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用戶:EzrealChen/備用沙盒123

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Johnny Mnemonic

視情況整合章節

寫作背景

故事設定

劇情大綱

登場角色

主題/評價與分析

出版歷程

改編電影

主條目：非常任務 (電影)
其他方向

[1]

特別的提及

[2]

[3]

[4]

與作者有關的提及

[5]

作者訪談

[6]

被一些文獻引用/專書（但我還沒有access）

[7]

Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson

William Gibson by Gary Westfahl

[8]

小說（提及至少3次或者比較詳細）

[9]

[10]

[11]

女性角色（Molly）[12]

[13]

小說（僅提及2次以下或僅稍微提及）

[14]

[15]

列入Utopian Literature in English Canada的列表[16]

[17]

[18]

[19]

作者寫作史[20]

[21]

Molly[22]

hard-boiled style[23]

[24]

Molly[25]

偏向電影

[26]

[27]

[28]

偏向電影（僅提及2次以下或僅稍微提及）

[29]

[30]

[31]

[32]

[33]

[34]

[35]

[36]

[37]

[38]

[39]

[40]

[41]

[42]

黑人角色[43]

  1. ^ Evans, Arthur B., and R. D. Mullen. 「North American College Courses in Science Fiction, Utopian Literature, and Fantasy.」 Science Fiction Studies 23, no. 3 (1996): 437–528. http://www.jstor.org/stable/4240553.
  2. ^ Gore, Al. 「Editorial: The Metaphor of Distributed Intelligence.」 Science 272, no. 5259 (1996): 177–177. http://www.jstor.org/stable/2889599.
  3. ^ Kirby, David. 「The Future Is Now: Diegetic Prototypes and the Role of Popular Films in Generating Real-World Technological Development.」 Social Studies of Science 40, no. 1 (2010): 41–70. http://www.jstor.org/stable/27793341.
  4. ^ Delany, Samuel R., and R. M. P. 「On 『Triton』 and Other Matters: An Interview with Samuel R. Delany.」 Science Fiction Studies 17, no. 3 (1990): 295–324. http://www.jstor.org/stable/4240009.
  5. ^ Pond, Doug, and Cory Doctorow. 「Interview with Cory Doctorow.」 The Massachusetts Review 45, no. 4 (2004): 742–54. http://www.jstor.org/stable/25090946.
  6. ^ McCaffery, Larry, and William Gibson. 「An Interview with William Gibson.」 Mississippi Review 16, no. 2/3 (1988): 217–36. http://www.jstor.org/stable/20134176.
  7. ^ Kroker, Arthur and Marilouise Kroker. "Johnny Mnemonic: The Day Cyberpunk Died." In Hacking the Future: Stories for the Flesh-Eating 90s. New York: St. Martin's, 1996. 50-51
  8. ^ DiAmato, Brian. "Electric I: Brian DiAmato on Robert Longo's Johnny Mnemonic." Artforum 33, no. 10 (summer 1995): 23-24, 12
  9. ^ Ross Farnell. 「Posthuman Topologies: William Gibson’s 『Architexture’ in 『Virtual Light』 and 『Idoru.』」 Science Fiction Studies 25, no. 3 (1998): 459–80. http://www.jstor.org/stable/4240725.
  10. ^ Lindberg, Kathryne V. 「Prosthetic Mnemonics and Prophylactic Politics: William Gibson among the Subjectivity Mechanisms.」 Boundary 2 23, no. 2 (1996): 47–83. https://doi.org/10.2307/303807.
  11. ^ Huang, Betsy. 「Premodern Orientalist Science Fictions.」 MELUS 33, no. 4 (2008): 23–43. http://www.jstor.org/stable/20343506.
  12. ^ Nixon, Nicola. 「Cyberpunk: Preparing the Ground for Revolution or Keeping the Boys Satisfied?」 Science Fiction Studies 19, no. 2 (1992): 219–35. http://www.jstor.org/stable/4240152.
  13. ^ Whalen, Terence. 「The Future of a Commodity: Notes toward a Critique of Cyberpunk and the Information Age (L』Avenir d』une Marchandise: Notes Sur Cyberpunk et l』Ere de l』Information).」 Science Fiction Studies 19, no. 1 (1992): 75–88. http://www.jstor.org/stable/4240123.
  14. ^ MacKellar, Calum, ed. 「Popular Understanding of Neuronal Interfaces.」 In Cyborg Mind: What Brain–Computer and Mind–Cyberspace Interfaces Mean for Cyberneuroethics, 25–30. Berghahn Books, 2019. https://doi.org/10.2307/j.ctvvb7mw5.6.
  15. ^ Carl Gutiérrez-Jones. 「Stealing Kinship: Neuromancer and Artificial Intelligence.」 Science Fiction Studies 41, no. 1 (2014): 69–92. https://doi.org/10.5621/sciefictstud.41.1.0069.
  16. ^ SARGENT, LYMAN TOWER. 「Utopian Literature in English Canada: An Annotated, Chronological Bibliography 1852-1999.」 Utopian Studies 10, no. 2 (1999): 174–206. http://www.jstor.org/stable/20718100.
  17. ^ Starrs, Paul F. 「The Sacred, the Regional, and the Digital.」 Geographical Review 87, no. 2 (1997): 193–218. https://doi.org/10.2307/216005.
  18. ^ Russell Blackford. Review of Reading the Ruined Cities, by Sabine Heuser. Science Fiction Studies 31, no. 2 (2004): 264–70. http://www.jstor.org/stable/4241258.
