Sette Uomini D 39;oro Nello Spazio
Denisha Simcoe
Science fiction has always remained a bit of a niche genre. Until recently, science fiction was always seen as an "outsider" genre, as they typically failed to reach mainstream audiences. Aside from mega blockbusters like Star Wars, very few science fiction films have become cultural phenomenons.
But that doesn't make them any less reputable. There have been many science fiction films, both famous and not, that serve as legitimately great films. Not just great "sci-fi films," but great films in general. And, as is always the case with something popular, they have been subjected to countless ripoffs. Without further delay, here are five great science fiction movies that revolutionized the genre, and five obvious rip offs.
People don't need to be told how important and revolutionary Star Wars actually was. It's one of those films that everyone knows through sheer cultural osmosis alone. Even those who have never seen the film or its sequels know the names of the characters, the planets, the sound that lightsabers make, and Darth Vader's deep mechanical breaths.
While George Lucas was an inexperienced director at the time, he crafted what is arguably the most important and influential science fiction film ever made. It made science fiction and simple pulpy heroics cool again, and it rocketed the genre into the mainstream.
This movie was released in its native Italy under the title Sette uomini d'oro nello spazio (or Seven Gold Men in Space), and it's nothing but a blatant Star Wars ripoff. From the costumes to the "lightsabers" clearly made of painted cardboard, Star Odyssey serves as perhaps the most flagrant and shameless ripoff in the history of film. Turkish Star Wars may be the more infamous Star Wars clone, but Star Odyssey is a wonder to behold.
Ridley Scott changed horror forever with Alien. Alien was a stroke of sheer genius, thrillingly combining two of the hottest genres of the time: science fiction (popularized by Star Wars and Star Trek) and slashers (Halloween, The Texas Chainsaw Massacre, etc.).
By combining the two, Scott essentially created his own genre; that being the space slasher, which has since been copied by the likes of Sunshine, Jason X, and Event Horizon, just to name a few. Not to mention all the literal "alien" ripoffs featuring lame space creatures stalking a bunch of hapless guys on a dimly lit spaceship. Speaking of which...
In 1985 - six years after the release of Alien - a movie directed by one William Malone was released, curiously titled Creature. That ripoff title is somehow even more ambiguous and encompassing than Alien. The only good thing that can be said of this movie is that it contains visual effects work by Robert and Dennis Skotak, who would work on Aliens just one year later.
Creature is nothing but a horrible Alien ripoff, complete with a scientific team examining mysterious artifacts on a distant planet and an alien slaughtering the entire cast. If anything, it only shows just how talented Ridley Scott is.
Perhaps Iron Man is more of a superhero film than a science fiction one, as the superhero has become its own genre in recent years. However, there's no denying that Iron Man contains many qualities of a science fiction story, including a powerful suit and the Arc Reactor that keeps Tony Stark alive.
Iron Man single-handedly changed the way that superhero films were made. While the genre was certainly flourishing throughout the early 2000's, Iron Man changed the game forever and gave rise to the larger MCU, and by extension, the DCEU. Superhero movies were never the same Tony Stark became Iron Man.
Not long after Iron Man was released, the world was subjected to a blatant ripoff titled Metal Man. The movie was quickly assembled to capitalize on the wild success of Iron Man, and that is more than evident and obvious. The plot (and even the poster) is nearly identical, as this movie also sees a regular human fighting evil in a metallic suit that grants him superpowers. But that's not the worst thing.
The worst thing is the design of Metal Man's suit, which is virtually identical to Iron Man's - red and yellow color scheme and all. It's a horrible movie, as most cheaply and quickly assembled Z-grade ripoffs are.
Stanley Kubrick has many masterpieces under his belt, but none are as influential and beloved as his sci-fi opus, 2001: A Space Odyssey. Inspired by Arthur C. Clarke's short stories, 2001: A Space Odyssey is a science fiction movie with larger and more expansive ambitions than simply going to space.
It touches on and explores many universal themes, including human evolution, existentialism, and the use and possible dangers of artificial intelligence. The movie was far ahead of its time, encompassing everything which makes science fiction great.
It's quite obvious that Christopher Nolan is a genius and master of his craft, but many comparisons have been made between Interstellar and 2001: A Space Odyssey. The former borrows heavily from the latter, including the use of organ music, delayed videophone communication with Earth, the robots/artificial intelligence, and even the designs of the respective ships.
That's not to mention the very similar endings in which characters travel through weird, trippy wormhole things and end up as "otherworldly" beings that watch over the humans on Earth. The fact that Interstellar's robot is basically a walking monolith from 2001 doesn't help matters.
In Close Encounters, the aliens are peaceful creatures. Not only that, but humans are largely receptive of the aliens, using the allocated time to communicate with them rather than fight them. And not only that, but the story largely concerns Roy's behavior and obsession with the impending arrival rather than the arrival and "invasion" itself. It was a "personal" alien invasion story, which was perfected in...
