78
Blue Danube, The (Strauss), 35, 38, 91
bone weapon, 35, 38–39
and animal brain, 90–91
and fairy tales, 153, 169
and gender, 70, 77
and gravity, 43, 45, 47, 49–50, 51, 53n19
and obscene shadow, 128–29
and space, 58, 60, 63, 67
Bonnie and Clyde (Penn, 1967), 5
Bordwell, David, 78–79
Bowman, Dave (2001), 4, 8–9, 14, 22, 32, 34, 37, 39
and AI and transcendence, 112, 115
and cinematographic brain, 98–99
and computer brain, 94–98
critics’ views on, 19, 22
eyes of, 49, 133, 169–70
and fairy tales, 150, 152, 154–61, 164, 166–75
and gender, 78–83
and gravity, 48, 50–51, 53n21
and obscene shadow, 128–29, 134–35, 138–41
and space, 57, 60, 61, 62, 64–68
box office success, 13–17
brain science, 9, 11, 87–101
animal brain, 89–91
cinematographic brain, 98–101
computer brain, 94–98
human brain of scientist, 91–94
Brakhage, Stan, 81
Breathless (Godard, 1959), 5
Bresson, Robert, 63, 156–57
Brooks, Rodney, 112
Bunny Lake Is Missing (Preminger, 1965), 78
Burgess, Anthony, 77, 133
Burroughs, Edgar Rice, 31, 72
Butler, Octavia, 74
Cameron, James, 85n15
Campbell, Joseph, 33
capitalism, 143
Carroll, Lewis, 155
Cartesian dualism, 88, 113
Cawelti, John, 76
Champlin, Charles, 26n7
Chassignet, Jean-Baptiste, 154
chess playing, 57, 58, 106, 108, 112, 143, 157, 166
Chion, Michel, 55–56, 58, 61–65, 130
Christianity, 16, 30–31, 33, 113
Ciment, Michel, 55–56, 59, 67, 140
CinemaScope, 52–53n17
cinematographic brain, 87–89, 93, 98–101
Citizen Kane (Welles, 1941), 83, 100
Civilization and Its Discontents (Freud), 128
Clare, John, 170
Clarke, Arthur C., 3, 30–31, 33–36, 41n18, 55
critics’ views of, 15–16, 18, 21, 26n9
on gender, 82, 139
on Louis XVI bathroom, 140
on monoliths, 37, 115
cleanliness, 59–60, 61, 139, 163, 173
A Clockwork Orange (Kubrick, 1971), 6, 11, 36
and fairy tales, 157
and gender, 76–77, 81
and gravity, 49
and human brain, 94
and obscene shadow, 128–29, 133–34
and space, 59, 60, 62, 63
Cocteau, Jean, 173
cognitive estrangement, 70, 84n4
Cold War, 7, 46–47, 71–72, 77, 131
commonsense reasoning and Artificial Intelligence, 107–8
communism, 7, 71, 77, 135
computer brain, 94–98
computer science, 9, 11, 51, 88, 105–6
confinement, 56–57, 59, 60, 63, 168
conjunctive orbit of moon and sun, 21
The Conquest of Space (Pal and Haskin, 1955), 7, 44, 70
consciousness
and AI and transcendence, 115
and cinematographic brain, 88, 90–91, 94, 98–101
and fairy tales, 154–55, 157–59, 161, 170–72
conversation map, 118
Cooper, James Fenimore, 74
counterculture, 3, 13–14, 25n3
creation science, 31
critical reception, 13–24, 26n7, 44
establishment views, 18–20, 26nn9, 10
youthful perspectives, 20–22
critical technical practice, 116, 117–18
Cruise, Tom, 62, 137
cultural paradigms, 47–48, 50–51, 52n15
cultural production, 127–28, 133, 145n19
Curtis, Jamie Lee, 85n15
Curtiz, Michael, 24
cybernetics, 101, 130
cyborg, 113–14
Dark Star (Carpenter, 1974), 61
DARPA (Defense Advanced Research Projects Agency), 113
