Mid Century Vintage Sci Fi Fashion

Creative arts movement inspired past historic depictions of the futurity

"Retrofuture" redirects here. For the Tiger Ground forces anthology, run into Retrofuture (album).

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

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

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

Sailing ship airborne ("White Cruiser of the clouds"), 1902

Retrofuturism (adjective retrofuturistic or retrofuture) is a motility in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes chosen a "science" bent on anticipating what will come, retrofuturism is the remembering of that apprehension.^[1] Characterized by a alloy of one-time-fashioned "retro styles" with futuristic engineering science, retrofuturism explores the themes of tension betwixt by 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 globe".^[two]

Etymology [edit]

According to the Oxford English Dictionary, an early on use of the term appears in a Bloomingdales advertisement in a 1983 issue of The New York Times. The advertisement talks of jewellery that is "silverized steel and sleek gray linked for a retro-futuristic await". In an example more related to retrofuturism every bit an exploration of past visions of the futurity, the term appears in the form of "retro-futurist" in a 1984 review of the motion-picture show Brazil in The New Yorker.^[three] Critic Pauline Kael writes, "[Terry Gilliam] presents a retro-futurist fantasy."^[iv]

Several websites accept referenced a supposed 1967 book published by Pelican Books called Retro-Futurism by T. R. Hinchliffe as the origin of the term, just this account is unverified. There be no records of this book or writer.^{[5] [A]}

Historiography [edit]

Retrofuturism builds on ideas of futurism, merely the latter term functions differently in several unlike contexts. In avant-garde creative, literary and blueprint circles, futurism is a long-standing and well established term.^{[ citation needed ]} But in its more than pop form, futurism (sometimes referred to every bit futurology) is "an early on 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 Historic period".^[six]

Retrofuturism is get-go and foremost based on modern but changing notions of "the hereafter". Every bit Guffey notes, retrofuturism is "a recent neologism", simply it "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 time when technology was rapidly changing. From the appearance of the personal computer to the birth of the get-go test tube baby, this period was characterized by intense and rapid technological change. Simply many in the general public began to question whether applied science would reach its earlier promise—that life would inevitably meliorate 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 likewise 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 pop artist Kenny Scharf alike".^[8] Surveying the optimistic futurism of the early twentieth century, the historians Joe Corn and Brian Horrigan remind us that retrofuturism is "a history of an thought, or a system of ideas—an ideology. The future, or course, does not exist except every bit an act of belief or imagination."^[9]

Characteristics [edit]

Retrofuturism incorporates two overlapping trends which may be summarized as the futurity as seen from the past and the by as seen from the futurity.

The start trend, retrofuturism proper, is directly inspired by the imagined time to come which existed in the minds of writers, artists, and filmmakers in the pre-1960 menses who attempted to predict the time to come, either in serious projections of existing engineering (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 offering a cornball, counterfactual image of what the futurity might have been, just is not.

The 2nd trend is the inverse of the outset: futuristic retro. It starts with the retro entreatment of old styles of art, vesture, mores, and then grafts modernistic or futuristic technologies onto it, creating a mélange of past, nowadays, and hereafter elements. Steampunk, a term applying both to the retrojection of futuristic technology into an alternative Victorian age, and the awarding of neo-Victorian styles to modern technology, is a highly successful version of this second tendency. In the film Space Station 76 (2014), flesh has reached the stars, but dress, applied science, furnitures and higher up 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 kickoff type is inevitably influenced past 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 (oft wry or ironic) twist by beingness seen from a modern perspective.

In the aforementioned way, futuristic retro owes much of its flavour to early on science fiction (e.1000. 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 catamenia.

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 alternating by 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 give-and-take. Some, similar the German architecture critic Niklas Maak, run into retrofuturism as "nothing more than an artful feedback loop recalling a lost belief in progress, the old images of the one time radically new".^[x] Bruce McCall calls retrofuturism a "faux nostalgia"—the nostalgia for a time to come that never happened.^[11]

Themes [edit]

Although retrofuturism, due to the varying time-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 high-speed air transport, computers, and space stations is (by any by standard) "futuristic"; all the same the search for culling 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,^[12] in which visionary nostalgia is paradoxically linked to a utopian future modelled afterward conservative values^[xiii] equally seen in the example of Fox News' use of BioShock's artful in a 2014 broadcast.^{[fourteen] [xv]}

Retrofuturism likewise implies a reevaluation of technology. Unlike the full rejection of postal service-medieval engineering found in most fantasy genres, or the embrace of any and all possible technologies constitute in some scientific discipline-fiction, retrofuturism calls for a human-scale, largely comprehensible technology, amenable to tinkering and less opaque than modern black-box technology.

