Retrofuturistic depiction of a flying locomotive, visually based on the Nebraska Zephyr, in a dieselpunk style reminiscent of the early 1940sProposed high-speed ocean express ("Ozeanreise im Jahre 2.000") as in the year 2000, 1931 (Hamburg - New York in 40 hours)Hotel on tracks ("Reisehotel") as in the year 2000, work of 1898Sailing ship airborne ("White Cruiser of the clouds"), 1902
Retrofuturism (adjective retrofuturistic or retrofuture) is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a "science" bent on anticipating what will come, retrofuturism is the remembering of that anticipation.[1] Characterized by a blend of old-fashioned "retro styles" with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world".[2]
The word retrofuturism is formed by the addition of the prefix "retro" from the Latin language, which gives the meaning of "backwards" to the word "future", a word also originating from Latin.
According to the Oxford English Dictionary, an early use of the term appears in a Bloomingdales advertisement in a 1983 issue of The New York Times. The ad talks of jewellery that is "silverized steel and sleek grey linked for a retro-futuristic look". In an example more related to retrofuturism as an exploration of past visions of the future, the term appears in the form of “retro-futurist” in a 1984 review of the film Brazil in The New Yorker.[3] Critic Pauline Kael writes, "[Terry Gilliam] presents a retro-futurist fantasy."[4]
History
This section needs expansion. You can help by adding to it. (November 2023)
Historiography
Retrofuturism builds on ideas of futurism, but the latter term functions differently in several different contexts. In avant-garde artistic, literary and design circles, futurism is a long-standing and well-established term.[citation needed] But in its more popular form, futurism (sometimes referred to as futurology) is "an early optimism that focused on the past and was rooted in the nineteenth century, an early-twentieth-century 'golden age' that continued long into the 1960s' Space Age".[5]
Retrofuturism is first and foremost based on modern but changing notions of "the future". As Guffey notes, retrofuturism is "a recent neologism", but it "builds on futurists' fevered visions of space colonies with flying cars, robotic servants, and interstellar travel on display there; where futurists took their promise for granted, retro-futurism emerged as a more skeptical reaction to these dreams."[6] It took its current shape in the 1970s, a time when technology was rapidly changing. From the advent of the personal computer to the birth of the first test tube baby, this period was characterized by intense and rapid technological change. But many in the general public began to question whether applied science would achieve its earlier promise—that life would inevitably improve through technological progress. In the wake of the Vietnam War, environmental depredations, and the energy crisis, many commentators began to question the benefits of applied science. But they also wondered, sometimes in awe, sometimes in confusion, at the scientific positivism evinced by earlier generations. Retrofuturism "seeped into academic and popular culture in the 1960s and 1970s", inflecting George Lucas's Star Wars and the paintings of pop artist Kenny Scharf alike".[7] Surveying the optimistic futurism of the early twentieth century, historians Joe Corn and Brian Horrigan remind us that retrofuturism is "a history of an idea, or a system of ideas—an ideology. The future, of course, does not exist except as an act of belief or imagination."[8]
Characteristics
Retrofuturism incorporates two overlapping trends which may be summarized as the future as seen from the past and the past as seen from the future.
The first trend, retrofuturism proper, is directly inspired by the imagined future which existed in the minds of writers, artists, and filmmakers in the pre-1960 period who attempted to predict the future, either in serious projections of existing technology (e.g. in magazines like Science and Invention) or in science fiction novels and stories. Such futuristic visions are refurbished and updated for the present, and offer a nostalgic, counterfactual image of what the future might have been, but is not.
The second trend is the inverse of the first: futuristic retro. It starts with the retro appeal of old styles of art, clothing, mores, and then grafts modern or futuristic technologies onto it, creating a mélange of past, present, and future elements. Steampunk, a term applying both to the retrojection of futuristic technology into an alternative Victorian age, and the application of neo-Victorian styles to modern technology, is a highly successful version of this second trend. In the movie Space Station 76 (2014), mankind has reached the stars, but clothes, technology, furnitures and above all social taboos are purposely highly reminiscent of the mid-1970s.
In practice, the two trends cannot be sharply distinguished, as they mutually contribute to similar visions. Retrofuturism of the first type is inevitably influenced by the scientific, technological, and social awareness of the present, and modern retrofuturistic creations are never simply copies of their pre-1960 inspirations; rather, they are given a new (often wry or ironic) twist by being seen from a modern perspective.
