The cinematography is presented as the great developer, which thanks to its projectors and reflectors has promoted great generators of ideas and demonstrators of creativity. Magic no longer enters into the phenomena of nature, nor within our ability to understand and take advantage of them, but in communication networks such as radio, television, telephony and the Internet. The Cinematic Universe inserts us into the psychic reality using the special effects of cinema that brought drama to thaumaturgy.
By making mythologies reference to astronomical, theogonic and human efforts, to the readjustment of orbits and to the supremacy of nations, they become the oldest fictional universes. Homer revealed to us the perfection of these myths, which is unthinkable for us, modern men, men of meaningless, authors and readers of novels.
ABOUT AUTHORS, READERS AND ACTORS.
Science fiction is known as a genre of literature, film and other multimedia productions, in which both fiction and science converge in an unusual way, as its name implies. When talking about science fiction, reference is made to stories that include and give great importance to scientific knowledge. But, not only science fiction has relied on science and its advances; For its part, this genre has inspired many scientists and has allowed us to dream of advances never before imagined that have become real concepts or research objects. Hard science fiction is especially characterized by the emphasis given to descriptions of advanced technology or science and the likelihood of these descriptions. In this subgenre the scientific component is decisive and evident, which gives a strong sense to the name of the genus. Several of its authors are both writers and scientists or writers with a great curiosity about science, its advances and scope. In Profiles of the Future (1962) Arthur Clarke states the first law on technoscience. “ When a famous scientist, but already old, says something that is possible, he is almost certainly right. When he says it is impossible, he is probably wrong . ” Later he gave the other two laws. " The only way to find the limits of the possible is to go beyond those limits and enter the impossible." "Any sufficiently advanced technology is indistinguishable from magic . "
In this article I intend to differentiate the possible from the probable, the current from the potential, from the relationships between the reader, the author and the actor in the construction of possible worlds.
THE READER: the potential
The genre seems to be a way of organizing the structure of events and organizing their story, which can be used to tell their own stories, or actually, to locate the stories that one is reading or listening to. Something in the actual text triggers a gender interpretation, in the reader, interpretation that then dominates the reader's own creation of a virtual text. The viewers live the recent events from the news, but when fiction interprets them again. The viewer likes it because he revives them and because he has something morbid and wants to know if they are going to tell him something new that he did not know. Being based on real events multiplies the commercial appeal of a movie, book or television series.
Mary Shelley was a narrator, playwright, essayist, philosopher and British biographer, recognized above all for being the author of the Frankenstein Gothic novel or the modern Prometheus (1818). She also edited and promoted the works of her husband, the romantic poet and philosopher Percy Bysshe Shelley.
Frankenstein is the most influential literary work of science fiction of all time and the image that haunts biotechnology. When the book was published in 1818, most people seriously believed that it was God who created life. The medical student of Shelley's novel imitates this act of divine creation. This has happened to embody the character of the mad scientist: completely evil, or at least inattentive to the good of humanity. The subtitle of the work, however, is blunt: The modern Prometheus. In the Greek myth, Prometheus stole the fire of the gods and gave it to mankind with the intention of doing good. The reason he was punished by these particular deities was that he empowered humanity and, with that power, an option.
Mathilda, is the second novel of this writer, based on the classic themes of Romanticism, such as incest and suicide. It was written between August 1819 and February 1820.
Although Matilda Worm is a lovely girl and a rising genius, Matilda's parents and older brother Michael are irresponsible with her; they were so busy in their work and in their frivolous lives that they encourage her to watch television instead of reading a book, which is what she prefers. Ingenious and determined, Matilda soon realizes that she is smarter than her parents. Matilda goes to the library and accumulates a lot of knowledge, but her taste for books hurts her relationship with her father. When one night Matilda is reading a book instead of paying attention to her father and watching television, he breaks her book in the library and forces her to watch television with the rest of the family. That is when she intentionally makes the television explode, the first signal of her telekinetic powers. Matilda is a 1996 American children's film, directed by Danny DeVito and starring Mara Wilson.
THE ACTOR: the current
The self arises from the ability we have to reflect on our actions, by the functioning of the metacognition, but a child cannot adopt the perspective of another, without understanding the situation in which he is acting, he needs to know his context, Your stage Anticipated and remembered actions inspire our representations of the world.
Jacob Tremblay is a Canadian actor, known for playing Cody in Before Waking Up (2015) and in a critically acclaimed performance, Jack in The Room (2015) for which he won the Critics Award for best young artist He also played Augusto in Extraordinary (2017), a film that moved all the spectators. Let's start by looking at the concept of space, then that of conscience and finally that of willpower.