Darwinism, 29, 31–32, 130
David and Lisa (Perry, 1962), 78
“The Dawn of Man,” 21, 35, 37, 43, 62, 67, 70, 82, 89, 115, 153, 169
Day of the Fight (Kubrick, 1951), 59
de Bergerac, Cyrano, 72
dehumanization, 20, 22, 36, 101
Deleuze, Gilles, 9, 88–89, 98, 100–101
de Palma, Brian, 79
Destination Moon (Pichel and Pal, 1950), 7, 44, 72
Dialectic of Enlightenment (Adorno and Horkheimer), 145n19
disorientation, 47–49, 78–79
D’Onofrio, Vincent, 134
doubling
and cinematographic brain, 98–99
and fairy tales, 150–51, 153, 155, 169
and obscene shadow, 128–29
Douglas, Kirk, 23, 82
Dream of the Moving Statue, The (Gross), 164–65
Dr. Strangelove (Kubrick, 1964), 7, 10, 11, 15
and fairy tales, 162, 175
and gender, 76–78
and gravitas, 47
and human brain, 94
and obscene shadow, 129–32, 135–36, 139
and space, 57, 58, 59, 60, 62, 63, 65–66, 67
Dullea, Keir, 65, 78, 94
Dyson, Freeman, 38
Easy Rider (Hopper, 1969), 15
Egan, Richard, 71
8½ (Fellini, 1963), 13
eighteenth century, 140–41, 143, 145nn18,19. See also Louis XVI room
Eliot, T. S., 161
Enlightenment, 16, 145n19
epic films, 23, 24, 78
evangelicalism, 30–31
evolutionary science, 30–33, 130, 141
experts, 34, 37, 44, 52n5, 107
expressive AI, 9, 116, 117, 120–23
extraterrestrial (ET) life, 4, 30–31, 33, 36
eyes, 45, 61, 155
of Dave Bowman (2001), 49, 133, 169–70
of HAL (2001), 39, 48, 64, 95, 98, 108, 111–12, 116, 132
of star child, 39, 81, 156
Eyes Wide Shut (Kubrick, 1999), 4, 6, 11
and fairy tales, 158
and gender, 81
and obscene shadow, 129, 137–38, 142–43
and space, 55, 58, 59, 61, 62, 63
Fahrenheit 451 (Truffaut), 36
fairy tales, 9, 12, 147–75
falling upward, 45–50
Falsetto, Mario, 80
“Fascinating Fascism” (Sontag), 141
fascism, 131–32, 141–42
Fear and Desire (Kubrick, 1953), 5–6
Fellini, Federico, 13, 17
Female Man, The (Russ), 74
feminism, 70, 73
fetus, 8–9, 22, 32, 37, 98–99, 155, 158. See also star child
Fiedler, Leslie, 74
Filmguide to 2001 (Geduld), 172
Film Technique (Pudovkin), 41n19
Fire Maidens of Outer Space (Roth, 1955), 75
Fletcher, Angus, 170
flight attendants, 46–47, 52n14, 78, 92, 93, 163
floating pen, 38, 46, 92, 160
Floyd, Heywood (2001), 6, 9, 38
and fairy tales, 150, 154, 160–63, 169
and gender, 77–80
and gravity, 46–47, 52n15
and human brain, 92–93, 98
and space, 56
Following Story, The (Nooteboom), 148–49
Forbidden Planet (Wilcox, 1956), 7
Forster, E. M., 56
Fowler, Gene, Jr., 7
Frankenstein (Shelley), 30, 32, 71
Frazier, J. G., 33
Freedman, Carl, 74
French New Wave, 5, 7
Freud, Sigmund, 32, 128
Friedrich, Caspar David, 162
From the Earth to the Moon (Verne), 71, 73
frontier myths, 76
Full Metal Jacket (Kubrick, 1987), 11
and gender, 77
and obscene shadow, 129–30, 134–36, 143
and space, 57, 59, 60, 61, 63–64, 67
Funny Girl (Wyler, 1968), 16
game playing, 11, 57, 58, 106, 108, 112, 116, 123, 157, 166
game space, 58–59
Gayne Ballet Suite (Khatchaturian), 149
gaze of camera, 75–76, 85n15, 90, 167
Geduld, Carolyn, 172
Gelmis, Joseph, 20, 141