Retrofuturism is non universally optimistic, and when its points of reference bear upon gloomy periods similar World War Ii, or the paranoia of the Common cold War, it may itself become bleak and dystopian. In such cases, the alternative reality inspires fear, not promise, though information technology may however exist coupled with nostalgia for a earth of greater moral also as mechanical transparency.

Genres [edit]

Genres of retrofuturism include cyberpunk, steampunk, dieselpunk, atompunk, and Raygun Gothic, each referring to a engineering science from a specific time period.

The kickoff 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 most e'er a dystopian time to come, with a strong emphasis either upon outlaws hacking the futuristic world'south machinery (oftentimes computers and computer networks), or fifty-fifty upon post-apocalyptic settings. The post-apocalyptic variant is the one usually associated with retrofuturism, where characters will rely upon a mixture of erstwhile and new technologies. Furthermore, synthwave and vaporwave are cornball, humorous and oft retrofuturistic revivals of early cyberpunk aesthetic.

The second to be named and recognized was steampunk, in the late 1980s. Information technology is mostly more optimistic and brighter than cyberpunk, set within an alternate history closely resembling our Long 19th century from circa the Regency era onwards and up to circa 1914, only that 20th-century or fifty-fifty futuristic technologies are based upon steam ability. The genre themes also often involve references to electricity as a yet-equally-of-at present mysterious force that is considered the utopian power source of the time to come and sometimes fifty-fifty regarded equally possessing mystical healing powers (much every bit with nuclear energy around the eye of the 20th century). The genre ofttimes strongly resembles the original scientific romances and utopic novels of genre predecessors H. G. Wells and Jules Verne, and began in its modern form with literature such every bit Mervyn Peake'southward Titus Alone (1959), Ronald W. Clark's Queen Victoria's Bomb (1967), Michael Moorcock's A Nomad of the Fourth dimension Streams serial (1971–1981), K. W. Jeter's Morlock Night (1979), and William Gibson & Bruce Sterling's The Divergence Engine (1990), and with films such equally The Time Auto (1960) or Castle in the Heaven (1986). A notable early on example of steampunk in comics is the Franco-Belgian graphic novel series Les Cités obscures, started by its creators François Schuiten and Benoît Peeters in the early 1980s. At times, steampunk as a genre crosses into that of Weird West.

The nigh recently named and recognized retrofuturistic genre is dieselpunk aka decodence (the term dieselpunk is often associated with a more pulpish class and decodence, named after the contemporary art movement of Fine art Deco, with a more than sophisticated form), fix 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 High german band Kraftwerk (come across below), the comic-book character Rocketeer (first appearing in his ain 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 Night Metropolis (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 oftentimes reference the cinematic styles of motion picture noir and High german Expressionism. At times, the genre overlaps with the alternate history genre of a unlike World War II, such every bit with an Centrality victory.

Design and arts [edit]

Although loosely affiliated with early on-twentieth century Futurism, retrofuturism draws from a wider range of sources. To be sure, retrofuturist art and literature ofttimes draws from the factories, buildings, cities, and transportation systems of the car age. But information technology might be said that 20th century futuristic vision found its ultimate expression in the development of Googie or Populuxe design. As practical to fiction, this make of retrofuturistic visual fashion began to take shape in William Gibson's short story "The Gernsback Continuum". Hither and elsewhere it is referred to as Raygun Gothic, a catchall term for a visual style that incorporates diverse aspects of the Googie, Streamline Moderne, and Fine art Deco architectural styles when applied to retrofuturistic scientific discipline fiction environments.