Joy Newsome and her little son Jack, five years old, live in a small shed located in the courtyard of a house. There are no windows in the room, just a skylight on the roof. During their course there, Ma and Jack perform different activities so as not to get bored, but that would be until a new decision is made. Ma has protected Jack from the reality of the situation, and sees that his son is old enough to understand what is happening to them. She has been kidnapped by "old Nick" for about seven years. He did not know the reality of the world and lived only with what he saw on television, that is, little reality and supernatural imagination. Ma reveals to Jack the truth about the outside world, as well as his life before being kidnapped at age 17.
Jessie and Mark are a couple who adopt an 8-year-old boy named Cody, who is panicking at the fact of falling asleep, which his new parents don't know. At first they believe that this is due to the fact of having to sleep in a new house, but they will soon discover that the real reason is that the child's dreams manifest in reality when he sleeps.
Augusto "Auggie" Pullman is a 10-year-old boy who lives in the upper part of Manhattan. You have a rare medical facial deformity called Treacher Collins syndrome. Due to numerous surgeries (27), Auggie had been educated at home by her mother Isabel, but when Auggie approaches high school age, Isabel and Nate decide to enroll him in Beecher Prep, a private high school, for the beginning of the high school. In the Extraordinary movie you can see the wink that is made to the Extraterrestrial movie, in the sense of acceptance of the difference.
THE AUTHOR: the original
The playwrights, the poets, the novelists focus on a well-determined work, which they take as their portion of reality and study it to rebuild or deconstruct it. They try to read reality by its meaning, and in doing so, reveal the art of its author.
Tim Krim is an American screenwriter and television producer, best known for his creation of the Heroes series as well as the Touch series.
Heroes is an American television series of the science fiction and drama genres created by Tim Kring that aired on the NBC in a total of four seasons from September 25, 2006 to February 8, 2010. The series tells the story of ordinary people who discover that they have superhuman powers, and how this affects the lives of the characters. The series emulates the aesthetic style and narration of American comics with short and multiple episodes that create a longer and wider history.
After the cancellation of Heroes in 2010, Kring created the TV series Touch, a drama centered on a father who discovers that his mute son can predict future events. The story centers on a former reporter Martin Bohm and his 11-year-old son with autistic features. Jake has never said a word, but he is fascinated by numbers and patterns related to numbers, spending much of his days writing them in notebooks, his touch screen tablet and sometimes using objects. Touch is a drama in which science and spirituality meet the hopeful premise that we are all interconnected, tied with invisible bonds to those whose lives we are destined to impact.
The government blames a terrorist attack on those with extraordinary abilities ("evolved humans" or "evos"), who are forced to hide when the guards hunt them and kill them systematically. As the number of Evos grows, some heroes of the past intersect with the new and emerging Evos. Together, they must save the world from a geomagnetic change that will leave the planet vulnerable to lethal solar radiation. Heroes Reborn is a 2015 television series.
ON THE ORIGINAL, THE CURRENT AND THE POTENTIAL
The Trinitarian concept of Deity: Father, Son and Spirit, we can update it with the triadic concept of transaction: Father, Adult and Child. BREAD. Transactions are that series of deals that are based on a series of assumptions and common beliefs about the world, the functioning of the mind, the things we are capable of and the way of communicating. If language is what creates reality, the father is expected to be authentically creative in his relationship with the creature. The thinking, feeling, acting of a human being constitute the matrices (the mother aspect) to orient towards a transactional I.
A basic conception of the absolute level comprises a three-phase postulate. The original, the current and the potential. The interassociation of the Original, the Actual and the Potential produces the tensions within infinity (All Heroes against Thanos: The War of the Infinite), resulting in the possibility of growth of the entire universe, with growth being the nature of Being Supreme From the point of view of the creature, actuality is substance, potentiality is capacity. The actuality exists in the center itself and expands from there to the Infinite. Originality is what causes first, and then balances which yin-yang, the double movements of the cycle of changes in reality from potentials to current ones and the potentialization of existing ones. Each human decision not only updates a new reality in the human experience but also opens a new capacity for human growth. There are no ends but merely transitions from one phase of development to another.
JORGE ARIEL SOTO LÓPEZ
October 2018
REFERENCES
Jerome Bruner Mental reality and possible worlds.
The Urantia Book
Books of Being One.
Letters of the Ummites.