In the same way, futuristic retro owes much of its flavor to early science fiction (e.g. the works of Jules Verne and H. G. Wells), and in a quest for stylistic authenticity may continue to draw on writers and artists of the desired period.
Both retrofuturistic trends in themselves refer to no specific time. When a time period is supplied for a story, it might be a counterfactual present with unique technology; a fantastic version of the future; or an alternate past in which the imagined (fictitious or projected) inventions of the past were indeed real.
The import of retrofuturism has, in recent years, come under considerable discussion. Some, like the German architecture critic Niklas Maak, see retrofuturism as "nothing more than an aesthetic feedback loop recalling a lost belief in progress, the old images of the once radically new".[9]Bruce McCall calls retrofuturism a "faux nostalgia"—the nostalgia for a future that never happened.[10]
Themes
Although retrofuturism, due to the varying time-periods and futuristic visions to which it alludes, does not provide a unified thematic purpose or experience, a common thread is dissatisfaction or discomfort with the present, to which retrofuturism provides a nostalgic contrast.
A similar theme is dissatisfaction with the modern world itself. A world of high-speed air transport, computers, and space stations is (by any past standard) "futuristic"; yet the search for alternative and perhaps more promising futures suggests a feeling that the desired or expected future has failed to materialize. Retrofuturism suggests an alternative path, and in addition to pure nostalgia, may act as a reminder of older but now forgotten ideals. This dissatisfaction also manifests as political commentary in Retrofuturistic literature,[11] in which visionary nostalgia is paradoxically linked to a utopian future modelled after conservative values[12] as seen in the example of Fox News' use of BioShock's aesthetic in a 2014 broadcast.[13][14]
Retrofuturism also implies a reevaluation of technology. Unlike the total rejection of post-medieval technology found in most fantasy genres, or the embrace of any and all possible technologies found in some science-fiction, retrofuturism calls for a human-scale, largely comprehensible technology, amenable to tinkering and less opaque than modern black-box technology.
Retrofuturism has two main viewpoints that it stems from either an optimistic viewpoint or a pessimistic view. Retrofuturism which stems from an optimistic viewpoint tends to be an imagined futuristic society that comes from an advancement in technology in order to explore for the sake of science. Retrofuturism is not universally optimistic, and when its points of reference touch on gloomy periods like World War II, or the paranoia of the Cold War, it may itself become bleak and dystopian. This pessimistic retrofuturism is often imagined with technological advancement either being the downfall of humanity or being the last hope for humanity. In such cases, the alternative reality inspires fear, not hope, though it may still be coupled with nostalgia for a world of greater moral as well as mechanical transparency. It has been argued that retrofuturism, through finding hope in the disappointment and dystopia, and using that hope to push towards a brighter future, can be optimistic. Similarly, the visions of utopias depicted in retrofuturistic pieces can re-instill that hopefulness in audiences that have lost it.[15]
The first of these to be named and recognized as its own genre was cyberpunk, originating in the early to mid-1980s in literature with the works of Bruce Bethke, William Gibson, Bruce Sterling, and Pat Cadigan. Its setting is almost always a dystopian future, with a strong emphasis either upon outlaws hacking the futuristic world's machinery (often computers and computer networks), or even upon post-apocalyptic settings. The post-apocalyptic variant is the one usually associated with retrofuturism, where characters will rely upon a mixture of old and new technologies. Furthermore, synthwave and vaporwave are nostalgic, humorous and often retrofuturistic revivals of early cyberpunk aesthetic.
The term "steampunk" was among[16][17] the early subgenres recognized, emerging in the late 1980s. It presents a generally more optimistic and brighter outlook compared to cyberpunk. Steampunk is typically set in an alternate history closely resembling our own from the late 18th century, particularly the Regency era onwards, up to approximately 1914. However, it diverges from history in that it envisions 20th-century or even futuristic technologies powered by steam.
One of the recurring themes in this genre is the fascination with electricity as a mysterious force, often considered a utopian power source of the future. It's occasionally portrayed as having mystical healing properties, akin to how nuclear energy was perceived in the mid-20th century. Steampunk shares similarities with the original scientific romances and utopian novels of authors like H. G. Wells and Jules Verne.
An early instance of steampunk in comics can be found in the Franco-Belgian graphic novel series "Les Cités obscures," initiated by creators François Schuiten and Benoît Peeters in the early 1980s. It's worth noting that, on occasion, steampunk blurs the lines with the Weird West genre.