Although Raygun Gothic is most like to the Googie or Populuxe mode and sometimes synonymous with it, the name is primarily practical to images of science fiction. The manner is likewise even so a popular choice for retro sci-fi in film and video games.^[16] Raygun Gothic's primary influences include the set designs of Kenneth Strickfaden and Fritz Lang.^{[ commendation needed ]} The term was coined past William Gibson in his story "The Gernsback Continuum": "Cohen introduced us and explained that Dialta [a noted popular-art historian] was the prime mover behind the latest Barris-Watford projection, 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."^[17]

Aspects of this class of retrofuturism tin 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 U.s. imitated the cool, futuristic await of the Russian advanced 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's retro-futurism in their 1970s visual linguistic communication has been referred to by German literary critic Uwe Schütte, a reader at Aston University, Birmingham, every bit "clear retro-fashion",^[18] and in the 2008 3-hour documentary Kraftwerk and the Electronic Revolution, Irish gaelic-British music scholar Mark J. Prendergast refers to Kraftwerk'southward peculiar "nostalgia for the future" clearly referencing "an interwar [progressive] Federal republic of germany that never was but could've been, and now [due to their influence as a ring] 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 globe in which musical ecstasy is rendered cool, mechanical and precise."^[nineteen] Kraftwerk's 3 retrofuturist albums are:

• Kraftwerk's 1975 album Radio-Activity showed a contemporary 1930s radio on the cover, its inlay (which for its later on CD re-release was widely expanded as a booklet illustrated in the same nostalgic way) showed the band photographed in black and white with quondam-fashioned suits and hairdos, and the music in its instrumentation as well equally its ambiguous 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 first one-half of the 20th century, such every bit Guglielmo Marconi, Léon Theremin, Pierre Schaeffer, and Karlheinz Stockhausen (due to whom the band referred to themselves as but the "2nd generation" of electronic music).
• The European version of the band'due south 1977 anthology Trans-Europe Limited 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 photo in the fashion of Golden Historic period Hollywood stars), the mode of the sleeve blueprint as well as the design of promotional material tying in with the album were influenced by Bauhaus, Art Deco, and Streamline Moderne, the tape came with a big, hand-tinted black and white affiche of the band members in early-1930s way suits (where band member Karl Bartos after said in Kraftwerk and the Electronic Revolution that their intention was to visually resemble "an interwar cord 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 kickoff 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 City).
• The encompass and sleeve design of the 1978 anthology The Human-Auto exhibits an obvious stylistic nod to the Constructivism of 1920s artists such as El Lissitzky, Alexander Rodchenko, and László Moholy-Nagy (due to which ring members accept also referred to it as "the Russian album"), and ane song references the picture Metropolis once again. From this album on, Kraftwerk would also employ their "bear witness-room dummies" aka robot lookalikes on stage and in promotional fabric and increase the utilise of slightly campish make-up on ring members that also resembled 1920s' expressionist make-up that to a bottom degree had already appeared in the promotional textile for their 1977 album Trans-Europe Express.

From their 1981 anthology Estimator World onwards, Kraftwerk have largely abandoned their retro notions and appear mainly futuristic just. The simply references to their earlier retro mode today announced in excerpts from their 1970s' promo clips that are projected in between more modernistic segments in their stage shows during the performance of these former vocal.

Fashion [edit]

Retrofuturistic article of clothing is a item imagined vision of the clothing that might exist 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 jumpsuit 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 exist highly uniform.

The cliché of futuristic wearable has at present become part of the idea of retrofuturism. Futuristic fashion plays on these now-hackneyed stereotypes, and recycles them equally elements into the creation of real-world habiliment fashions.

"We've actually seen this look creeping upward on the runway equally early as 1995, though information technology hasn't been widely popular or adequate street wear even through 2008," said Brooke Kelley, fashion editor and Glamour mag writer. "For the last 20 years, fashion has reviewed the times of past, decade by decade, and what nosotros are seeing at present is a combination of different eras into ane complete look. Time to come way is a style beyond anything nosotros've withal dared to vesture, and information technology's going to be a trend setter's paradise."^[12]

Architecture [edit]

An case in Shanghai of a retrofuturistic design in architecture

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 ain iconographic tradition" and retrofuturism is little more than than "an artful feedback loop"^[20] In the example seen at right, the upper portion of the building is not intended to be integrated with the building merely rather to appear equally a divide object—a huge flying saucer-like infinite ship only incidentally attached to a conventional building. This appears intended not to evoke an even remotely possible futurity, simply rather a by imagination of that future, or a reembracing of the futuristic vision of Googie architecture.

