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Post-industrial society
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"Post-industrial" redirects here. For the music genre, see post-industrial music.
Clark's Sector model for US economy 1850–2009[1]
In sociology, the post-industrial society is the stage of society's development when the service sector generates more wealth than the manufacturing sector of the economy.
The term was originated by Alain Touraine and is closely related to similar sociological theoretical constructs such as post-fordism, information society, knowledge economy, post-industrial economy, liquid modernity, and network society. They all can be used in economics or social science disciplines as a general theoretical backdrop in research design.
As the term has been used, a few common themes, including the ones below have begun to emerge.
The economy undergoes a transition from the production of goods to the provision of services.
Knowledge becomes a valued form of capital; see Human capital.
Producing ideas is the main way to grow the economy.
Through processes of globalization and automation, the value and importance to the economy of blue-collar, unionized work, including manual labor (e.g., assembly-line work) decline, and those of professional workers (e.g., scientists, creative-industry professionals, and IT professionals) grow in value and prevalence.
Behavioral and information sciences and technologies are developed and implemented. (e.g., behavioral economics, information architecture, cybernetics, game theory and information theory.)
Contents
[hide]
1 Origins
2 Valuation of knowledge
3 Creativity culture
4 Critics
4.1 Neologism
4.2 Social critique
5 See also
6 References
7 External links
Origins[edit]
Daniel Bell popularized the term through his 1974 work The Coming of Post-Industrial Society.[2] Although some have credited Bell with coining the term,[3] French sociologist Alain Touraine published in 1969 the first major work on the post-industrial society. The term was also used extensively by social philosopher Ivan Illich in his 1973 paper Tools for Conviviality. and appears occasionally in Leftist texts throughout the mid-to-late 1960s.[4]
The term has grown and changed as it became mainstream. The term is now used by admen such as Seth Godin,[5] public policy PhD's such as Keith Boeckelman,[6] and sociologists such as Neil Fligstein and Ofer Sharone.[7] President Bill Clinton even used the term to describe Chinese growth in a round-table discussion in Shanghai in 1998.[8]
Valuation of knowledge[edit]
The post-industrialized society is marked by an increased valuation of knowledge. This itself is unsurprising, having been foreshadowed in Daniel Bell’s presumption as to how economic employment patterns will evolve in such societies. He asserts employment will grow faster in the tertiary (and quaternary) sector relative to employment in the primary and secondary sector and that the tertiary (and quaternary) sectors will take precedence in the economy. This will continue to occur such that the “impact of the expert” will expand and power will be monopolized by knowledge.[9]
As tertiary and quaternary sector positions are essentially knowledge-oriented, this will result in a restructuring of education, at least in its nuances. The “new power… of the expert” consequently gives rise to the growing role of universities and research institutes in post-industrial societies.[9] Post-industrial societies themselves become oriented around these places of knowledge production and production of experts as their new foci. Consequently, the greatest beneficiaries in the post-industrial society are young urban professionals. As a new, educated, and politicized generation more impassioned by liberalism, social justice, and environmentalism the shift of power into their hands, as a result of their knowledge endowments, is often cited as a good thing.[10][11]
The increasing importance of knowledge in post-industrial societies results in a general increase in expertise through the economy and throughout society. In this manner, it eliminates what Alan Banks and Jim Foster identify as “undesirable work as well as the grosser forms of poverty and inequality.” This effect is supplemented by the aforementioned movement of power into the hands of young educated people concerned with social justice.[11]
Economists at Berkeley have studied the value of knowledge as a form of capital, adding value to material capital, such as factory or a truck. Speaking along the same lines of their argument, the addition or 'production' of knowledge, could become the basis of what would undoubtably be considered 'post-industrial' policies meant to deliver economic growth.[12]
Creativity culture[edit]
Similarly, post-industrial society has serviced the creative culture. Many of those most well-equipped to thrive in an increasingly technological society are young adults with tertiary education. As education itself becomes more and more oriented towards producing people capable of answering the need for self-actualization, creativity, and self-expression, successive generations become more endowed with the ability to contribute to and perpetuate such industries. This nuanced change in education, as well among the emerging class of young professionals, is itself initiated by what James D Wright identifies as an “unprecedented economic affluence and the satiation of basic material needs.”[10] Ellen Dunham-Jones as well observes this feature of post-industrial society where “abundant goods [are] equitably distributed [in order that] laborless leisure and self-determination” can be consumed.[13]
The post-industrial society is repeatedly stressed to be one where knowledge is power and technology is the instrument.[9] Naturally, where one is creatively inclined, they are advantaged by such a society. The doctrine of “speed, mobility and malleability” is well suited to a dynamic creative industry and as industries of good production decrease in precedence, the way is paved for artists, musicians, and other such types, whose skills are better utilized by the tertiary and quaternary sector.[13] Urban geographer Trevor Barnes, in his work outlining the Vancouver experience in post-war development, evokes the post-industrial condition, citing the emergence and consolidation of a significant video games industry as a constituent of the elite service sector.[14]
This increased faculty of the post-industrialist society with respects to the creative industry is itself reflected by the economic history of post-industrial societies. As economic activities shift from primarily primary and secondary sector-based to tertiary, and later quaternary, sector-based, cities in which this shift occurs become more open to exchanges of information.[15] This is necessitated by the demands of a tertiary and quaternary sector: in order to better service an industry focused on finance, education, communication, management, training, engineering, and aesthetic design, the city must become points of exchange capable of providing the most updated information from across the globe. Conversely, as cities become a convergence of international ideas, the tertiary and quaternary sector can be expected to grow.[14][15]
A virtual cult of 'creatives' have sprung up embodying and often describing and defending the post-industrial ethos. They argue that businesses that create intangibles have taken a more prominent role in the wake of manufacturing's decline.