gender, 10–11, 69–84, 84n9, 85n15, 97, 135–39, 150, 165
generation gap in critical reception, 13–24, 25n3
Genesis Flood, The (Whitcombe and Morris), 31, 40n5
German Romanticism, 151, 169
Gilbert, James, 10
Gilliatt, Penelope, 26n7
Godard, Jean-Luc, 5, 7
God concept, 29–32
Gog (Strock, 1954), 71–72, 75
Golden Bough (Frazier), 33
Gould, Stephen J., 31
The Graduate (Nichols, 1968), 15, 16, 22
Grady, Delbert (The Shining), 66
Grant, Barry, 10–11
Grant, Cary, 165
gravitas, 10, 44, 51
gravity, 10, 35, 43–51, 52nn14,15, 53n21
Gross, Kenneth, 164–65
HAL (2001), 8–9, 11, 32, 37
and artificial intelligence (AI), 105–23
and art, 119–20
and classical AI, 110–12
and critical technical practice, 118
and expressive AI, 116, 121–23
and representation, 106–7, 112, 116
and transcendence, 112, 114–15
and brain science, 94–98
critics’ views on, 19, 22
eyes of, 39, 48, 64, 95, 98, 108, 111–12, 116, 132
and fairy tales, 151–52, 157, 159, 161, 164–73
and gender, 79–80
and gravity, 48–50, 53n19
and obscene shadow, 129–30, 132, 134, 139, 142
and space, 57, 60, 64, 65, 67–68
Halloween (Carpenter, 1978), 167
HAL’s Legacy (Stork), 55, 106
Harbison, Robert, 162
Harbou, Thea von, 73
Hark, Ina Rae, 82
Harvard Crimson, 17, 20–22, 23
Hasford, Gustav, 134
Haskins, Byron, 7, 44
Hatch, Robert, 26n10
Hawks, Howard, 24
Hawthorne, Nathaniel, 71
Hayden, Sterling, 77, 131, 135
Hero with a Thousand Faces (Campbell), 33
High School (Wiseman, 1968), 57
history, 16, 20–21, 24, 36–37
Hitchcock, Alfred, 63, 157, 171
Hoffmann, E. T. A., 163
Hoffmannsthal, Hugo von, 151
Hollywood storytelling, 16–17, 18, 23
Homer, 24, 39
hominids. See ape-men
homosexuality, 139
Hopper, Dennis, 15
Horkheimer, Max, 145n19
Horner, Harry, 7
How the West Was Won (Ford et al.), 14
human brain of scientist, 91–94
human-computer symbiosis, 113–14
human intelligence, 11, 33, 87–89, 93, 114
humanism, 16
humor, 36, 37, 38, 47, 60, 130, 135
IBM, 38, 55
ideas, characters as, 6, 19, 157–58
imagination, 11, 12, 36, 93, 156
“Imagination of Disaster, The” (Sontag), 32, 36, 40n5, 44
I Married a Monster from Outer Space (Fowler, 1958), 7
Institute for Advanced Study (Princeton, N.J.), 38
institutional space, 56–58
intelligence, nature of, 32–33. See also artificial intelligence (AI); human intelligence
interactionist AI, 110–12, 120
international art cinema, 17, 23
Internet, 113
Invaders from Mars (Menzies, 1953), 72
Invasion of the Body Snatchers (Siegel, 1956), 7
I Robot (Asimov, 1950), 32
ironic denouement, 22, 36–38
Italian neorealism, 5
James, Edward, 44
Jaszi, Peter, 20
Johnson, Diane, 11
Journey to the Center of the Earth (Verne), 71
Juliet of the Spirits (Fellini, 1965), 13
Jung, Carl, 29, 33
“Jupiter and Beyond the Infinite,” 80, 98–100, 143
“Jupiter Mission—Eighteen Months Later,” 47
Kael, Pauline, 13–14, 16–17, 18, 22–23, 25n2, 149
Kagan, Norman, 79
Kaplan, Stephen, 20
Kauffmann, Stanley, 18–20
Keller, Evelyn Fox, 70, 81
Khatchaturian, Aram, 94, 149