The most recently named and recognized retrofuturistic genre is dieselpunk aka decodence (the term dieselpunk is often associated with a more pulpish form and decodence, named after the contemporary art movement of Art Deco, with a more sophisticated form), set in alternate versions of an era located circa in the period of the 1920s–1950s. Early examples include the 1970s concept albums, their designs and marketing materials of the German band Kraftwerk (see below), the comic-book character Rocketeer (first appearing in his own series in 1982), the Fallout series of video games, and films such as Brazil (1985), Batman (1989), The Rocketeer (1991), Batman Returns (1992), The Hudsucker Proxy (1994), The City of Lost Children (1995), and Dark City (1998). Especially the lower end of the genre strongly mimic the pulp literature of the era (such as the 2004 film Sky Captain and the World of Tomorrow), and films of the genre often reference the cinematic styles of film noir and German Expressionism. At times, the genre overlaps with the alternate history genre of a different World War II, such as with an Axis victory.
Design and arts
Although loosely affiliated with early-twentieth century Futurism, retrofuturism draws from a wider range of sources. To be sure, retrofuturist art and literature often draws from the factories, buildings, cities, and transportation systems of the machine age. But it might be said that 20th century futuristic vision found its ultimate expression in the development of Googie or Populuxe design. As applied to fiction, this brand of retrofuturistic visual style began to take shape in William Gibson's short story "The Gernsback Continuum". Here and elsewhere it is referred to as Raygun Gothic, a catchall term for a visual style that incorporates various aspects of the Googie, Streamline Moderne, and Art Deco architectural styles when applied to retrofuturistic science fiction environments.
Although Raygun Gothic is most similar to the Googie or Populuxe style and sometimes synonymous with it, the name is primarily applied to images of science fiction. The style is also still a popular choice for retro sci-fi in film and video games.[18] Raygun Gothic's primary influences include the set designs of Kenneth Strickfaden and Fritz Lang.[citation needed] The term was coined by William Gibson in his story "The Gernsback Continuum": "Cohen introduced us and explained that Dialta [a noted pop-art historian] was the prime mover behind the latest Barris-Watford project, an illustrated history of what she called 'American Streamlined Modern'. Cohen called it 'raygun Gothic'. Their working title was The Airstream Futuropolis: The Tomorrow That Never Was."[19]
Aspects of this form of retrofuturism can also be associated with the late 1970s and early 1980s the neo-Constructivist revival that emerged in art and design circles. Designers like David King in the UK and Paula Scher in the US imitated the cool, futuristic look of the Russian avant-garde in the years following the Russian Revolution.
With three of their 1970s albums, German band Kraftwerk tapped into a larger retrofuturist vision, by combining their futuristic pioneering electronic music with nostalgic visuals. Kraftwerk's retro-futurism in their 1970s visual language has been referred to by German literary critic Uwe Schütte, a reader at Aston University, Birmingham, as "clear retro-style",[20] and in the 2008 three-hour documentary Kraftwerk and the Electronic Revolution, Irish-British music scholar Mark J. Prendergast refers to Kraftwerk's peculiar "nostalgia for the future" clearly referencing "an interwar [progressive] Germany that never was but could've been, and now [due to their influence as a band] hopefully could happen again". Design historian Elizabeth Guffey has written that if Kraftwerk's machine imagery was lifted from Russian design motifs that were once considered futuristic, they also presented a "compelling, if somewhat chilling, vision of the world in which musical ecstasy is rendered cool, mechanical and precise."[21] Kraftwerk's three retrofuturist albums are:
Kraftwerk's 1975 album Radio-Activity showed a 1930s radio on the cover, its inlay (which for its later CD re-release was widely expanded as a booklet illustrated in the same nostalgic style) showed the band photographed in black and white with old-fashioned suits and hairdos, and the music in its instrumentation as well as its ambiguous lyrics were (besides the other obvious theme of nuclear decay and nuclear power referenced by the album's titular pun) in homage to the "Radio Stars", that is the pioneers of electronic music of the first half of the 20th century, such as Guglielmo Marconi, Léon Theremin, Pierre Schaeffer, and Karlheinz Stockhausen (due to whom the band referred to themselves as but the "second generation" of electronic music).