Actor and then-artistic director of the Old Vic Theatre, Kevin Spacey, has argued the economic case for the arts in terms of providing jobs and being of greater importance in exports than manufacturing (as well as an educational role) in a guest column he wrote for The Times.[16]
Critics[edit]
Post-industrialism is criticized for the amount of real fundamental change it produces in society, if any at all. A mild view held by Alan Banks and Jim Foster contends that representations of post-industrial society by advocates assume professional, educated elites were previously less relevant than they have become in the new social order, and that changes that have occurred are minor but greatly embellished.[11] More critical views see the entire process as the highest evolution of capitalism, wherein the system produces commodities as opposed to practical goods and is determined privately instead of socially. This view is complemented by the assertion that “the characteristic feature of a modern [that is, post-industrial] society is that it is a technocracy.”[9] Such societies then become notable for their ability to subvert social consciousness through powers of manipulation rather than powers of coercion, reflective of the “ideology of the ruling class [as] … predominantly managerial.”[9]
In line with the view that nothing fundamental has changed in the transition from industrial societies to post-industrial societies is the insistence of lingering problems from past development periods. Neo-Malthusian in essence, this outlook focuses on post-industrial society’s continuing struggle with issues of resource scarcity, overpopulation, and environmental degradation, all of which are remnants from its industrial history.[17] This is exacerbated by a “corporate liberalism” that seeks to continue economic growth through “the creation and satisfaction of false needs,” or as Christopher Lasch more derisively refers to it, “subsidized waste.”[9]
Urban development in the context of post-industrialism is also a point of contention. In opposition to the view that the new leaders of post-industrial society are increasingly environmentally aware, this critique asserts that it rather leads to environmental degradation, this being rooted in the patterns of development. Urban sprawl, characterised behaviourally by cities “expanding at the periphery in even lower densities” and physically by “office parks, malls, strips, condo clusters, corporate campuses and gated communities,” is singled out as the main issue.[13] Resulting from a post-industrialist culture of “mobile capital, the service economy, post-Fordist disposable consumerism and banking deregulation,” urban sprawl has caused post-industrialism to become environmentally and socially regressive.[13] Of the former, environmental degradation results from encroachment as cities meet demands on low-density habitation; the wider spread of population consumes more of the environment while necessitating more energy consumption in order to facilitate travel within the ever-growing city, incurring greater pollution.[13] This process evokes the neo-Malthusian concerns of overpopulation and resource scarcity that inevitably lead to environmental deterioration.[17] Of the latter, “post-industrialism’s doctrine of … mobility and malleability” encourage a disconnect between communities where social belonging falls into the category of things considered by the “post-Fordist disposable consumer[ist]” attitude as interchangeable, expendable, and replaceable.[13]
Post-industrialism as a concept is highly Western-centric. Theoretically and effectively, it is only possible in the Global West, which its proponents assume to be solely capable of fully realizing industrialization and then post-industrialization. Herman Kahn optimistically predicted the “economic growth, expanded production and growing efficiency” of post-industrial societies and the resultant “material abundance and… high quality of life” to extend to “almost all people in Western societies” and only “some in Eastern societies.”[17] This prediction is treated elsewhere by contentions that the post-industrial society merely perpetuates capitalism.[9][13]
Recalling the critical assertion that all modern societies are technocracies, T. Roszak completes the analysis by stating that “all societies are moving in the direction of technocracies.”[9] From this, the foremost “suave technocracies” reside in the West, whereas all others are successively graded in descending order: “vulgar technocracies,” “teratoid technocracies,” and finally “comic opera technocracies.”[9] This view importantly presumes one transition and furthermore one path of transition for societies to undergo, i.e. the one that Western societies are slated to complete. Much like the demographic transition model, this prediction does not entertain the idea of an Eastern or other alternative model of transitional development.
Neologism[edit]
When historians and sociologists considered the revolution that followed the agricultural society they did not call it a "post-agricultural society". "Post-industrial society" signifies only a departure, not a positive description.[18][19]
One of the word's early users, Ivan Illich, prefigured this criticism and invented the term Conviviality, or the Convivial Society, to stand as a positive description of his version of a post-industrial society.
Social critique[edit]
A group of scholars (including Allen Scott and Edward Soja) argue that industry remains at the center of the whole process of capitalist accumulation, with services not only becoming increasingly industrialized and automated but also remaining highly dependent on industrial growth.
Some observers, including Soja (building on the theories of the French philosopher of urbanism Henri Lefebvre), suggest that although industry may be based outside of a "post-industrial" nation, that nation cannot ignore industry's necessary sociological importance.
See also[edit]
Deindustrialization
Late modernity
Late capitalism
Industrial society
Information society
Information revolution
Knowledge economy
Network society
Post-capitalism
Post-democracy
Post-Marxism
Post-modernity
Sleepers, Wake!
Sociocultural evolution
Technological unemployment
Urban decay
Future Shock
People
Heinz von Foerster
Alvin Toffler
Alain Touraine
References[edit]
Jump up ^ "Who Makes It? Clark's Sector Model for US Economy 1850-2009". Retrieved 29 December 2011.
Jump up ^ Bell, Daniel. The Coming of Post-Industrial Society. New York: Harper Colophon Books, 1974.
Jump up ^ Ahead of the curve, Schumpeter, The Economist, Feb 3rd 2011
Jump up ^ For example, James Weinstein, 'Studies on the Left: R.I.P.', Radical America: An SDS Magazine, vol.1, no.3 (Nov-Dec, 1967), p.2.
Jump up ^ Godin, Seth . Linchpin (2010)
Jump up ^ The American States in the Postindustrial Economy. The State and Local Government Review. on the web: https://www.jstor.org/pss/4355128
Jump up ^ Work in the Postindustrial Economy of California. (2002) On the web http://www.russellsage.org/publications/workingpapers/workpostindcalif/document
Jump up ^ 1999 Forward to "The Coming of the Post-Industrial Society" by Daniel Bell
^ Jump up to: a b c d e f g h i Targ, Harry R. "Global Dominance and Dependence, Post-Industrialism, and International Relations Theory: A Review." International Studies Quarterly. 20. 3 (1976): 461-482.
^ Jump up to: a b Wright, James D. “The Political Consciousness of Post-Industrialism.” Contemporary Sociology. 7. 3 (1978): 270-273.
^ Jump up to: a b c Banks, Alan and Jim Foster. “The Mystifications of Post-Industrialism.” Appalachian Journal . 10. 4 (1983): 372-378.
Jump up ^ Czarnitzki, Dirk; Hall Bronwyn H. (Berkeley); Oriani Raffaele; The Market Valuation of Knowledge Assets in US and European Firms. On the web at http://elsa.berkeley.edu/~bhhall/papers/CHO05_mktval.pdf
^ Jump up to: a b c d e f g Dunham-Jones, Ellen. “New Urbanism as a Counter-Project to Post-Industrialism [The Promise of New Urbanism].” Places. 13. 2 (2000): 26-31.
^ Jump up to: a b Barnes, T et al. “Vancouver: Restructuring narratives in the transnational metropolis.” Canadian urban regions: trajectories of growth and change. Eds. L Bourne et al. (2011): 291-327.
^ Jump up to: a b Golden, Miriam & Michael Wallerstein. “Domestic and International Causes for the Rise of Pay Inequality: Post-Industrialism, Globalization and Labor Market Institutions.” The Institute for Research on Labor and Employment, UCLA (2006).
Jump up ^ http://www.timesonline.co.uk/tol/comment/columnists/guest_contributors/article6251188.ece Kevin Spacey makes an economic case for the arts(subscription required)
^ Jump up to: a b c Gibson, Donald E. “Post-Industrialism: Prosperity or Decline?” Sociological Focus. 26. 2 (1993): 147-163.
Jump up ^ Veneris, Yannis. The Informational Revolution, Cybernetics and Urban Modelling, PhD Thesis, University of Newcastle upon Tyne, UK, 1984. This thesis explored trends and theories (general economic and regional), and developed a large scale dynamic simulation model of the transition from an industrial to an informational economy.
Jump up ^ Veneris, Yannis. Modeling the transition from the Industrial to the Informational Revolution, Environment and Planning A 22(3):399-416, 1990. [1]
External links[edit]
Post Industrial Society Essay Criticism of Bell’s analysis of the role of information and knowledge in relation to contemporary social change and the extent of these changes. Technology essays, 2005.