Kidman, Nicole, 137
Killer’s Kiss (Kubrick, 1955), 5, 59, 62, 130, 174
The Killing (Kubrick, 1956), 5, 11, 45, 59, 65, 130–31
King Lear (Shakespeare), 160
Knight, Damon, 70
Kolker, Robert, 23, 26n12, 76, 82, 131–32, 141–42, 144n12, 145n18
Kubrick, Vivian, 92
Kuhn, Thomas, 46, 51
Kurosawa, Akira, 17
Kurzweil, Ray, 115
Lacan, Jacques, 129
La Haye, Tim, 40n5
Landy, Marcia, 9, 11
Lang, Fritz, 73
Lara Croft (West, 2001; de Bont, 2003), 75
Last and First Men (Stapledon), 78, 83–84
Last Year in Marienbad (Resnais, 1961), 64
Lawrence, D. H., 74
Lawrence of Arabia (Lean, 1962), 14
Left Behind series, 40n5
Left Hand of Darkness, The (LeGuin), 73–74
LeGuin, Ursula K., 73–74
Lem, Stanislaw, 73, 80
Licklidder, J. C. R., 113–14
Life, 25n4
Ligeti, György, 35, 79–80, 89–90, 93, 143
Little Big Man (Penn, 1970), 76
lobotomy, 9, 96–97, 169–71
Lockwood, Gary, 78, 94
Lolita (Kubrick, 1962), 15
and gender, 78
and obscene shadow, 129, 132–33, 136, 137, 140
and space, 59, 62, 65, 66
Lorca, Garcia, 174
Louis XVI room, 32, 34, 37
and cinematographic brain, 98
and fairy tales, 158, 170, 172–74
and gender, 80
and obscene shadow, 135, 139–40
and space, 56–57
Lucas, George, 7, 21, 83
Lux Aeterna (Ligeti), 35
Mamber, Stephen, 9, 10
Maneuver (Wiseman, 1979), 57
Mann, Anthony, 23
man versus machine, 4, 19, 22, 32, 96–98, 130
masculinity, 10–11, 15, 70–72, 75–77, 81–83, 160, 165
M.A.S.H. (Altman, 1970), 5
Mason, James, 132
Mateas, Michael, 9, 11
McCabe and Mrs. Miller (Altman, 1971), 76
McClintock, Barbara, 81
McDowell, Malcolm, 77
McLuhan, Marshall, 20, 34
Mean Streets (Scorsese, 1972), 5
Méliès, Georges, 35, 41n19, 72–73
Melville, Herman, 74
memory, 12, 159–61, 170
Merchant of Venice, The (Shakespeare), 153
Metamorphoses (Ovid), 157
meteors, passage of, 30, 37
Metropolis (Lang, 1926), 44, 73
MGM, 14, 30, 52–53n17
Michelson, Annette, 8, 24, 45, 47, 163
Miles, David, 151
Milestone, Lewis, 24
Miller, Frank, 92
Mind Children (Moravec), 114–15
Minsky, Marvin, 44, 107, 113
mise-en-scène, 6, 73, 79, 88, 128
Missile (Wiseman, 1987), 57
Mission to Mars (De Palma, 2000), 79
Modine, Matthew, 134
monoliths, 8–10, 32, 35, 37
and AI and transcendence, 115
and brain science, 89–90, 93, 98–99
critics’ views on, 15, 21–22, 24
and fairy tales, 153, 155, 159, 162, 172
and gender, 79–80, 82–83
and gravity, 47, 49–50
and humor, 38
and obscene shadow, 130, 138, 142, 143, 144n5
and space, 58, 60, 66
monster invasion films, 36–37, 44
moon landings, 15, 30, 72
Moon-Watcher, 35, 38–39
and animal brain, 90, 92–93
and cinematographic brain, 98
and fairy tales, 153–54, 164, 169
and gender, 70, 83
and obscene shadow, 99, 128–29
Moore, C. L., 74
Moravec, Hans, 114–15
Morris, Henry, 31, 40n5
The Mouse That Roared (Arnold, 1959), 66
“De la muerte oscura” (Lorca), 174
Mulvey, Laura, 75
Murdoch, Iris, 155
music, 32, 35, 41n20
and animal brain, 89–90
and fairy tales, 149, 163
and gender, 72, 79–80
and human brain, 91, 93–94