The European version of the band's 1977 album Trans-Europe Express had a similar 1930s-style black and white photo of the band members on the cover (the U.S. version even had a cover of a vintage-style colored photograph in the style of Golden Age Hollywood stars), the style of the sleeve design as well as the design of promotional material tying in with the album were influenced by Bauhaus, Art Deco, and Streamline Moderne, the record came with a large, hand-tinted black and white poster of the band members in early-1930s style suits (where band member Karl Bartos later said in Kraftwerk and the Electronic Revolution that their intention was to visually resemble "an interwar string orchestra electrified" and that the background was meant to be a pictorial Switzerland where the band was making a resting stop in-between two legs of their European tour on the eponymous Trans-Europe Express), the song lyrics referenced the "elegance and decadence" of an urban interwar Europe, and in the promo clip made for the album's title song (shot in black and white on purpose) and other promotional material, the eponymous Trans-Europe Express was portrayed by the Schienenzeppelin first employed by the Deutsche Reichsbahn in 1931 (footage of the large original was used in outdoor shots, and a miniature model of it was used for shots where the TEE moved through a futuristic cityscape strongly reminiscent of Fritz Lang's 1927 film Metropolis).
The cover and sleeve design of the 1978 album The Man-Machine exhibits an obvious stylistic nod to the Constructivism of 1920s artists such as El Lissitzky, Alexander Rodchenko, and László Moholy-Nagy (due to which band members have also referred to it as "the Russian album"), and one song references the film Metropolis again. From this album on, Kraftwerk would also use their "show-room dummies" aka robot lookalikes on stage and in promotional material and increase the use of slightly campish make-up on band members that also resembled 1920s' expressionist make-up that to a lesser degree had already appeared in the promotional material for their 1977 album Trans-Europe Express.
From their 1981 album Computer World onwards, Kraftwerk have largely abandoned their retro notions and appear mainly futuristic only. The only references to their earlier retro style today appear in excerpts from their 1970s' promo clips that are projected in between more modern segments in their stage shows during the performance of these old song.
Retrofuturistic clothing is a particular imagined vision of the clothing that might be worn in the distant future, typically found in science fiction and science fiction films of the 1940s onwards, but also in journalism and other popular culture. The garments envisioned have most commonly been either one-piece garments, skin-tight garments, or both, typically ending up looking like either overalls or leotards, often worn together with plastic boots. In many cases, there is an assumption that the clothing of the future will be highly uniform.
The cliché of futuristic clothing has now become part of the idea of retrofuturism. Futuristic fashion plays on these now-hackneyed stereotypes, and recycles them as elements into the creation of real-world clothing fashions.
"We've actually seen this look creeping up on the runway as early as 1995, though it hasn't been widely popular or acceptable street wear even through 2008," said Brooke Kelley, fashion editor and Glamour magazine writer. "For the last 20 years, fashion has reviewed the times of past, decade by decade, and what we are seeing now is a combination of different eras into one complete look. Future fashion is a style beyond anything we've yet dared to wear, and it's going to be a trend setter's paradise."[11]
Retrofuturism has appeared in some examples of postmodern architecture. To critics such as Niklas Maak, the term suggests that the "future style" is "a mere quotation of its own iconographic tradition" and retrofuturism is little more than "an aesthetic feedback loop"[22] In the example seen at right, the upper portion of the building is not intended to be integrated with the building but rather to appear as a separate object—a huge flying saucer-like space ship only incidentally attached to a conventional building. This appears intended not to evoke an even remotely possible future, but rather a past imagination of that future, or a reembracing of the futuristic vision of Googie architecture.
The once-futuristic Los Angeles International AirportTheme Building was built in 1961 as an expression of the then new jet and space ages, incorporating what later came to be known as Googie and Populuxe design elements. Plans unveiled in 2008 for LAX's expansion featured retrofuturist flying-saucer/spaceship themes in proposals for new terminals and concourses.[23]
Modern electro style, influenced by Detroit-based artist in the early 80s (such as Drexciya, Aux 88, Cybotron). This style blend old analog gear (Roland Tr-808 and synths) and sampling methods from the 80's with modern approach of electro. The records labels involved in this journey are AMZS Recording, Gosu, Osman, Traffic Records and many others.
Canadian band Alvvays's music video, "Dreams Tonite", which includes archival footage of Montreal's Expo 67 was described by the band as "fetishizing retro-futurism".[26]
English band Electric Light Orchestra released their concept album Time in 1981. This album follows a man who wakes up in the year 2095 and how he reacts to this sudden change as well as his longing to be back in 1981. There are multiple descriptions of life and what technology is like in 2095.