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List of Vikings episodes
From Wikipedia, the free encyclopedia
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Vikings is a historical drama television series written and created by Michael Hirst for the channel History. Filmed in Ireland, it premiered on March 3, 2013 in Canada.[1] Vikings is inspired by the sagas of Viking Ragnar Lothbrok, one of the best-known legendary Norse heroes. The show portrays Ragnar's and his family's rise from serfdom to nobility and fame through successful raids into Anglo-Saxon kingdoms and Francia. The series is also inspired by, and loosely adapts, various historical events from European history during the Early Middle Ages.
On March 17, 2016, History renewed Vikings for a fifth season of 20 episodes, premiered on November 29, 2017.[2][3] On September 12, 2017, ahead of its fifth-season premiere, the series was renewed for a sixth season, which will consist of 20 episodes.[4] As of January 24, 2018,[update] 59 episodes of Vikings have aired, concluding the first half of the fifth season.
Contents
1 Series overview
2 Episodes
2.1 Season 1 (2013)
2.2 Season 2 (2014)
2.3 Season 3 (2015)
2.4 Season 4 (2016–17)
2.5 Season 5 (2017–18)
3 Webisodes
3.1 Athelstan's Journal (2015)
4 References
5 External links
Series overview[edit]
Season
Episodes
Originally aired
First aired
Last aired
1 9 March 3, 2013 (2013-03-03) April 28, 2013 (2013-04-28)
2 10 February 27, 2014 (2014-02-27) May 1, 2014 (2014-05-01)
3 10 February 19, 2015 (2015-02-19) April 23, 2015 (2015-04-23)
4 20 10 February 18, 2016 (2016-02-18) April 21, 2016 (2016-04-21)
10 November 30, 2016 (2016-11-30) February 1, 2017 (2017-02-01)
5 20[2] 10 November 29, 2017 (2017-11-29) January 24, 2018 (2018-01-24)
10[5] November 28, 2018 (2018-11-28)[6] TBA
Episodes[edit]
Season 1 (2013)[edit]
Main article: Vikings (season 1)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
1
1 "Rites of Passage" Johan Renck Michael Hirst March 3, 2013 (2013-03-03)
2
2 "Wrath of the Northmen" Johan Renck Michael Hirst March 10, 2013 (2013-03-10)
3
3 "Dispossessed" Johan Renck Michael Hirst March 17, 2013 (2013-03-17)
4
4 "Trial" Ciarán Donnelly Michael Hirst March 24, 2013 (2013-03-24)
5
5 "Raid" Ciarán Donnelly Michael Hirst March 31, 2013 (2013-03-31)
6
6 "Burial of the Dead" Ciarán Donnelly Michael Hirst April 7, 2013 (2013-04-07)
7
7 "A King's Ransom" Ken Girotti Michael Hirst April 14, 2013 (2013-04-14)
8
8 "Sacrifice" Ken Girotti Michael Hirst April 21, 2013 (2013-04-21)
9
9 "All Change" Ken Girotti Michael Hirst April 28, 2013 (2013-04-28)
Season 2 (2014)[edit]
Main article: Vikings (season 2)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
10
1 "Brother's War" Ciarán Donnelly Michael Hirst February 27, 2014 (2014-02-27)
11
2 "Invasion" Ciarán Donnelly Michael Hirst March 6, 2014 (2014-03-06)
12
3 "Treachery" Ken Girotti Michael Hirst March 13, 2014 (2014-03-13)
13
4 "Eye for an Eye" Ken Girotti Michael Hirst March 20, 2014 (2014-03-20)
14
5 "Answers in Blood" Jeff Woolnough Michael Hirst March 27, 2014 (2014-03-27)
15
6 "Unforgiven" Jeff Woolnough Michael Hirst April 3, 2014 (2014-04-03)
16
7 "Blood Eagle" Kari Skogland Michael Hirst April 10, 2014 (2014-04-10)
17
8 "Boneless" Kari Skogland Michael Hirst April 17, 2014 (2014-04-17)
18
9 "The Choice" Ken Girotti Michael Hirst April 24, 2014 (2014-04-24)
19
10 "The Lord's Prayer" Ken Girotti Michael Hirst May 1, 2014 (2014-05-01)
Season 3 (2015)[edit]
Main article: Vikings (season 3)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
20
1 "Mercenary" Ken Girotti Michael Hirst February 19, 2015 (2015-02-19)
21
2 "The Wanderer" Ken Girotti Michael Hirst February 26, 2015 (2015-02-26)
22
3 "Warrior's Fate" Jeff Woolnough Michael Hirst March 5, 2015 (2015-03-05)
23
4 "Scarred" Jeff Woolnough Michael Hirst March 12, 2015 (2015-03-12)
24
5 "The Usurper" Helen Shaver Michael Hirst March 19, 2015 (2015-03-19)
25
6 "Born Again" Helen Shaver Michael Hirst March 26, 2015 (2015-03-26)
26
7 "Paris" Kelly Makin Michael Hirst April 2, 2015 (2015-04-02)
27
8 "To the Gates!" Kelly Makin Michael Hirst April 9, 2015 (2015-04-09)
28
9 "Breaking Point" Ken Girotti Michael Hirst April 16, 2015 (2015-04-16)
29
10 "The Dead" Ken Girotti Michael Hirst April 23, 2015 (2015-04-23)
Season 4 (2016–17)[edit]
Main article: Vikings (season 4)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Part 1
30
1 "A Good Treason" Ciarán Donnelly Michael Hirst February 18, 2016 (2016-02-18)
31
2 "Kill the Queen" Ciarán Donnelly Michael Hirst February 25, 2016 (2016-02-25)
32
3 "Mercy" Ciarán Donnelly Michael Hirst March 3, 2016 (2016-03-03)
33
4 "Yol" Helen Shaver Michael Hirst March 10, 2016 (2016-03-10)
34
5 "Promised" Helen Shaver Michael Hirst March 17, 2016 (2016-03-17)
35
6 "What Might Have Been" Ken Girotti Michael Hirst March 24, 2016 (2016-03-24)
36
7 "The Profit and the Loss" Ken Girotti Michael Hirst March 31, 2016 (2016-03-31)
37
8 "Portage" Ken Girotti Michael Hirst April 7, 2016 (2016-04-07)
38
9 "Death All 'Round" Jeff Woolnough Michael Hirst April 14, 2016 (2016-04-14)
39
10 "The Last Ship" Jeff Woolnough Michael Hirst April 21, 2016 (2016-04-21)
Part 2
40
11 "The Outsider" Daniel Grou Michael Hirst November 30, 2016 (2016-11-30)
41
12 "The Vision" Daniel Grou Michael Hirst December 7, 2016 (2016-12-07)
42
13 "Two Journeys" Sarah Harding Michael Hirst December 14, 2016 (2016-12-14)
43
14 "In the Uncertain Hour Before the Morning" Sarah Harding Michael Hirst December 21, 2016 (2016-12-21)
44
15 "All His Angels" Ciarán Donnelly Michael Hirst December 28, 2016 (2016-12-28)
45
16 "Crossings" Ciarán Donnelly Michael Hirst January 4, 2017 (2017-01-04)
46
17 "The Great Army" Jeff Woolnough Michael Hirst January 11, 2017 (2017-01-11)
47
18 "Revenge" Jeff Woolnough Michael Hirst January 18, 2017 (2017-01-18)
48
19 "On the Eve" Ben Bolt Michael Hirst January 25, 2017 (2017-01-25)
49
20 "The Reckoning" Ben Bolt Michael Hirst February 1, 2017 (2017-02-01)
Season 5 (2017–18)[edit]
Main article: Vikings (season 5)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Part 1
50
51
1
2 "The Departed"[a] David Wellington Michael Hirst November 29, 2017 (2017-11-29)
52
3 "Homeland" Steve Saint Leger Michael Hirst December 6, 2017 (2017-12-06)
53
4 "The Plan" Steve Saint Leger Michael Hirst December 13, 2017 (2017-12-13)
54
5 "The Prisoner" Ciarán Donnelly Michael Hirst December 20, 2017 (2017-12-20)
55
6 "The Message" Ciarán Donnelly Michael Hirst December 27, 2017 (2017-12-27)
56
7 "Full Moon" Jeff Woolnough Michael Hirst January 3, 2018 (2018-01-03)
57
8 "The Joke" Jeff Woolnough Michael Hirst January 10, 2018 (2018-01-10)
58
9 "A Simple Story" Daniel Grou Michael Hirst January 17, 2018 (2018-01-17)
59
10 "Moments of Vision" Daniel Grou Michael Hirst January 24, 2018 (2018-01-24)
Part 2
60
11 "The Revelation"[9] TBA TBA November 28, 2018 (2018-11-28)
Notes
Jump up ^ The first two episodes aired together on History as a two-hour premiere, "The Departed", but were released separately on streaming services and in digital stores, with the first part titled "The Fisher King" and the second "The Departed".[7][8]
Webisodes[edit]
Athelstan's Journal (2015)[edit]
A series of thirteen webisodes known as Vikings: Athelstan's Journal was released by the History Channel. Each webisode serves as a journal entry for the Vikings character Athelstan. The webisodes were released prior to and in conjunction with the beginning of the third season of Vikings, and are available on the History Channel's website.[10] The webisodes have a running time of 1:45 to 5:01 minutes.
