What Di You Call the 1950s Sci Fi Art Style

Artistic arts movement inspired past celebrated depictions of the future

"Retrofuture" redirects here. For the Tiger Regular army album, see Retrofuture (album).

Retrofuturistic depiction of a flying locomotive, in a dieselpunk style reminiscent of the early 1940s

Proposed high speed ocean express ("Ozeanriese im Jahre 2.000") as in the year 2000, 1931 (Hamburg - New York in forty hours).

Hotel on tracks ("Reisehotel") every bit in the year 2000, 1898

Sailing transport 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.^[one] Characterized by a blend of old-fashioned "retro styles" with futuristic engineering science, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of applied science. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism tin can be seen as "an animating perspective on the world".^[ii]

Etymology [edit]

According to the Oxford English Dictionary, an early use of the term appears in a Bloomingdales advertisement in a 1983 upshot of The New York Times. The ad talks of jewellery that is "silverized steel and sleek gray linked for a retro-futuristic expect". In an example more than related to retrofuturism equally an exploration of past visions of the time to come, 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]

Several websites have referenced a supposed 1967 book published by Pelican Books chosen Retro-Futurism by T. R. Hinchliffe as the origin of the term, simply this account is unverified. There be no records of this book or author.^{[v] [A]}

Historiography [edit]

Retrofuturism builds on ideas of futurism, but the latter term functions differently in several dissimilar contexts. In avant-garde creative, literary and design circles, futurism is a long-standing and well established term.^{[ citation needed ]} Just 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 'gilt age' that continued long into the 1960s' Space Age".^[6]

Retrofuturism is first and foremost based on mod but changing notions of "the time to come". As Guffey notes, retrofuturism is "a recent neologism", but information technology "builds on futurists' fevered visions of space colonies with flight 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".^[7] It took its current shape in the 1970s, a fourth dimension when engineering was rapidly irresolute. From the advent of the personal computer to the birth of the first test tube babe, this period was characterized by intense and rapid technological change. Just many in the general public began to question whether engineering would achieve its before hope—that life would inevitably improve through technological progress. In the wake of the Vietnam War, environmental depredations, and the energy crunch, many commentators began to question the benefits of applied science. But they also wondered, sometimes in awe, sometimes in defoliation, 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 popular creative person Kenny Scharf akin".^[8] Surveying the optimistic futurism of the early twentieth century, the historians Joe Corn and Brian Horrigan remind united states of america that retrofuturism is "a history of an idea, or a system of ideas—an ideology. The time to come, or course, does not exist except as an human activity of belief or imagination."^[9]

Characteristics [edit]

Retrofuturism incorporates 2 overlapping trends which may be summarized every bit the future as seen from the past and the by as seen from the time to come.

The first trend, retrofuturism proper, is directly inspired past the imagined future which existed in the minds of writers, artists, and filmmakers in the pre-1960 menstruation who attempted to predict the time to come, either in serious projections of existing technology (e.chiliad. in magazines like Science and Invention) or in science fiction novels and stories. Such futuristic visions are refurbished and updated for the nowadays, and offer a nostalgic, counterfactual image of what the future might have been, but is not.

The 2nd tendency is the inverse of the get-go: futuristic retro. It starts with the retro appeal of old styles of art, clothing, mores, and then grafts modern or futuristic technologies onto information technology, creating a mélange of by, present, and future elements. Steampunk, a term applying both to the retrojection of futuristic technology into an culling 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, merely clothes, technology, furnitures and in a higher place all social taboos are purposely highly reminiscent of the mid-1970s.

In practice, the two trends cannot exist 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 existence seen from a modern perspective.

In the aforementioned way, futuristic retro owes much of its flavor to early scientific discipline 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 catamenia 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, similar the German language architecture critic Niklas Maak, see retrofuturism as "zilch more than an aesthetic feedback loop recalling a lost conventionalities in progress, the old images of the once radically new".^[10] Bruce McCall calls retrofuturism a "faux nostalgia"—the nostalgia for a future that never happened.^[11]

Themes [edit]

Although retrofuturism, due to the varying fourth dimension-periods and futuristic visions to which information technology 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 loftier-speed air transport, computers, and space stations is (by whatsoever past standard) "futuristic"; yet the search for alternative and mayhap 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 every bit a reminder of older but now forgotten ideals. This dissatisfaction also manifests every bit political commentary in Retrofuturistic literature,^[12] in which visionary nostalgia is paradoxically linked to a utopian hereafter modelled afterward conservative values^[13] as seen in the example of Fox News' use of BioShock's aesthetic in a 2014 broadcast.^{[14] [15]}

Retrofuturism likewise implies a reevaluation of technology. Unlike the total rejection of mail service-medieval technology institute in well-nigh fantasy genres, or the embrace of whatever and all possible technologies plant in some science-fiction, retrofuturism calls for a human-scale, largely comprehensible applied science, amenable to tinkering and less opaque than modern blackness-box engineering.