and obscene shadow, 133, 141, 143
mythological symbolism, 24, 30–33, 35, 37, 39
Nabokov, Vladimir, 132
Napoleon, 140
narrative strategies, 16, 20, 34
narrative structure, 5, 16, 18, 22, 47, 64, 66–67, 78
NASA, 34, 37–38, 52n5, 74
natural language processing, 107–8, 120, 123n2
natural selection, 29–30
Nelson, Thomas Allen, 26n9, 41n19, 92, 100, 140–41
neorealism, 5, 100–101
new tribaliam, 13–14, 25n2
New Yorker, 18, 25n2, 26n7
New York Times, 19, 38
Nichols, Mike, 15, 16, 22
Nietzsche, Friedrich, 32, 41n20
Ninth Symphony (Beethoven), 133
Noble, David, 113
Nooteboom, Cees, 148–49
Notes on Cinematography (Bresson), 156–57
nothingness, 29, 31, 156
nuclear war, 38–39, 58, 77, 134
obscene shadow, 12, 127–43, 145n18
Odysseus, 32, 39
Oedipality, 15, 16, 83
official space, 56–58
O’Hara, Frank, 154
Ophuls, Max, 64
Ordway, Frederick, 34, 37, 52n5
Ovid, 157
Oz project (Carnegie Mellon Univ.), 119
Pal, George, 7, 44
Palmer, Barton, 10
paradigms, 46–48, 50–51
parody space, 59–61
Paths of Glory (Kubrick, 1957)
and fairy tales, 174
and gender, 78
and obscene shadow, 129, 134, 140, 142–43, 145n18
and space, 57, 63
patriarchy, 11, 15, 70–72, 75–77, 82–83, 143
Penn, Arthur, 5
Penny, Simon, 117–18
Persona (Bergman, 1966), 173
phallic symbolism, 10, 70–73, 77, 82, 95
Pichel, Irving, 7, 44
Pickens, Slim, 77, 130
Piercy, Marge, 74
Planet of the Apes (Schaffner, 1968), 37
Poe, Edgar Allan, 72, 132, 170
point of view, 61, 80, 99, 171
Polanski, Roman, 155
Poole, Frank (2001), 32
and computer brain, 94–96, 98
and fairy tales, 149–50, 152, 154, 160–61, 164, 166–68, 170
and gender, 78–79
and gravity, 47–48, 53n19
and obscene shadow, 138
and space, 57, 58, 59, 60, 63
Primate (Wiseman, 1974), 57
progress, 15, 16, 17, 33
and computer brain, 95
critics’ views on, 21–22
and gender, 76
and gravity, 46
and obscene shadow, 128, 139
prophetic year, 4
psychedelic images, 3, 13–14, 25n3, 32, 98
Psycho (Hitchcock, 1960), 171–72
psychological meanings, 30, 37, 82
Pudovkin, V. I., 41n19
pulp fiction, 31, 71, 72
Pyle, Private (Full Metal Jacket), 61
Rain, Douglas, 94, 171
Rasmussen, Randy, 62
rational thought
and AI and transcendence, 112
and animal brain, 91
and fairy tales, 153–54, 158
and gender, 70, 78, 83
and gravity, 45, 50
and obscene shadow, 128, 140–41, 143
realism, 59, 100. See also scientific accuracy; verisimilitude
reasoning. See rational thought
rebirth, 9, 10, 38
and cinematographic brain, 99
and fairy tales, 155
and gender, 82–83
and gravity, 51
and obscene shadow, 142
and space, 61–63, 65, 68
recreational drug use, 3, 13–14, 25n3
Red Planet Mars (Horner, 1952), 7
Reed, Kit, 74
Reflections on Black (Brakhage, 1955), 81
reflexivity, 89, 100
religion, 14, 30, 39
Religion of Technology, The (Noble), 113
repetitions, 58–59, 66
representation and AI, 106–7, 112, 116–17
Requiem, The, (Ligeti) 35
Resnais, Alain, 64
“Retourne le Miroir” (Chassignet), 154
Richter, Daniel, 90
riddles, 12, 151–54, 158
Ripley (Alien), 76