No.
Title
Directed by
Written by
Original air date
Athelstan's Journal
1
"Chapter One: Gods" Lucas Taylor Sam Meikle January 30, 2015 (2015-01-30)
2
"Chapter Two: Honor" Lucas Taylor Sam Meikle February 1, 2015 (2015-02-01)
3
"Chapter Three: Loyalty" Lucas Taylor Sam Meikle February 6, 2015 (2015-02-06)
4
"Chapter Four: Sin" Lucas Taylor Sam Meikle February 8, 2015 (2015-02-08)
5
"Chapter Five: Blood" Lucas Taylor Sam Meikle February 13, 2015 (2015-02-13)
6
"Chapter Six: Family" Lucas Taylor Sam Meikle February 14, 2015 (2015-02-14)
7
"Chapter Seven: Savagery" Lucas Taylor Sam Meikle February 18, 2015 (2015-02-18)
8
"Chapter Eight: Gods & Men" Lucas Taylor Sam Meikle February 19, 2015 (2015-02-19)
Stones and Bones
9
"Chapter One: Vows" Lucas Taylor Sam Meikle February 20, 2015 (2015-02-20)
10
"Chapter Two: Death" Lucas Taylor Sam Meikle February 27, 2015 (2015-02-27)
11
"Chapter Three: Love" Lucas Taylor Sam Meikle March 6, 2015 (2015-03-06)
12
"Chapter Four: Harvest" Lucas Taylor Sam Meikle March 13, 2015 (2015-03-13)
13
"Chapter Five: The Choice" Lucas Taylor Sam Meikle March 20, 2015 (2015-03-20)
References[edit]
Jump up ^ "VIKINGS Tops The Ratings With 8.3 Million Viewers". Irish Film Board. March 5, 2013. Archived from the original on April 7, 2013. Retrieved March 14, 2013.
^ Jump up to: a b Lesley Goldberg (March 17, 2016). "'Vikings' Renewed for Fifth Season at History". The Hollywood Reporter. Retrieved March 17, 2016.
Jump up ^ Greg Evans (July 22, 2017). "'Vikings' Gets Trailer & Season Premiere Date – Comic-Con". Deadline. Retrieved July 22, 2017.
Jump up ^ Franich, Darren (September 12, 2017). "Vikings renewed for sixth season". Entertainment Weekly. Retrieved September 12, 2017.
Jump up ^ "History(R) Orders 20 Episode Sixth Season of Hit Drama Series "Vikings"". The Futon Critic. September 12, 2017. Retrieved October 14, 2017.
Jump up ^ Dino-Ray Ramos (July 20, 2018). "'Vikings' Unveils New Battle-Heavy Trailer & Announces Date For Midseason Premiere – Comic-Con". Deadline. Retrieved July 20, 2018.
Jump up ^ "Vikings: Season 5 - Part 1 on Amazon". Retrieved December 2, 2017.
Jump up ^ "Vikings, Season 5 on iTunes". Retrieved December 2, 2017.
Jump up ^ "Shows A-Z - vikings on history". The Futon Critic. Retrieved October 16, 2018.
Jump up ^ "Athelstan's Journal: Gods". HISTORY.com.
External links[edit]
Official website
List of Vikings episodes on IMDb
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Blade Runner 2049
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Blade Runner 2049
Theatrical release poster
Directed by
Denis Villeneuve
Produced by
Andrew A. Kosove
Broderick Johnson
Bud Yorkin
Cynthia Yorkin
Screenplay by
Hampton Fancher
Michael Green
Story by
Hampton Fancher
Based on
Characters from Do Androids Dream of Electric Sheep?
by Philip K. Dick
Starring
Ryan Gosling
Harrison Ford
Ana de Armas
Sylvia Hoeks
Robin Wright
Mackenzie Davis
Carla Juri
Lennie James
Dave Bautista
Jared Leto
Music by
Hans Zimmer
Benjamin Wallfisch
Cinematography
Roger Deakins
Edited by
Joe Walker
Production
company
Alcon Entertainment
Columbia Pictures
Scott Free Productions
Torridon Films[1]
16:14 Entertainment[1]
Thunderbird Entertainment
Distributed by
Warner Bros. Pictures
Sony Pictures
Release date
October 3, 2017 (2017-10-03) (Dolby Theatre)
October 6, 2017 (2017-10-06) (United States)
Running time
163 minutes[2]
Country
United States
Language
English
Budget
$150–185 million[3][4][5][6]
Box office
$90 million[6]
Blade Runner 2049 is a 2017 American neo-noir science fiction film directed by Denis Villeneuve and written by Hampton Fancher and Michael Green.[7] A sequel to Blade Runner (1982), the film stars Ryan Gosling and Harrison Ford, with Ana de Armas, Sylvia Hoeks, Robin Wright, Mackenzie Davis, Carla Juri, Lennie James, Dave Bautista and Jared Leto in supporting roles. Set thirty years after the original film, the story depicts a replicant blade runner named K, who discovers the remains of a once-pregnant replicant. To prevent a possible war between replicants and humans, K is secretly tasked with finding the child and destroying all evidence related to it, leading him to discover that the child bears a connection to missing blade runner Rick Deckard.