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, information technology may itself go bleak and dystopian. In such cases, the alternative reality inspires fear, not promise, though it may however exist coupled with nostalgia for a world of greater moral every bit well as mechanical transparency.

Genres [edit]

Genres of retrofuturism include cyberpunk, steampunk, dieselpunk, atompunk, and Raygun Gothic, each referring to a applied science from a specific fourth dimension catamenia.

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 near always a dystopian future, with a strong accent 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 commonly associated with retrofuturism, where characters will rely upon a mixture of old and new technologies. Furthermore, synthwave and vaporwave are cornball, humorous and oft retrofuturistic revivals of early cyberpunk artful.

The second to be named and recognized was steampunk, in the late 1980s. It is by and large more than optimistic and brighter than cyberpunk, ready inside an alternating history closely resembling our Long 19th century from circa the Regency era onwards and up to circa 1914, simply that 20th-century or even futuristic technologies are based upon steam power. The genre themes as well often involve references to electricity every bit a yet-as-of-at present mysterious force that is considered the utopian power source of the future and sometimes fifty-fifty regarded as possessing mystical healing powers (much equally with nuclear energy around the heart of the 20th century). The genre often strongly resembles the original scientific romances and utopic novels of genre predecessors H. M. Wells and Jules Verne, and began in its modernistic class with literature such as Mervyn Peake's Titus Lonely (1959), Ronald West. Clark'south Queen Victoria's Bomb (1967), Michael Moorcock's A Nomad of the Time Streams series (1971–1981), One thousand. Westward. Jeter's Morlock Dark (1979), and William Gibson & Bruce Sterling's The Deviation Engine (1990), and with films such equally The Time Auto (1960) or Castle in the Sky (1986). A notable early example of steampunk in comics is the Franco-Belgian graphic novel serial Les Cités obscures, started past its creators François Schuiten and Benoît Peeters in the early on 1980s. At times, steampunk as a genre crosses into that of Weird Westward.

The most recently named and recognized retrofuturistic genre is dieselpunk aka decodence (the term dieselpunk is oftentimes associated with a more pulpish form and decodence, named after the gimmicky art movement of Art Deco, with a more sophisticated class), 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-volume character Rocketeer (outset 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 Metropolis of Lost Children (1995), and Nighttime City (1998). Particularly the lower end of the genre strongly mimic the lurid literature of the era (such as the 2004 film Heaven Helm and the World of Tomorrow), and films of the genre ofttimes reference the cinematic styles of film noir and German language Expressionism. At times, the genre overlaps with the alternating history genre of a dissimilar World War Two, such as with an Axis victory.

Pattern and arts [edit]

Although loosely affiliated with early-twentieth century Futurism, retrofuturism draws from a wider range of sources. To be certain, retrofuturist art and literature oftentimes draws from the factories, buildings, cities, and transportation systems of the machine historic period. Simply information technology 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 have shape in William Gibson's brusk story "The Gernsback Continuum". Hither 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 Fine art Deco architectural styles when applied to retrofuturistic science fiction environments.

Although Raygun Gothic is most like to the Googie or Populuxe style and sometimes synonymous with it, the name is primarily applied to images of scientific discipline fiction. The style is also notwithstanding a popular selection for retro sci-fi in film and video games.^[xvi] Raygun Gothic'southward primary influences include the set designs of Kenneth Strickfaden and Fritz Lang.^{[ citation needed ]} The term was coined past 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 chosen 'American Streamlined Modernistic'. Cohen called it 'raygun Gothic'. Their working title was The Airstream Futuropolis: The Tomorrow That Never Was."^[17]

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 Male monarch in the United kingdom of great britain and northern ireland and Paula Scher in the United states of america imitated the cool, futuristic look of the Russian avant-garde in the years following the Russian Revolution.

