*0011213887
*008141029s2014    xx#           000 0 eng
*019  $bk
*08230$a302.234
*100  $aVirginás, Andrea$4aut$_143159900
*245  $aScreens "as representation" and screens "as simulation" in mainstream cinema detection$bbetween Blade Runner (1982) and Splice (2009)
*300  $aS. [76]-93 : ill.
*500  $aVitenskapelig artikkel
*5208 $aInneholder sammendrag
*600  $aManovich, Lev$_143160000
*650  $aDatateknologi$2norart$_98863800
*650  $aFilmer$2norart$_13903600
*650  $aSimulering$2norart$_33301700
*650  $akommunikasjonssosiologi$2norart$_49848200
*650  $arepresentasjon$9nor$2norart$_129604700
*653  $aBlade Runner$9eng$_143160100
*653  $aGattaca$9eng$_143160200
*653  $aLev Manovich$9eng$_143160300
*653  $aMinority report$9eng$_143160400
*653  $aSplice$9eng$_143160500
*653  $aThe girl with the Dragon Tattoo$9eng$_143160600
*653  $adetection films$9eng$_143160700
*653  $adiegesis$9eng$_143160800
*653  $arepresentation$9eng$_130434100
*653  $ascreen$9eng$_143160900
*653  $asimulation$9eng$_131504800
*773  $tThe Nordic journal of aesthetics$gNo. 47 (2014)$x2000-1452$w(NO-LaBS)90128(tnr)
*999  $z1400567419$anorart:1400567419
^