Principal photography took place in Budapest, Hungary between July and November 2016. Blade Runner 2049 premiered in Los Angeles on October 3, 2017 and was released in the United States on October 6, 2017, in 2D, 3D and IMAX. The film received acclaim from critics, with some regarding it as one of the best sequels ever made.[8][9][10][11]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Pre-production
3.3 Filming
3.4 Post-production
3.5 Soundtrack
4 Release
4.1 Marketing
5 Reception
5.1 Box office
5.2 Critical response
5.3 Accolades
6 Possible sequel
7 See also
8 References
9 External links
Plot
In 2049, bioengineered humans called replicants have been integrated into society. K, a newer replicant model created to obey, works as a "blade runner" for the LAPD, hunting down and "retiring" rogue older model replicants. His home-life is spent with his holographic girlfriend Joi, an artificial intelligence product of Wallace Corporation.
K's investigation into a growing replicant freedom movement leads him to a farm, where he retires rogue replicant Sapper Morton and finds a buried box with what appears to be human remains inside. Forensic analysis reveals they are of a female replicant who died as the result of complications from an emergency caesarian section. K finds this unsettling as pregnancy in replicants was originally thought to be impossible.
K is ordered to destroy all evidence related to the case and to retire the child by his superior, Lieutenant Joshi, who believes the knowledge that replicants are able to reproduce to be dangerous and could lead to war. K, disturbed by his orders to kill what he sees as someone with a soul, visits the headquarters of replicant business magnate Niander Wallace who identifies the body as Rachael, an experimental replicant. In the process, he learns of her romantic ties with former veteran blade runner Rick Deckard. Believing that reproduction in replicants can bolster his production, but unable to give them this ability himself, Wallace sends his replicant enforcer Luv to steal Rachael's remains from LAPD headquarters and follow K to find Rachael's child. Wallace hopes to use the child to engineer replicant reproduction and expand his off-world operations.
Returning to Morton's farm, K finds a hidden date that matches a childhood memory about hiding a toy horse. K later finds the toy horse at an orphanage, suggesting that his memories—which he thought were implants—are real. Joi insists this is evidence that K is in fact a real person, giving him the nickname "Joe." While searching birth records for that year, he discovers an anomaly: "twins" were born on that day with identical DNA except for the sex chromosome; only the boy is listed as alive. K seeks out Dr. Ana Stelline, a memory designer who informs him that it is illegal to program replicants with humans' real memories, leading K to believe he might be Rachael's son. After failing a test of his replicant behavior, K is suspended by Joshi, but he explains that he failed the test because he completed his mission in killing the child. Joshi, knowing K will be chased for deviating from his base line, gives him 48 hours to disappear. K transfers Joi to a mobile emitter despite knowing if it is damaged she will be erased.
Undeterred, K has the toy horse analyzed and finds traces of radiation that lead him to the ruins of Las Vegas, where he finds Deckard. Deckard reveals that he scrambled the birth records to cover his tracks and was forced to leave a pregnant Rachael with the replicant freedom movement to protect her. Luv and her men arrive to kidnap Deckard, having murdered Joshi and tracked K's location. They leave a badly injured K for dead, in the process destroying Joi's emitter. He is later rescued by the replicant freedom movement who were tracking him. He is told by their leader, Freysa, that he is wrong to think that he has a unique role to fulfill in the movement, and that Rachael's child is actually a girl. K deduces that Stelline is Deckard's daughter, as she is the only one capable of creating the memory and implanting it into him. Freysa urges K to prevent Wallace from uncovering the secrets of replicant reproduction by any means necessary, including killing Deckard.
In Los Angeles, Deckard is brought before Wallace, who suggests Rachael's feelings for him were engineered by Tyrell to test the possibility of a replicant becoming pregnant. Deckard refuses to cooperate with Wallace, even when promised a replicant recreation of Rachael. Luv starts escorting Deckard to one of Wallace's off-world outposts to be tortured for information. K intercepts them before fighting and killing Luv. He stages Deckard's death to protect him from both Wallace and the replicants, and leads Deckard to Stelline's office. K encourages Deckard to meet his daughter and laments that all the best memories are hers. Deckard cautiously enters the office and approaches Stelline, while K lies down on the steps amidst the falling snow, and dies from his wounds.[12]
Cast
Ryan Gosling as K / Joe
Harrison Ford as Rick Deckard
Ana de Armas as Joi
Sylvia Hoeks as Luv
Robin Wright as Lt. Joshi
Mackenzie Davis as Mariette
Carla Juri as Dr. Ana Stelline
Lennie James as Mister Cotton
Dave Bautista as Sapper Morton
Jared Leto as Niander Wallace
David Dastmalchian as Coco
Barkhad Abdi as Doc Badger
Hiam Abbass as Freysa
Wood Harris as Nandez
Edward James Olmos as Gaff
To reprise her role as Rachael, Sean Young's likeness was digitally superimposed on a stand-in actress, who was coached by Young on how to replicate her performance. Rachael's voice was also created with a sound-alike actress.[13]
Production
Development
Director Denis Villeneuve (at left) with the cast at San Diego Comic-Con 2017
Development of a sequel to Blade Runner began in 1999 when British filmmaker Stuart Hazeldine had written a rejected sequel based on K. W. Jeter's novel The Edge of Human, titled Blade Runner Down; however this early rewrite was shelved due to concerns around the rights to the novel.[14]
In 2007, Ridley Scott, who had directed the original film, considered developing a sequel, tentatively titled Metropolis, and stated his interest while attending San Diego Comic Con in that year.[14][15] Co-writer Travis Adam Wright worked with producer Bud Yorkin for several years on the project. His colleague John Glenn, who had left the project by 2008, stated the script would explore the nature of the off-world colonies as well as what happens to the Tyrell Corporation in the wake of its founder's death.[16]
In June 2009, The New York Times reported that Scott and his brother, director Tony Scott, were working on a Blade Runner prequel, Purefold, set in 2019. The prequel was planned as a series of 5–10 minute shorts, aimed first at the web and then perhaps television. Due to rights problems, the series was not to be linked too closely to the characters or events of the 1982 film.[17] On February 7, 2010, it was announced that production on Purefold had ceased, due to funding problems.[18] On March 4, 2011, the website io9 reported that Yorkin was developing a new Blade Runner film.[19] It was also reported that month that Christopher Nolan was desired as director.[20]
