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Palabras clave – provistas por la editorial

n/a; virtual reality; Tobi Hirotaka; collage; cyberpunk; co-productions; virtual worlds; European cinema; reception history; Metropia; transnational cinema; layers; manga; cinematism; Lo Tek; audience; 2000s; techno-Orientalism; outlaw technologist; YLEM artists using science and technology; animation; Masaki Gor?; “rich sight”; Germany; extraterritorial; proscenium views; care; Japanese science fiction; United States; post-utopia; comics; flattened screens; William Gibson; science fiction; animatism; post-apocalyptic narrative; genre; SCAN; HyperCard; bOING bOING; nostalgia; global capitalism; virtual idol; MONDO 2000; Timothy Leary; Walter Benjamin; visuality; fractal space; Marshall McLuhan; Renaissance; Hyperart Thomasson; Pattern Recognition; dystopia; Kowloon Walled City; participatory aesthetics; Guerrilla Games; translation; intertextuality; nuclear politics; end of history; Horizon: Zero Dawn; detritus; Blade Runner