ritual space, 58–59
Rolling Stone, 30
Romanticism, 151, 155, 163, 169
Rosemary’s Baby (Polanski, 1968), 155
Rosenfield, Albert, 25n4, 144n5
Rossiter, Leonard, 92
Run Lola Run (Tykwer, 1998), 64
Russ, Joanna, 74
Russian scientists, 38, 46–47, 52n15, 79, 92, 161–62
Sack, Warren, 118
Sagan, Carl, 37
Salinger, J. D., 15
“Sandman, The” (Hoffmann), 163
Sargent, Pamela, 74
Schlesinger, Arthur, Jr., 26n10
Schnitzler, Arthur, 143
Scholes, Robert, 84n4
Schwarzenegger, Arnold, 85n15
science, 16, 21, 33, 36, 39, 44, 51
and evangelicalism, 30–31
and gender, 70, 83
and obscene shadow, 145n19
science fiction, 29–33, 40n5
and brain science, 93–94
and gender, 71–77
science fiction films, 7, 10, 35–39
and computer brain, 95
critics’ views on, 17, 20–21, 25n4
and gender, 70–73, 75–78, 84n9
and gravitas, 43–44, 51
scientific accuracy, 4, 7, 52n5, 73
and gravity, 43–45, 51
and science fiction conventions, 36–38
Scientific American Frontiers, 112
Scorsese, Martin, 5
Scott, George C., 135
Seabright, Idis, 74
seeing, 12, 39, 50, 152, 155, 168, 170. See also eyes
Sellers, Peter, 62, 65–66, 132, 135
Sengers, Phoebe, 117
“Sentinel, The” (Clarke), 18–19, 26n9, 34, 82
Shakespeare, William, 153, 160
Sheldon, Alice, 74–75
Shelley, Mary, 30, 71
The Shining (Kubrick, 1980), 6, 11
and fairy tales, 173
and gender, 77
and obscene shadow, 128–29, 136–37
and space, 55, 58, 59, 60, 61, 62, 64
“Ship Who Sang, The” (Wilhelm), 74
Short-Timers, The (Hasford), 134
Siegal, Don, 7
signs, 47, 60, 69
silent film, 25n2, 34, 35, 90
Simmons, Jean, 82
Sinai Field Mission (Wiseman, 1978), 57
skepticism, 51, 141, 155
Smith, Kiki, 161
“Snow Queen, The” (Andersen), 158
Sobchack, Vivian, 78
Social Darwinists, 142
Solaris (Lem), 73, 80
Sontag, Susan, 32, 36, 40n5, 44, 141
Soviet scientists. See Russian scientists
space, 10, 55–68
alien space, 62–63
and cinematographic brain, 88
dream space, 61–62
geometrical space, 63–65
institutional-official space, 56–58
parody space, 59–61
ritual-game-war space, 58–59
thematic contradiction of, 19–20
ubiquitous space, 65–67
Space and Place (Tuan), 60–61
space operas, 44, 72, 75
Spartacus (Kubrick, 1960), 18, 23, 82, 134, 157
special effects, 21, 35, 44, 76, 83
Spiegel, Lynn, 39–40n4
Spielberg, Steven, 11, 76, 174
Stapledon, Olaf, 78, 83–84, 86n34
star child, 14, 22, 32, 37. See also fetus
and AI and transcendence, 112–15
and cinematographic brain, 99
eyes of, 39, 81, 156
and fairy tales, 155–56, 158–59
and gender, 80–83
and gravity, 50–51
and obscene shadow, 134, 138–42
and space, 57, 61, 63, 65
Stargate, 34, 61–62, 80–81, 150, 169–71
Star Trek (television series), 78
Star Trek: The Motion Picture (Wise, 1979), 79
Star Trek: The Next Generation (television series), 112
Star Wars (Lucas, 1977), 7, 21, 83
statues, 161, 164–65
St. Clair, Margaret, 74
Stevens, Wallace, 159
stewardesses. See flight attendants
Stork, David, 37
Strange Days (Bigelow), 75
Strauss, Johann, 35, 43, 46, 72, 163