On August 18, 2011, it was announced that Ridley Scott would lead the production of a new Blade Runner film, although work would not begin until at least 2013. Producer Andrew A. Kosove suggested that Harrison Ford, who had starred in the original film, was unlikely to be involved.[21][22] Scott said that the film was "liable to be a sequel" but without the previous cast, and that he was close to finding a writer that "might be able to help [him] deliver".[23] On February 6, 2012, Kosove stated: "It is absolutely, patently false that there has been any discussion about Harrison Ford being in Blade Runner. To be clear, what we are trying to do with Ridley now is go through the painstaking process of trying to break the back of the story ... The casting of the movie could not be further from our minds at this moment."[24] When Scott was asked about the possibility of a sequel in October 2012, he said, "It's not a rumor—it's happening. With Harrison Ford? I don't know yet. Is he too old? Well, he was a Nexus-6 so we don't know how long he can live. And that's all I'm going to say at this stage."[25]
Scott said in November 2014 that he would not direct the film and would instead produce; that filming would begin in late 2014 or 2015, and that Ford's character would only appear in "the third act" of the sequel.[26] On February 26, 2015, the sequel was confirmed, with Denis Villeneuve as its director. Ford was confirmed to be returning as Deckard; so too original writer Hampton Fancher. The film was expected to enter production in mid-2016.[27]
Pre-production
On April 16, 2015, Ryan Gosling entered negotiations for a role.[28] Gosling confirmed in November 2015 that he had been cast, citing the involvement of Villeneuve and the cinematographer Roger Deakins as factors for his decision;[29] Deakins was hired as director of photography on May 20, 2016.[30] Principal photography was set to begin in July, with Warner Bros. distributing the film domestically, and Sony Pictures Releasing distributing internationally.[31] On February 18, 2016, an official release date of January 12, 2018 was announced.[32]
On March 31, 2016, Robin Wright entered final negotiations for a role in the film,[33] and on April 2, Dave Bautista posted a picture of himself with an origami unicorn, hinting at a role in the film.[34] Bautista and Wright were confirmed to be joining the cast on April 4, and a filming start date of July was established.[35] In late April 2016, the film's release date was moved up to October 6, 2017,[36] as well as Ana de Armas and Sylvia Hoeks being added to the cast.[37][38] Carla Juri was cast in May 2016.[39] In June, Mackenzie Davis and Barkhad Abdi were cast,[40][41] with David Dastmalchian, Hiam Abbass and Lennie James joining in July.[42][43] Jared Leto was cast in the film in August; Villeneuve had hoped to cast David Bowie, but Bowie died before production began.[44][45] In March 2017, Edward James Olmos confirmed he was in the film in a sequence playing his original character, Gaff.[46]
When interviewed at the 2015 Toronto International Film Festival, Villeneuve had noted that the plot would be ambiguous as to the question of Deckard being a human or a replicant.[47] In an interview,[48] Villeneuve mentioned that the film is set a few decades after the original. It will again take place in Los Angeles, and the Earth's atmosphere will be different, he said: "The climate has gone berserk – the ocean, the rain, the snow is all toxic."[49] It was announced that Scott would be executive producer.[50]
Filming
Principal photography took place between July and November 2016 in Budapest, Hungary.[51][52][53] On August 25, 2016, a construction worker was killed while dismantling one of the film's sets at Origo Studios.[54]
Post-production
Warner Bros. announced in early October 2016 that the film would be titled Blade Runner 2049.[55] Editing commenced in December in Los Angeles, with the intention of having the film being rated R.[53] At the 2017 San Diego Comic-Con, Villeneuve said that the film would run for approximately two-and-a-half hours.[56]
Soundtrack
Rapper-producer El-P was asked to compose music for the first Blade Runner 2049 trailer, but his score was "rejected or ignored".[57] Jóhann Jóhannsson, who had worked with Villeneuve on Prisoners, Sicario and Arrival, was announced as composer for the film. Hans Zimmer and Benjamin Wallfisch joined in July 2017. In September, Jóhannsson's agent confirmed that he was no longer involved, and that he was contractually forbidden from commenting on the situation.[58]
The soundtrack album was released on October 5, 2017.[59] A physical two disc CD version of the soundtrack by Epic Records will be released in the United States on October 27, 2017. There are two editions of the CD release and each edition is limited to 2049 copies. Both editions are hand numbered to 2049 but each contains different cover artwork to differentiate the two.[60]
All tracks written by Hans Zimmer and Benjamin Wallfisch.
[show]Track listing
No.
Title
Length
1. "2049" 3:37
2. "Sapper's Tree" 1:36
3. "Flight to LAPD" 1:47
4. "Summer Wind -(Frank Sinatra)" 2:54
5. "Rain" 2:26
6. "Wallace" 5:23
7. "Memory" 2:32
8. "Mesa" 3:10
9. "Orphanage" 1:13
10. "Furnace" 3:41
11. "Someone Lived This" 3:13
12. "Joi" 3:51
13. "Pilot" 2:17
14. "Suspicious Minds -(Elvis Presley)" 4:22
15. "Can't Help Falling in Love -(Elvis Presley & The Jordanaires)" 3:02
16. "One For My Baby (And One More For the Road) -(Frank Sinatra)" 4:24
17. "Hijack" 5:32
18. "That's Why We Believe" 3:36
19. "Her Eyes Were Green" 6:17
20. "Sea Wall" 9:52
21. "All the Best Memories Are Hers" 3:22
22. "Tears In the Rain" 2:10
23. "Blade Runner" 10:05
24. "Almost Human (From the Original Motion Picture Soundtrack "Blade Runner 2049") -(Lauren Daigle)" 3:22
Release
Blade Runner 2049 premiered on October 3, 2017 at the Dolby Theatre in Los Angeles, although following the 2017 Las Vegas Strip shooting, the red carpet events were cancelled prior to the screening.[61] It was the opening feature at the Festival du nouveau cinéma in Montreal the following day.[62] It also was premiered in Switzerland at the Zurich Film Festival on October 4, 2017.[63]
Sony Pictures Releasing, who had obtained rights to release the film in overseas territories,[64] was the first to release Blade Runner 2049 in theaters, first in France and Belgium on October 4, 2017,[63] then in other countries on the two following days.[63] The film was released by Warner Bros. domestically in the United States on October 6, 2017.[63] In addition to standard 2D and 3D formats, Blade Runner 2049 was released in IMAX theaters.[65] Also, Alcon Entertainment partnered with Oculus VR to create and distribute content for the film exclusively for its virtual reality format and launched it alongside the theatrical release of October 6, 2017.[66]
Due to the popularity and preference of IMAX in 2D (as opposed to 3D) among moviegoers in North America, the film was shown in IMAX theaters in only 2D domestically, but was screened in 3D formats internationally.[67]
The film is rated R by the Motion Picture Association of America for "violence, some sexuality, nudity, and language".[68] Leading into the film's release, Villeneuve told Europa Plus the theatrical version would be his only version, unlike the original, and any potential alternate versions would be made by someone else.[69]
Marketing
Warner Bros. and Columbia Pictures jointly released an announcement teaser on December 19, 2016.[70][71] A selection of excerpts (lasting 15 seconds) were released as a trailer tease on May 5, 2017 in the lead up to the full trailer, which was released on May 8, 2017.[72] A second trailer was released on July 17, 2017.[73]
Three short films have been made to explore events that occur in the 30-year period between Blade Runner and Blade Runner 2049:
2036: Nexus Dawn is directed by Luke Scott, and follows Niander Wallace as he presents a new Nexus-9 replicant to lawmakers in an attempt to have a prohibition on replicants lifted. The short film also stars Benedict Wong as one of the lawmakers.[74][75]
2048: Nowhere to Run, also directed by Scott, follows Sapper Morton as he protects a mother and daughter from thugs.[76]