With three of their 1970s albums, German ring Kraftwerk tapped into a larger retrofuturist vision, by combining their futuristic pioneering electronic music with cornball visuals. Kraftwerk'due south retro-futurism in their 1970s visual linguistic communication has been referred to by German language literary critic Uwe Schütte, a reader at Aston University, Birmingham, as "clear retro-style",^[eighteen] and in the 2008 iii-60 minutes 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 at present [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 besides presented a "compelling, if somewhat spooky, vision of the earth in which musical ecstasy is rendered cool, mechanical and precise."^[19] Kraftwerk's three retrofuturist albums are:

• Kraftwerk's 1975 album Radio-Activity showed a gimmicky 1930s radio on the embrace, its inlay (which for its later CD re-release was widely expanded equally a booklet illustrated in the same nostalgic style) showed the ring photographed in black and white with former-fashioned suits and hairdos, and the music in its instrumentation as well as its cryptic lyrics were (also the other obvious theme of nuclear decay and nuclear power referenced by the album'due south titular pun) in hommage to the "Radio Stars", that is the pioneers of electronic music of the get-go one-half of the 20th century, such as Guglielmo Marconi, Léon Theremin, Pierre Schaeffer, and Karlheinz Stockhausen (due to whom the band referred to themselves equally but the "2nd generation" of electronic music).
• The European version of the band's 1977 anthology Trans-Europe Express had a like 1930s-style black and white photo of the band members on the cover (the U.South. version even had a cover of a vintage-style colored photograph in the mode of Aureate Age Hollywood stars), the style of the sleeve design also every bit the design of promotional textile tying in with the anthology 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 on-1930s mode suits (where band member Karl Bartos subsequently 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 exist a pictorial Switzerland where the band was making a resting cease in-between 2 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 prune made for the anthology's championship song (shot in black and white on purpose) and other promotional material, the eponymous Trans-Europe Express was portrayed past the Schienenzeppelin starting time 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'southward 1927 film Metropolis).
• The encompass and sleeve design of the 1978 album The Man-Machine exhibits an obvious stylistic nod to the Constructivism of 1920s artists such every bit El Lissitzky, Alexander Rodchenko, and László Moholy-Nagy (due to which band members take also referred to it as "the Russian album"), and 1 vocal references the motion picture Metropolis again. From this anthology on, Kraftwerk would also use their "show-room dummies" aka robot lookalikes on phase and in promotional material and increase the use of slightly campish make-up on band members that also resembled 1920s' expressionist make-upwards that to a lesser caste had already appeared in the promotional material for their 1977 anthology Trans-Europe Express.

From their 1981 anthology Computer World onwards, Kraftwerk take largely abandoned their retro notions and appear mainly futuristic just. The simply references to their before retro fashion today appear in excerpts from their 1970s' promo clips that are projected in between more modernistic segments in their stage shows during the operation of these old song.

Mode [edit]

Retrofuturistic habiliment is a detail imagined vision of the article of clothing that might exist worn in the afar future, typically found in science fiction and science fiction films of the 1940s onwards, but besides 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, at that place is an assumption that the clothing of the future will exist highly uniform.

The platitude of futuristic wear has now become function of the thought of retrofuturism. Futuristic fashion plays on these at present-hackneyed stereotypes, and recycles them equally elements into the creation of real-earth clothing fashions.

"We've actually seen this await creeping up on the runway as early every bit 1995, though it hasn't been widely popular or acceptable street wear even through 2008," said Brooke Kelley, fashion editor and Glamour mag author. "For the final 20 years, fashion has reviewed the times of past, decade past 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'south paradise."^[12]

Architecture [edit]

An example in Shanghai of a retrofuturistic pattern in architecture

Retrofuturism has appeared in some examples of postmodern architecture. To critics such as Niklas Maak, the term suggests that the "future manner" is "a mere quotation of its own iconographic tradition" and retrofuturism is footling more than "an artful feedback loop"^[xx] In the example seen at right, the upper portion of the edifice is not intended to exist integrated with the edifice merely rather to appear as a separate object—a huge flying saucer-like infinite transport only incidentally attached to a conventional edifice. This appears intended not to evoke an even remotely possible future, but rather a past imagination of that futurity, or a reembracing of the futuristic vision of Googie architecture.