Film
Director Brad Bird describes his 2004 Pixar film The Incredibles as "looking like what we thought the future would turn out like in the 1960s."[27]
British filmmaker Richard Ayoade noted his film The Double from 2013 was designed with the intention of looking like "the future imagined by someone in the past who got it wrong."[28]
Steampunk– Science fiction genre inspired by 19th-century industrial steam-powered machinery
Related Research Articles
Cyberpunk is a subgenre of science fiction in a dystopian futuristic setting that tends to focus on a "combination of lowlife and high tech", featuring futuristic technological and scientific achievements, such as artificial intelligence and cyberware, juxtaposed with societal collapse, dystopia or decay. Much of cyberpunk is rooted in the New Wave science fiction movement of the 1960s and 1970s, when writers like Philip K. Dick, Michael Moorcock, Roger Zelazny, John Brunner, J. G. Ballard, Philip José Farmer and Harlan Ellison examined the impact of drug culture, technology, and the sexual revolution while avoiding the utopian tendencies of earlier science fiction.
Futurism is an artistic and social movement that originated in Italy in the early 20th century.
Steampunk is a subgenre of science fiction that incorporates retrofuturistic technology and aesthetics inspired by, but not limited to, 19th-century industrial steam-powered machinery. Steampunk works are often set in an alternative history of the Victorian era or the American "Wild West", where steam power remains in mainstream use, or in a fantasy world that similarly employs steam power.
Retro style is imitative or consciously derivative of lifestyles, trends, or art forms from history, including in music, modes, fashions, or attitudes. In popular culture, the "nostalgia cycle" is typically for the two decades that begin 20–30 years ago.
A campaign setting is usually a fictional world which serves as a setting for a role-playing game or wargame campaign. A campaign is a series of individual adventures, and a campaign setting is the world in which such adventures and campaigns take place. Usually a campaign setting is designed for a specific game or a specific genre of game. There are numerous campaign settings available both in print and online. In addition to published campaign settings available for purchase, many game masters create their own settings, often referred to as "homebrew" settings or worlds.
Since the advent of the cyberpunk genre, a number of cyberpunk derivatives have become recognized in their own right as distinct subgenres in speculative fiction, especially in science fiction. Rather than necessarily sharing the digitally and mechanically focused setting of cyberpunk, these derivatives can display other futuristic, or even retrofuturistic, qualities that are drawn from or analogous to cyberpunk: a world built on one particular technology that is extrapolated to a highly sophisticated level, a gritty transreal urban style, or a particular approach to social themes.
Afrofuturism is a cultural aesthetic, philosophy of science, and history that explores the intersection of the African diaspora culture with science and technology. It addresses themes and concerns of the African diaspora through technoculture and speculative fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afro-diasporic experiences. While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history and magic realism. The term was coined by American cultural critic Mark Dery in 1993 and explored in the late 1990s through conversations led by Alondra Nelson.
Science fiction is an important genre of modern Japanese literature that has strongly influenced aspects of contemporary Japanese pop culture, including anime, manga, video games, tokusatsu, and cinema.
Raygun Gothic is a catchall term for a visual and architectural style that, when applied to retrofuturistic science fiction environments, incorporates various aspects of the Googie, Streamline Moderne and Art Deco architectural styles. Academic Lance Olsen has characterised Raygun Gothic as "a tomorrow that never was". It is inspired by Space Age, raypunk and atompunk subcultures.
Space Western is a subgenre of science fiction that uses the themes and tropes of Westerns within science-fiction stories in an outer space setting. Subtle influences may include exploration of new, lawless frontiers, while more overt influences may feature literal cowboys in outer space who use rayguns and ride robotic horses. Although initially popular, a strong backlash against perceived hack writing caused the genre to become a subtler influence until the 1980s, when it regained popularity. A further critical reappraisal occurred during the 2000s due to critical acclaim for Firefly.
"The Gernsback Continuum" is a 1981 science fiction short story by American-Canadian author William Gibson, originally published in the anthology Universe 11 edited by Terry Carr. It was later reprinted in Gibson's collection Burning Chrome, and in Mirrorshades, edited by Bruce Sterling. With some similarity to Gibson's later appraisal of Singapore for Wired magazine in Disneyland with the Death Penalty, as much essay as fiction, it depicts the encounters of an American photographer with the period futuristic architecture of the American Atomic Age and Art Deco when he is assigned to document it for British publishers Barris-Watford, and the gradual incursion of its retro-futuristic hallucinations into his world. "Gernsback" in the title alludes to Hugo Gernsback, the pioneer of early 20th century American pulp magazine science fiction.