Blade Runner Black Out 2022, is an anime directed by Shinichirō Watanabe[77] wherein a rogue replicant named Iggy carries out an operation to detonate a nuclear warhead over Los Angeles, triggering an electromagnetic pulse that erases the Tyrell Corporation's database of registered replicants. Edward James Olmos reprises his role as Gaff in this film. Flying Lotus composed the soundtrack; Watanabe had used his music as a temp score in making a rough cut of the short.[78]
Reception
Box office
As of October 10, 2017[update], Blade Runner 2049 has grossed $40.8 million in the United States and Canada, and $49.2 million in other territories, for a worldwide total of $90 million, against a production budget of $150–185 million.[6]
In the United States and Canada, the film was initially projected to gross $43–50 million from 4,058 theaters in its opening weekend. In September 2017, a survey from Fandango indicated that the film was one of the most anticipated releases of the season.[79] It made $4 million from Thursday night previews, including $800,000 from IMAX, but just $12.6 million on its first day, lowering weekend estimates to $32–35 million.[80] It made $11.4 million on Saturday and went on to debut to $32.8 million, well below initial projections but still finishing first at the box office and marking the biggest openings of Villeneuve and Gosling's careers. Deadline.com attributed the film's performance to the 163 minute runtime limiting the number of showtimes theaters could have, as well as being unappealing to audiences, and the marketing being vague and relying on nostalgia and established fanbase to carry it.[81]
Overseas, it was expected to debut to an additional $60 million from 62 countries, for a worldwide opening of around $100 million.[4] It ended up making $50.2 million internationally, finishing number one in 42 markets, for a global opening of $81.7 million. It made $8 million in the United Kingdom, $4.9 million in Russia and $3.6 million in Australia.[82]
Critical response
On review aggregator website Rotten Tomatoes, the film has an approval rating of 88% based on 264 reviews, with an average rating of 8.2/10. The site's critical consensus reads, "Visually stunning and narratively satisfying, Blade Runner 2049 deepens and expands its predecessor's story while standing as an impressive filmmaking achievement in its own right."[83] Metacritic, another review aggregator, assigned the film a weighted average score of 81 out of 100, based on 51 critics, indicating "universal acclaim".[84] Critics who saw the film before its release were asked by Villeneuve not to reveal certain characters and plot points.[85] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[80]
Peter Travers of Rolling Stone gave the film three-and-a-half stars out of four, calling it an instant classic and writing: "For Blade Runner junkies like myself, who've mainlined five different versions of Ridley Scott's now iconic sci-fi film noir, [...] every minute of this mesmerizing mindbender is a visual feast to gorge on."[86] Peter Bradshaw of The Guardian gave the film five out of five stars, praising the production design, cinematography and score, and calling the CGI some of the best he had ever seen, writing: "It just has to be experienced on the biggest screen possible. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic."[87] A. O. Scott of The New York Times called the film as a "a carefully engineered narrative puzzle" that "tries both to honor the original and to slip free of its considerable shadow", and mostly succeeds. He found it, though, ultimately unequal to the original, describing Blade Runner 2049 as "a more docile, less rebellious “improvement”". He also lauded Villeneuve's direction which he referred as a "unnerving calm, as if he were exploring and trying to synthesize the human and mechanical sides of his own sensibility", as well the cinematography and visual effects as "zones of strangeness that occasionally rise to the level of sublimity".[88]
Eric Kohn of IndieWire gave the film an A- rating, saying: "Blade Runner 2049 may not reinvent the rules for blockbuster storytelling, but it manages to inject the form with the ambitions of high art, maintaining a thrilling intensity along the way."[89] Scott Collura of IGN awarded the film a score of 9.7 out of 10 and called it one of the best sequels ever, saying: "2049 plays off of the themes, plot, and characters of the 1982 movie without cannibalizing it or negating or retroactively ruining any of those elements. Rather, it organically expands and grows what came before. It's a deep, rich, smart film that's visually awesome and full of great sci-fi concepts, and one that was well worth the 35-year wait."[90] Mick LaSalle of San Francisco Chronicle rated the film 3.5 out of 4 stars, labeling the film as a "quiet, thoughtful science fiction" while drawing a similarity on its tone to Villeneuve's recent film, Arrival and praising the performances, particularly Gosling and Ford.[91]
Christopher Orr writing for Atlantic magazine found the sequel to be a faithful and worthwhile continuation of the original film stating: "This is in part because, like its predecessor, Blade Runner 2049 is a decidedly cool artifact, and not primarily an actors’ film. Villeneuve’s most important collaborators are the cinematographer Roger Deakins and the production designer Dennis Gassner, who between them conjure a future world breathtaking in its decrepitude, a gorgeous ruin. From the grayed-out countrysides over which the sky has closed like a lid; to the drizzly neon decadence of Los Angeles; to a San Diego refashioned as a waste dump worthy of Wall-E; to the Ozymandian wreckage of Las Vegas—the film is a splendor of the first order."[92]
John Serba in his review for Mlive also saw the film as a worthy successor and continuation of the original film and capable of standing next to other strong films in this genre such as the 1927 Metropolis stating: "Blade Runner 2049 is a feast for the eyes and intellect, and for more patient audiences. It broods so intently and for so long, its occasional bursts of violent action break the film’s exquisitely meditative constitution. A key atmospheric component is the thrumming synthesizer score, by Hans Zimmer and Benjamin Wallfisch, emulating Vangelis’ masterful original."[93]
The Economist was more critical of the movie, calling it a “bombastic sequel” and noting its “thin and threadbare” storyline, which was “riddled with holes”, and the “little more than a cameo” appearance of Ford, despite his being used heavily in the film’s promotion.[94]
Accolades
List of awards and nominations
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.
IndieWire Critic's Poll December 19, 2016 Most Anticipated of 2017 Blade Runner 2049 Won [95][96]
Golden Trailer Awards June 6, 2017 Best Teaser Blade Runner 2049 Won [97]
Possible sequel
In September 2015, Scott expressed interest in making additional films.[98] In October 2017, Villeneuve said that he expected a third film would be made if 2049 was successful. Writer of both films Hampton Fancher also revealed that he was considering reviving an old story idea involving Deckard travelling to another country, and Ford said that he would be open to returning if he liked the script.[99]
See also
Artificial intelligence
Cyberpunk
List of films featuring drones
References
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External links
Wikimedia Commons has media related to Blade Runner 2049.
Official website
Blade Runner 2049 on IMDb
Blade Runner 2049 at Rotten Tomatoes
[show]
v
t
e
Blade Runner
Adaptation of a work by Philip K. Dick
Novels
Do Androids Dream of Electric Sheep?