The one time-futuristic Los Angeles International Airport Theme Building was built in 1961 as an expression of the then new jet and infinite ages, incorporating what later came to be known as Googie and Populuxe pattern 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:

• Diminutive Eye
• Alien: Isolation
• Assassinator's Creed Iii
• BioShock
• Call of Duty: Blackness Ops II
• Control & Conquer: Reddish Warning
• Crimson Skies
• Cyberpunk 2077
• Cloudpunk
• Damnation
• Deathloop
• Dishonored
• Dishonored 2
• Dishonored: Death of the Outsider
• Fallout
• Far Weep 3: Claret Dragon
• God of State of war: Chains of Olympus
• Grim Fandango
• Grand Theft Automobile 2
• Infamous Second Son
• Jazzpunk
• Metal Gear
• Observer
• Prey
• Resident Evil four
• Resistance ^[22]
• Stubbs the Zombie in Insubordinate Without a Pulse
• The Outer Worlds
• TimeShift
• Wasteland two ^[23]
• We Happy Few
• Wolfenstein
• Ten-Com: Apocalypse
• 10-Men: Destiny
• Yu-Gi-Oh! Worldwide Edition: Stairway to the Destined Duel

Music [edit]

• Modern electro manner, influenced by Detroit-based artist in the early 80s (such equally Drexciya, Aux 88, Cybotron). This style blend old analog gear (Roland Tr-808 and synths) and sampling methods from the eighty'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'south music video, "Dreams Tonite", which includes archival footage of Montreal'southward Expo 67 was described past the band every bit "fetishizing retro-futurism".^[24]
• English language ring Electric Calorie-free Orchestra released their concept album "Fourth dimension" in 1981. This anthology follows a human who wakes up in the yr 2095 and how he reacts to this sudden alter also as his longing to be back in 1981. There are multiple descriptions of life and what technology is like in 2095.

Film [edit]

• Back To The Future 2 presents many scenes that revolve around the characters interacting in 2015, existence shown in a retrofuturistic way due to the picture show beingness produced in 1989.
• Managing director Brad Bird describes his 2004 Pixar movie The Incredibles as "looking like what nosotros thought the time to come would turn out like in the 1960s."^[25]
• British filmmaker Richard Ayoade noted his motion-picture show The Double from 2013 was designed with the intention of looking similar "the future imagined by someone in the by who got information technology wrong."^[26]
• The 2015 Disney film Tomorrowland, which is based on Disneyland's attraction past the same name and likewise was directed by Brad Bird clearly has retrofuturistic aesthetic.

See also [edit]

• Anachronism – Chronological inconsistency
• Atomic Age – Period of history (1945–present)
• Bonk Concern
• Cyberpunk and cyberpunk derivatives
• Dieselpunk – Science fiction genre
• Futurama (New York World's Fair)
• Hauntology
• The Jetsons – American animated sitcom
• Listing of stories set in a time to come now past
• Neo-futurism – Architectural and art motion and style
• Raygun Gothic
• Retrotronics – The making of electric circuits or appliances using older electrical components
• Retro-style auto
• Steampunk – Science fiction genre inspired by 19th-century industrial steam-powered mechanism

References [edit]

Informational notes

1. ^ There is, however, a commercial artwork, available equally a framed print, a pattern on a cushion, and in other forms, that appears to exist the cover of such a volume: Retro-futurism by T. R. Hinchcliffe, "A Pelican Original". This is probably the source of the thought that such a volume exists. The artist has noted that this is a piece of fan art, non an official cover. The "Artist's 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 touch, the brilliance [or otherwise] of those ideas, and how they are now faring at the apparent dawning of our electronic future – T.R. Hinchcliffe, 1967."