The once-futuristic Los Angeles International Airport Theme Building was built in 1961 every bit an expression of the then new jet and space ages, incorporating what afterward came to exist known every bit 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.^[21]

Video games [edit]

Retrofuturism has been also applied to video games, such equally the post-obit:

• Atomic Heart
• Alien: Isolation
• Assassin's Creed III
• BioShock
• Telephone call of Duty: Black Ops II
• Control & Conquer: Reddish Alert
• Crimson Skies
• Cyberpunk 2077
• Cloudpunk
• Damnation
• Deathloop
• Dishonored
• Dishonored two
• Dishonored: Death of the Outsider
• Fallout
• Far Cry 3: Claret Dragon
• Grim Fandango
• G Theft Auto ii
• Infamous Second Son
• Jazzpunk
• Metal Gear
• Observer
• Prey
• Resistance ^[22]
• Stubbs the Zombie in Rebel Without a Pulse
• The Outer Worlds
• TimeShift
• Wasteland two ^[23]
• We Happy Few
• Wolfenstein
• X-COM: Apocalypse
• Ten-Men: Destiny
• Yu-Gi-Oh! Worldwide Edition: Stairway to the Destined Duel

Music [edit]

• Modern electro fashion, influenced past Detroit-based artist in the early on 80s (such as Drexciya, Aux 88, Cybotron). This fashion alloy 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 journeying are AMZS Recording, Gosu, Osman, Traffic Records and many others.
• Canadian band Alvvays's music video, "Dreams Tonite", which includes archival footage of Montreal'southward Expo 67 was described by the band as "fetishizing retro-futurism".^[24]
• English language ring Electric Light Orchestra released their concept album "Time" in 1981. This anthology follows a human being who wakes upwardly in the year 2095 and how he reacts to this sudden modify also as his longing to be back in 1981. There are multiple descriptions of life and what technology is like in 2095.

Pic [edit]

• Director Brad Bird describes his 2004 Pixar film The Incredibles as "looking similar what nosotros idea the time to come would turn out similar in the 1960s."^[25]
• British filmmaker Richard Ayoade noted his film The Double from 2013 was designed with the intention of looking like "the time to come imagined past someone in the past who got information technology wrong."^[26]
• The 2015 Disney picture show Tomorrowland, which is based on Disneyland'due south attraction by the same name and as well was directed by Brad Bird clearly has retrofuturistic aesthetic.

See also [edit]

• Anachronism – Chronological inconsistency
• Atomic Historic period – Period of history (1945–nowadays)
• Bonk Business
• Cyberpunk and cyberpunk derivatives
• Dieselpunk – Science fiction genre
• Futurama (New York Earth's Fair)
• Hauntology
• The Jetsons – American animated sitcom
• List of stories set in a future at present past
• Neo-futurism – Architectural and art move and style
• Raygun Gothic
• Retrotronics – The making of electric circuits or appliances using older electrical components
• Retro-fashion automobile
• Steampunk – Science fiction genre inspired past 19th-century industrial steam-powered machinery

References [edit]

Informational notes

1. ^ There is, nonetheless, a commercial artwork, bachelor equally a framed impress, a pattern on a cushion, and in other forms, that appears to be the cover of such a book: Retro-futurism past T. R. Hinchcliffe, "A Pelican Original". This is probably the source of the idea that such a book exists. The artist has noted that this is a piece of fan fine art, not an official cover. The "Creative person'due south Description" on the webpage says:

   Quite an obscure title this: "The intention of this book is to examine major recurrent themes in mans' many analogue predictions & prophecies of the future – from inspired fantasy to factually based notions, their cultural & scientific bear on, the brilliance [or otherwise] of those ideas, and how they are now faring at the apparent dawning of our electronic hereafter – T.R. Hinchcliffe, 1967."