The Edge of Human
Replicant Night
Eye and Talon
Feature films
Blade Runner
themes
versions
soundtrack
tears in rain monologue
Blade Runner 2049
Short films
2036: Nexus Dawn
2048: Nowhere to Run
Blade Runner Black Out 2022
Video games
Blade Runner (1985)
Blade Runner (1997)
Comics
A Marvel Comics Super Special: Blade Runner
Do Androids Dream of Electric Sheep? (comic book)
Dust To Dust
Characters
Rick Deckard
Replicants
Category
[show]
v
t
e
Films directed by Denis Villeneuve
Cosmos (1996)
August 32nd on Earth (1998)
Maelström (2000)
Next Floor (2008)
Polytechnique (2009)
Incendies (2010)
Prisoners (2013)
Enemy (2013)
Sicario (2015)
Arrival (2016)
Blade Runner 2049 (2017)
[show]
v
t
e
Works by Philip K. Dick
Novels
Gather Yourselves Together (1950)
Voices from the Street (1952)
Solar Lottery (1954)
Mary and the Giant (1954)
The World Jones Made (1954)
Eye in the Sky (1955)
The Man Who Japed (1955)
A Time for George Stavros (1956)
Pilgrim on the Hill (1956)
The Broken Bubble (1956)
The Cosmic Puppets (1957)
Puttering About in a Small Land (1957)
Nicholas and the Higs (1958)
Time Out of Joint (1958)
In Milton Lumky Territory (1958)
Confessions of a Crap Artist (1959)
The Man Whose Teeth Were All Exactly Alike (1960)
Humpty Dumpty in Oakland (1960)
Vulcan's Hammer (1960)
Dr. Futurity (1960)
The Man in the High Castle (1961)
We Can Build You (1962)
Martian Time-Slip (1962)
Dr. Bloodmoney, or How We Got Along After the Bomb (1963)
The Game-Players of Titan (1963)
The Simulacra (1963)
The Crack in Space (1963)
Clans of the Alphane Moon (1964)
The Three Stigmata of Palmer Eldritch (1964)
The Zap Gun (1964)
The Penultimate Truth (1964)
The Unteleported Man (1964)
The Ganymede Takeover (1965)
Counter-Clock World (1965)
Do Androids Dream of Electric Sheep? (1966)
Nick and the Glimmung (1966)
Now Wait for Last Year (1966)
Ubik (1966)
Galactic Pot-Healer (1968)
A Maze of Death (1968)
Our Friends from Frolix 8 (1969)
Flow My Tears, the Policeman Said (1974)
Deus Irae (1976)
Radio Free Albemuth (1976; published 1985)
A Scanner Darkly (1977)
VALIS (1981)
The Divine Invasion (1981)
The Transmigration of Timothy Archer (1982)
The Owl in Daylight (unfinished)
Collections
A Handful of Darkness (1955)
The Variable Man (1956)
The Preserving Machine (1969)
The Book of Philip K. Dick (1973)
The Best of Philip K. Dick (1977)
The Golden Man (1980)
Robots, Androids, and Mechanical Oddities (1984)
I Hope I Shall Arrive Soon (1985)
The Collected Stories of Philip K. Dick (1987)
Beyond Lies the Wub (1988)
The Dark Haired Girl (1989)
The Father-Thing (1989)
Second Variety (1989)
The Days of Perky Pat (1990)
The Little Black Box (1990)
The Short Happy Life of the Brown Oxford (1990)
We Can Remember It for You Wholesale (1990)
The Minority Report (1991)
Second Variety (1991)
The Eye of the Sibyl (1992)
The Philip K. Dick Reader (1997)
Minority Report (2002)
Selected Stories of Philip K. Dick (2002)
Paycheck (2004)
Vintage PKD (2006)
Short stories
"Beyond Lies the Wub" (1952)
"The Gun" (1952)
"The Skull" (1952)
"The Little Movement" (1952)
"The Defenders" (1953)
"Mr. Spaceship" (1953)
"Piper in the Woods" (1953)
"Roog" (1953)
"The Infinites" (1953)
"Second Variety" (1953)
"Colony" (1953)
"The Cookie Lady" (1953)
"Impostor" (1953)
"Paycheck" (1953)
"The Preserving Machine" (1953)
"Expendable" (1953)
"The Indefatigable Frog" (1953)
"The Commuter" (1953)
"Out in the Garden" (1953)
"The Great C" (1953)
"The King of the Elves" (1953)
"The Trouble with Bubbles" (1953)
"The Variable Man" (1953)
"Planet for Transients" (1953)
"The Builder" (1953)
"Tony and the Beetles" (1953)
"Prize Ship" (1954)
"Beyond the Door" (1954)
"The Crystal Crypt" (1954)
"The Short Happy Life of the Brown Oxford" (1954)
"The Golden Man" (1954)
"Sales Pitch" (1954)
"Breakfast at Twilight" (1954)
"The Crawlers" (1954)
"Exhibit Piece" (1954)
"Adjustment Team" (1954)
"Shell Game" (1954)
"Meddler" (1954)
"A World of Talent" (1954)
"The Last of the Masters" (1954)
"Upon the Dull Earth" (1954)
"The Father-thing" (1954)
"Strange Eden" (1954)
"The Turning Wheel" (1954)
"Foster, You're Dead!" (1955)
"Human Is" (1955)
"War Veteran" (1955)
"Captive Market" (1955)
"Nanny" (1955)
"The Chromium Fence" (1955)
"Service Call" (1955)
"The Mold of Yancy" (1955)
"Autofac" (1955)
"Psi-man Heal My Child!" (1955)
"The Minority Report" (1956)
"Pay for the Printer" (1956)
"A Glass of Darkness" (1956)
"The Unreconstructed M" (1957)
"Null-O" (1958)
"Explorers We" (1959)
"Recall Mechanism" (1959)
"Fair Game" (1959)
"War Game" (1959)
"All We Marsmen" (1963)
"What'll We Do with Ragland Park?" (1963)
"The Days of Perky Pat" (1963)
"If There Were No Benny Cemoli" (1963)
"Waterspider" (1964)
"Novelty Act" (1964)
"Oh, to Be a Blobel!" (1964)
"The War with the Fnools" (1964)
"What the Dead Men Say" (1964)
"Orpheus with Clay Feet" (1964)
"Cantata 140" (1964)
"The Unteleported Man" (1964)
"Retreat Syndrome" (1965)
"Project Plowshare" (1965)
"We Can Remember It for You Wholesale" (1966)
"Faith of Our Fathers" (1967)
"Not by Its Cover" (1968)
"The Electric Ant" (1969)
"A. Lincoln, Simulacrum" (1969)
"The Pre-persons" (1974)
"A Little Something for Us Tempunauts" (1974)
"The Exit Door Leads In" (1979)
"Rautavaara's Case" (1980)
"I Hope I Shall Arrive Soon" (1980)
"The Eye of the Sibyl" (1987)
"Stability" (1987)
Adaptations
Films
Blade Runner (1982)
Total Recall (1990)
Confessions d'un Barjo (1992)
Screamers (1995)
Impostor (2002)
Minority Report (2002)
Paycheck (2003)
A Scanner Darkly (2006)
Next (2007)
Screamers: The Hunting (2009)
Radio Free Albemuth (2010)
The Adjustment Bureau (2011)
Total Recall (2012)
2036: Nexus Dawn (2017)
2048: Nowhere to Run (2017)
Blade Runner Black Out 2022 (2017)
Blade Runner 2049 (2017)
TV series
Total Recall 2070 (1999)
The Man in the High Castle (2015–present)
Minority Report (2015)
Philip K. Dick's Electric Dreams (2017)
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