Strauss, Richard, 32, 35, 41n20, 72, 89–90, 93, 141, 149
superhumans, 113–14
superimpositions, 64, 65
Superman, 32, 41n20
Super Panavision, 37, 52–53n17, 83
Sylvester, William, 77–78, 92
symmetrical compositions, 59, 63, 64
Talaley, Rachel, 75
Tank Girl (Talaley), 75
Tarantino, Quentin, 5
Taylor, John Russell, 25n3
technology, 4, 15, 21–22, 30, 32–33
and animal brain, 91
and cinematographic brain, 88, 99–101
and computer brain, 94–98
and fairy tales, 154, 164
and gender, 70, 72, 76–78, 83
and gravity, 43–44, 46, 51, 53n21
and human brain, 92–93
and obscene shadow, 128, 145n19
and science fiction conventions, 36–37
television, 25n2, 44, 88, 112
Telotte, Jay, 10
Tennyson, Alfred, Lord, 160
Terminator (Cameron, 1984, 1991; Mostow, 2003), 75
Thackeray, William Makepeace, 138
Things to Come (Menzies, 1936), 44, 73, 78
3001: The Final Odyssey (Clarke), 34
time-image, 100–101
Time Machine, The (Wells), 71, 86n33
time travel, 29, 37, 65–66, 83, 86n33
Tiptree, James, Jr., 74–75
Toilets in Kubrick’s films, 47, 60, 135–39, 157
Toles, George, 9, 12
trajectory, 10, 18, 44, 47–51
transcendent intelligence, 29–30, 112–15
and fairy tales, 154, 159
“Trash, Art, and the Movies” (Kael), 16–17
travel planning domain, 107, 123n2
trip movie, 3, 24, 25n3, 61, 149
Trip to the Moon (Méliès, 1902), 35, 41n19, 72–73
True Lies (Cameron, 1994), 85n15
Truffaut, François, 5
Tuan, Yi-Fu, 60–61
Turing, Alan, 109, 119, 123n4
Turing Test, 109–10, 119, 123n4
20,000 Leagues under the Sea (Verne), 71
2001: A Space Odessey (Clarke), 18, 26n9, 35, 41n18, 133–34
2010: Odyssey Two (Clarke), 34
2061: Odyssey Three (Clarke), 34
Tykwer, Tom, 64
Ubermensch, 32, 41n20
ubiquitous space, 65–67
UFOs, 33
Ulysses, 159
Variety, 26n10
verisimilitude, 35–36, 39, 45. See also scientific accuracy
Verne, Jules, 71, 72–73
violence, 5, 6, 9, 12
and computer brain, 96
critics’ views on, 15, 19, 21–22
and gender, 70, 77
and gravity, 47–50, 53n19
and obscene shadow, 127–28, 130, 134–35, 140, 142
and space, 57–59, 63
Virilio, Paul, 45–46, 48, 50–51
von Braun, Wernher, 52n5
Walker, Alexander, 32, 48, 56, 80, 140
War and Peace (Tolstoy), 56
war films, 5, 63, 77
War of the Worlds (Haskin, 1953; Spielberg, 2005), 36
war space, 58–59
Weaver, Sigourney, 78
weightlessness, 30, 46, 49, 52n14, 64, 76, 78, 160
Welles, Orson, 58, 83
Wells, H. G., 32, 71, 73, 78, 86n33
western films, 72, 76, 84n9
“Where No Man Has Gone Before” (Star Trek episode, 1965), 78
Whitcombe, John, 30–31, 40n5
White, Susan, 11–12, 60
Wilcox, Fred, 7
Wilhelm, Kate, 74
Willis, Connie, 74
Wiseman, Frederick, 57
The Wizard of Oz (Fleming, 1939), 143
Woman in the Moon (Lang, 1929), 73–74
Woman on the Edge of Time (Piercy), 74
“Women Men Don’t See, The” (Tiptree), 74–75
Women of Wonder (Sargent), 74
Woolf, Virginia, 161
work space, 57–58
“World as Meditation, The” (Stevens), 159
Youngblood, Gene, 26n7
zero gravity, 47, 60, 138. See also weightlessness
Žižek, Slavoj, 129, 134–35
zoo, 32, 34, 50, 57