Citations

1. ^ Elizabeth Guffey and Kate C. Lemay, "Retrofuturism and Steampunk", The Oxford Handbook to Science Fiction, Oxford University Printing, 2014, p. 434.
2. ^ Robert Lanham, "Introduction", The Oxford Handbook to Science Fiction, Oxford University Press, 2014, p. 14
3. ^ "Brazil". The New Yorker . Retrieved 2018-07-01 .
4. ^ "retro, adj. and due north.2." OED Online. Oxford University Press, June 2005. Web. xxx June 2018.
5. ^ Dorsey, Ryan; Goldberg, Zachary. "Looking Back at Tomorrow: 'Retrofuturism'". Looking Back at Tomorrow. Whale Bus. Retrieved 6 July 2018.
6. ^ Elizabeth Guffey and Kate C. Lemay, "Retrofuturism and Steampunk", The Oxford Handbook to Scientific discipline Fiction, Oxford University Printing, 2014, p. 435.
7. ^ Elizabeth Guffey, "Crafting Yesterday's Tomorrows: Retro-Futurism, Steampunk, and Making in the Twenty-First Century", Journal of Modernistic Craft 7.3 (November, 2014) p. 254.
8. ^ Elizabeth Guffey, Retro: The Culture of Revival (Reaktion: 2006):155–157
9. ^ Joseph J. Corn and Brian Horrigan, Yesterday's Tomorrows: Past Visions of the American Future (Johns Hopkins Press: 1984): xii.
10. ^ Niklas Maak, "Goodbye Retro-Futurism · A adieu to our perpetual nostalgia for the future". 032c9 (Summer 2005): p. 117
11. ^ Bruce McCall, "What is Retro-Futurism?" Archived 2015-02-02 at the Wayback Car, TED Talk
12. ^ ^{a b} "Retro Futurism Is Latest Fashion Awareness". EDGE United states. Archived from the original on 2013-x-23.
13. ^ "Steampunk 101: On the import of retro-futurism. - A conversation on TED.com". ted.com.
14. ^ "Fox News Quite Likes The BioShock Infinite Logo Evidently". IGN.
15. ^ Erik Kain (iii July 2014). "Fox News Uses 'BioShock Space' 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". Keen Mag. Archived from the original on August 12, 2010.
17. ^ "The Gernsback Continuum" in Gibson, William (1986). Burning Chrome. New York: Arbor Business firm. ISBN978-0-87795-780-5.
18. ^ Schütte, Uwe (2015). Why I want to offering a academy course on Kraftwerk Archived 2015-11-xvi at the Wayback Auto, The Conversation, iv Feb 2015
19. ^ Guffey, 141.
20. ^ Maak, op cit.
21. ^ Lubell, Sam (2008-11-26). "Re-LAX: LA International Airdrome unveils ambitious expansion plans". The Builder'south Newspaper. Archived from the original on 2014-04-17.
22. ^ Lev Grossman, "Superlative 10 Everything 2006: Resistance: Fall of Man (for PS3)", Time, xx Dec 2006
23. ^ Alasdair Duncan, "Review: Wasteland 2", Destructoid, 23 September 2014
24. ^ "Scout Alvvays' New "Dreams Tonite" Video - Pitchfork". pitchfork.com . Retrieved vi April 2018.
25. ^ "The Incredibles – Mid Century Modernism exemplified - Motion picture and Furniture". Flick and 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 Fourth dimension: Designs for the Twentieth Century Futurity. ISBN0-8109-2939-two.
• Corn, Joseph J.; Brian Horrigan; Katherine Chambers (1996). Yesterday's Tomorrows: Past Visions of the American Hereafter. JHU Printing. 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 Space. University of Pennsylvania Press. ISBN0-8122-1847-seven.
• Heimann, Jim (2002). Future Perfect. Köln, London: Taschen. ISBN3-8228-1566-7.
• Hodge, Brooke (2002). Retrofuturism: The Car Design of J Mays. Museum of Gimmicky Art. ISBN0-7893-0822-three.
• Onosko, Tim (1979). Wasn't the Future Wonderful?: A View of Trends and Engineering science From the 1930s . Dutton. ISBN0-525-47551-half-dozen.
• 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 Hereafter that Never Arrived. Bloomsbury USA. ISBNone-59691-136-0.

External links [edit]

• The wonder metropolis you may live to meet – 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

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