Tech-noir is a hybrid genre of fiction, particularly film, combining film noir and science fiction, epitomized by Ridley Scott's Blade Runner (1982) and James Cameron's The Terminator (1984). The tech-noir presents "technology as a destructive and dystopian force that threatens every aspect of our reality".
Steampunk fashion is a subgenre of the steampunk movement in science fiction. It is a mixture of the Victorian era's romantic view of science in literature and elements from the Industrial Revolution in Europe during the 1800s. Steampunk fashion consists of clothing, hairstyling, jewellery, body modification and make-up. More modern ideals of steampunk can include t-shirts with a variety of designs or the humble jeans being accessorised with belts and gun holsters.
Japanese cyberpunk refers to cyberpunk fiction produced in Japan. There are two distinct subgenres of Japanese cyberpunk: live-action Japanese cyberpunk films, and cyberpunk manga and anime works.
Fantasy cartography, fictional map-making, or geofiction is a type of map design that visually presents an imaginary world or concept, or represents a real-world geography in a fantastic style. Fantasy cartography usually manifests from worldbuilding and often corresponds to narratives within the fantasy and science fiction genres. Stefan Ekman says, "a [regular] map re-presents what is already there; a fictional map is often primary – to create the map means, largely, to create the world of the map."
Dieselpunk is a retrofuturistic subgenre of science fiction similar to steampunk or cyberpunk that combines the aesthetics of the diesel-based technology of the interwar period through to the 1950s with retro-futuristic technology and postmodern sensibilities. Coined in 2001 by game designer Lewis Pollak to describe his tabletop role-playing game Children of the Sun, the term has since been applied to a variety of visual art, music, motion pictures, fiction, and engineering.
Sovietwave is a subgenre of synthwave music and accompanying Internet aesthetic which originates from the former Soviet Union, primarily Russia. It is characterized by an emphasis on the technology and culture of the Soviet Union, such as the Soviet space program and retrofuturistic Soviet era architecture and art, and is an expression of nostalgia for the Soviet Union. Linguist Maria Engström described Sovietwave as the post-Soviet counterpart to vaporwave, evoking a similar nostalgic critique of the "contemporary collapse of futurity" and longing for the lost optimism of a bygone era.
Solarpunk is a literary and artistic movement that envisions and works toward actualizing a sustainable future interconnected with nature and community. The "solar" represents solar energy as a renewable energy source and an optimistic vision of the future that rejects climate doomerism, while the "punk" refers to the countercultural, post-capitalist, and decolonial enthusiasm for creating such a future.
References
Citations
↑ Elizabeth Guffey and Kate C. Lemay, "Retrofuturism and Steampunk", The Oxford Handbook to Science Fiction, Oxford University Press, 2014, p. 434.
↑ Robert Lanham, "Introduction", The Oxford Handbook to Science Fiction, Oxford University Press, 2014, p. 14
↑ "retro, adj. and n.2." OED Online. Oxford University Press, June 2005. Web. 30 June 2018.
↑ Elizabeth Guffey and Kate C. Lemay, "Retrofuturism and Steampunk", The Oxford Handbook to Science Fiction, Oxford University Press, 2014, p. 435.
↑ Elizabeth Guffey, "Crafting Yesterday's Tomorrows: Retro-Futurism, Steampunk, and Making in the Twenty-First Century", Journal of Modern Craft 7.3 (November 2014) p. 254.
↑ Elizabeth Guffey, Retro: The Culture of Revival (Reaktion: 2006):155–157
↑ Joseph J. Corn and Brian Horrigan, Yesterday's Tomorrows: Past Visions of the American Future (Johns Hopkins Press: 1984): xii.
↑ Niklas Maak, "Goodbye Retro-Futurism · A farewell to our perpetual nostalgia for the future". 032c9 (Summer 2005): p. 117
Sheckley, Robert (1978). Futuropolis: Impossible Cities of Science Fiction and Fantasy. New York: A&W Visual Library. ISBN0-89104-123-0.
Wilson, Daniel H.; Richard Horne (2007). Where's My Jetpack?: A Guide to the Amazing Science Fiction Future that Never Arrived. Bloomsbury USA. ISBN978-1-59691-136-9.
External links
Wikimedia Commons has media related to Retrofuturism.
Look up retro future in Wiktionary, the free dictionary.
retro-futurismus.de – A German site showing numerous illustrations (click the names)
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