Citations

1. ^ Elizabeth Guffey and Kate C. Lemay, "Retrofuturism and Steampunk", The Oxford Handbook to Science Fiction, Oxford Academy Press, 2014, p. 434.
2. ^ Robert Lanham, "Introduction", The Oxford Handbook to Science Fiction, Oxford University Printing, 2014, p. xiv
3. ^ "Brazil". The New Yorker . Retrieved 2018-07-01 .
4. ^ "retro, adj. and n.2." OED Online. Oxford Academy Press, June 2005. Web. 30 June 2018.
5. ^ Dorsey, Rye; Goldberg, Zachary. "Looking Back at Tomorrow: 'Retrofuturism'". Looking Dorsum at Tomorrow. Whale Bus. Retrieved 4 May 2022.
6. ^ Elizabeth Guffey and Kate C. Lemay, "Retrofuturism and Steampunk", The Oxford Handbook to Science Fiction, Oxford Academy Printing, 2014, p. 435.
7. ^ Elizabeth Guffey, "Crafting Yesterday's Tomorrows: Retro-Futurism, Steampunk, and Making in the Xx-Kickoff Century", Periodical of Modern Craft vii.three (November, 2014) p. 254.
8. ^ Elizabeth Guffey, Retro: The Culture of Revival (Reaktion: 2006):155–157
9. ^ Joseph J. Corn and Brian Horrigan, Yesterday'south Tomorrows: Past Visions of the American Futurity (Johns Hopkins Printing: 1984): xii.
10. ^ Niklas Maak, "Adieu Retro-Futurism · A farewell to our perpetual nostalgia for the hereafter". 032c9 (Summer 2005): p. 117
11. ^ Bruce McCall, "What is Retro-Futurism?" Archived 2015-02-02 at the Wayback Machine, TED Talk
12. ^ ^{a b} "Retro Futurism Is Latest Way Sensation". EDGE United States. Archived from the original on 2013-10-23.
13. ^ "Steampunk 101: On the import of retro-futurism. - A conversation on TED.com". ted.com.
14. ^ "Play tricks News Quite Likes The BioShock Infinite Logo Apparently". IGN.
15. ^ Erik Kain (three July 2014). "Fox News Uses 'BioShock Infinite' Logo, Ken Levine Calls It 'Irony'". Forbes. Archived from the original on 11 September 2014.
16. ^ Sharon Ross (June viii, 2009). "Retro Futurism At Its Best: Designs and Tutorials". Smashing Magazine. Archived from the original on Baronial 12, 2010.
17. ^ "The Gernsback Continuum" in Gibson, William (1986). Burning Chrome. New York: Arbor Firm. ISBN978-0-87795-780-v.
18. ^ Schütte, Uwe (2015). Why I want to offer a university form on Kraftwerk Archived 2015-eleven-sixteen at the Wayback Automobile, The Chat, 4 February 2015
19. ^ Guffey, 141.
20. ^ Maak, op cit.
21. ^ Lubell, Sam (2008-xi-26). "Re-LAX: LA International Airport unveils ambitious expansion plans". The Architect'due south Newspaper. Archived from the original on 2014-04-17.
22. ^ Lev Grossman, "Top 10 Everything 2006: Resistance: Fall of Man (for PS3)", Time, twenty December 2006
23. ^ Alasdair Duncan, "Review: Wasteland 2", Destructoid, 23 September 2014
24. ^ "Watch Alvvays' New "Dreams Tonite" Video - Pitchfork". pitchfork.com . Retrieved 6 Apr 2018.
25. ^ "The Incredibles – Mid Century Modernism exemplified - Film and Piece of furniture". Film and Piece of furniture. 2014-08-07. Retrieved 2018-06-19 .
26. ^ "Richard Ayoade: Making films is exhilarating – and terrifying". The Guardian. 2014-03-23. Retrieved 2018-11-25 .

Further reading

• Brosterman, Norman. Out of Time: Designs for the Twentieth Century Future. ISBN0-8109-2939-2.
• Corn, Joseph J.; Brian Horrigan; Katherine Chambers (1996). Yesterday's Tomorrows: Past Visions of the American Future. JHU Press. ISBN0-8018-5399-0.
• Canto, Christophe; Odile Faliu (1993). The History of the Future: Images of the 21st Century. Flammarion. ISBN2-08-013544-9.
• Kilgore, De Witt Douglas (2003). Astrofuturism: Science, Race, and Visions of Utopia in Infinite. University of Pennsylvania Printing. ISBN0-8122-1847-seven.
• Heimann, Jim (2002). Hereafter Perfect. Köln, London: Taschen. ISBNiii-8228-1566-7.
• Hodge, Brooke (2002). Retrofuturism: The Motorcar Design of J Mays. Museum of Contemporary Art. ISBN0-7893-0822-three.
• Onosko, Tim (1979). Wasn't the Futurity Wonderful?: A View of Trends and Engineering science From the 1930s . Dutton. ISBN0-525-47551-6.
• Sheckley, Robert (1978). Futuropolis: Incommunicable 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 U.s.a.. ISBNane-59691-136-0.

External links [edit]

• The wonder city you may alive to see – 1950 as seen in 1925
• retro-futurismus.de – A German language site showing numerous illustrations (click the names)
• /r/RetroFuturism – A Subreddit on the topic

cliftonfronness.blogspot.com

Source: https://en.wikipedia.org/wiki/Retrofuturism

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