Maybe E.T. isn't a direct one-to-one ripoff of Close Encounters, but they certainly share many similarities. Like Close Encounters, E.T. was directed by Spielberg, who was clearly going through an alien phase at the time.
Just like Close Encounters, E. T. is is more about a human on Earth than it is about the alien or the invasion. And like Close Encounters, the alien is a peaceful creature who learns to communicate with the humans. Long story short, E.T. is essentially Close Encounters of the Third Kind for children. Not that there's anything wrong with that; it's still a masterpiece!
Relazione (insieme ad Alessandro Barile) nella conferenza dal titolo Global Disruptions and Local Democracy organizzata dallo Swedish International Centre for Local Democracy (ICLD) dal 30 novembre al 4 dicembre 2020, in modalit telematica. La relazione, svoltasi secondo le modalit del policy brief, ha avuto come titolo Covid-19 as a model for post-gentrification urban change: the case of San Lorenzo in Rome ed stata ospitata nella sessione Covid-19 and Vulnerability , coordinata da Amalinda Savirani, dell Universitas Gadjah Mada, marted 1 dicembre 2020.
Relazione nel VI Forum Internazionale Diritto internazionale, diritto di accoglienza e dignit dei migranti organizzato (da remoto) dall Accademia di Studi Mediterranei di Agrigento, dal 23 al 26 novembre 2020. La relazione del sottoscritto si svolta gioved 26 novembre, alle h.10, nella sessione coordinata da S.E. prof. Mons. Enrico dal Covolo S.d.B., con il titolo I diritti umani non bastano! Storicizzare le migrazioni per riconoscere dignit al migrante . Altri relatori della medesima sessione sono stati la dott.ssa Anna Maria Samuelli (responsabile della Commissione didattica di Gariwo), la prof.ssa Maddalena Tirabassi (direttrice del Centro Altreitalie sulle Migrazioni Italiane), e l avv. (e scrittrice) Cetta Brancato.
Relazione (insieme ad Alessandro Barile e ad Adriano Cirulli) presso il convegno di met mandato della sezione di Sociologia Politica dell Associazione Italiana di Sociologia, dal titolo Crisi della democrazia e salute globale. Le trasformazioni della politica nell epoca della globalizzazione dei rischi organizzato dall Universit degli Studi di Messina nei giorni 8 e 9 ottobre 2020 e svolto da remoto, causa Covid-19. La relazione si svolta il 9 ottobre (h.15.00-17.30) nel panel W.06 Democrazia spaziale: pratiche, conflitti, prospettive , coordinato dai proff. Maria Cristina Marchetti e Pier Paolo Zampieri, e ha avuto come titolo: Ma prima andava tutto bene? L incidenza del Covid-19 sui quartieri in trasformazione: il caso romano di San Lorenzo . Nello stesso convegno, in data 8 ottobre 2020, (h.10.00-12.00) stato anche presentato, nello spazio Pubblicazione dei soci della sezione , il volume Il tramonto della citt. La metropoli globale tra nuovi modelli produttivi e crisi della cittadinanza (DeriveApprodi, 2019), redatto da Alessandro Barile, Luca Raffini e dal sottoscritto.
Relazione nel convegno 1969-2019: 50 ans d Autunno caldo organizzato dal Centre de Recherches Italiennes dell Universit Paris-Nanterre e dal Laboratoire Universitaire Histoire Cultures Italie Europe dell Universit Granoble Alpes dal 16 al 18 ottobre 2019, presso la sede dell Universit di Paris-Nanterre. La relazione del sottoscritto si svolta venerd 18 ottobre nel panel De nouvelles cls d interprtation pour lire l Autunno caldo , coordinato dalla prof.ssa Antonella Mauri (Paris Nanterre), e ha avuto come titolo Il Sessantanove non fu eccezionale , n gli anni Settanta furono folli . Una chiave interpretativa secondo il paradigma della violenza politica .
Relazione (con Adriano Cirulli e Luca Raffini) presso la XII Conferenza ESPAnet Italia, organizzata nell Universit degli Studi di Urbino Carlo Bo dal 19 al 21 settembre 2019 intorno alla tematica Territori del welfare: (de-)globalizzazioni, innovazioni e conversazioni . La relazione di Alteri-Cirulli-Raffini stata ospitata dal panel n.17, dal titolo Attori e istituzioni nelle politiche sociali di fronte alla crisi , coordinata dai proff. Andrea Ciarini e Valeria Pulignano.
Chair (con Adriano Cirulli e Luca Raffini) di un panel organizzato all interno del XXXIII Convegno annuale della Societ Italiana di Scienza Politica (SISP), svoltosi presso l Universit degli Studi del Salento, a Lecce, dall 11 al 14 settembre 2019. Il panel coordinato da Alteri, Cirulli e Raffini ( Social Innovazion. Theories, Practices, and Conflicts ) si svolto gioved 12 settembre 2019 (Aula SP7 dell Edificio Sperimentale di viale Calasso 7) ed stato sdoppiato in due sessioni, a causa del gran numero di proposte ricevute (ben tredici).
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