  19. ^ Wong Kin Yuen. 「On the Edge of Spaces: 『Blade Runner』, 『Ghost in the Shell』, and Hong Kong’s Cityscape.」 Science Fiction Studies 27, no. 1 (2000): 1–21. http://www.jstor.org/stable/4240846.
  20. ^ Brouillette, Sarah. 「Corporate Publishing and Canonization: 『Neuromancer』 and Science-Fiction Publishing in the 1970s and Early 1980s.」 Book History 5 (2002): 187–208. http://www.jstor.org/stable/30228190.
  21. ^ David N. Samuelson. Review of A Softening of the Hard-Sf Concept, by David Hartwell and Kathryn Cramer. Science Fiction Studies 21, no. 3 (1994): 406–12. http://www.jstor.org/stable/4240375.
  22. ^ Stivale, Charles J. 「Mille/Punks/Cyber/Plateaus: Science Fiction and Deleuzo-Guattarian 『Becomings.』」 SubStance 20, no. 3 (1991): 66–84. https://doi.org/10.2307/3685180.
  23. ^ Hicks, Heather J. 「『Whatever It Is That She’s since Become’: Writing Bodies of Text and Bodies of Women in James Tiptree, Jr.’s 『The Girl Who Was Plugged in』 and William Gibson’s 『The Winter Market.』」 Contemporary Literature 37, no. 1 (1996): 62–93. https://doi.org/10.2307/1208751.
  24. ^ HARDACK, RICHARD. 「Pure Formalities: Living With the Nescient Dead, or the Dead Who Don’t Know They Are Dead.」 Contemporary Literature 59, no. 2 (2018): 161–203. https://www.jstor.org/stable/26687153.
  25. ^ McCaffery, Larry, J. G. Ballard, Greg Bear, Gregory Benford, David Brin, Istvan Csicsery-Ronay, Thomas M. Disch, et al. 「Cyberpunk Forum/Symposium.」 Mississippi Review 16, no. 2/3 (1988): 16–65. http://www.jstor.org/stable/20134158.
  26. ^ Collins, Karen. 「Dead Channel Surfing: The Commonalities between Cyberpunk Literature and Industrial Music.」 Popular Music 24, no. 2 (2005): 165–78. http://www.jstor.org/stable/3877641.
  27. ^ Brasher, Brenda E. 「Thoughts on the Status of the Cyborg: On Technological Socialization and Its Link to the Religious Function of Popular Culture.」 Journal of the American Academy of Religion 64, no. 4 (1996): 809–30. http://www.jstor.org/stable/1465623.
  28. ^ Nelson, Diane M. 「A Social Science Fiction of Fevers, Delirium and Discovery: 『The Calcutta Chromosome’, the Colonial Laboratory, and the Postcolonial New Human.」 Science Fiction Studies 30, no. 2 (2003): 246–66. http://www.jstor.org/stable/4241172.
  29. ^ Blackford, Holly. 「PC Pinocchios: Parents, Children, and the Metamorphosis Tradition in Science Fiction.」 In Folklore/Cinema: Popular Film as Vernacular Culture, edited by Sharon R. Sherman and Mikel J. Koven, 74–92. University Press of Colorado, 2007. https://doi.org/10.2307/j.ctt4cgnbm.7.
  30. ^ Bostic, Adam I. 「Automata: Seeing Cyborg through the Eyes of Popular Culture, Computer-Generated Imagery, and Contemporary Theory.」 Leonardo 31, no. 5 (1998): 357–61. https://doi.org/10.2307/1576595.
  31. ^ Park, Jane Chi Hyun. 「Stylistic Crossings: Cyberpunk Impulses in Anime.」 World Literature Today 79, no. 3/4 (2005): 60–63. https://doi.org/10.2307/40158943.
  32. ^ Neil Gerlach, and Sheryl N. Hamilton. 「Telling the Future, Managing the Present: Business Restructuring Literature as SF.」 Science Fiction Studies 27, no. 3 (2000): 461–77. http://www.jstor.org/stable/4240923.
  33. ^ 「The E-Files.」 Science Fiction Studies 26, no. 2 (1999): 346–49. http://www.jstor.org/stable/4240806.
  34. ^ Groys, Boris. 「Invisibility of the Digital: Religion, Ritual, Immortality.」 RES: Anthropology and Aesthetics, no. 55/56 (2009): 336–40. http://www.jstor.org/stable/25608854.
  35. ^ Laura Salisbury. 「Michel Serres: Science, Fiction, and the Shape of Relation.」 Science Fiction Studies 33, no. 1 (2006): 30–52. http://www.jstor.org/stable/4241407.
  36. ^ Haslam, Jason. 「Coded Discourse: Romancing the (Electronic) Shadow in 『The Matrix.』」 College Literature 32, no. 3 (2005): 92–115. http://www.jstor.org/stable/25115289.
  37. ^ Bordun, Troy Michael. Science Fiction Studies 46, no. 3 (2019): 636–39. https://www.jstor.org/stable/10.5621/sciefictstud.46.3.0636.
  38. ^ Australian National University. 「ANU Reporter - Vol.29, No.04 (8 April 1998),」 1998. https://jstor.org/stable/community.32685308.
  39. ^ Cristiano, Anthony. 「A Virtual Revisitation of the Relationship between Creature and Creator in Gabriele Salvatores 『Nirvana.』」 Italica 83, no. 3/4 (2006): 583–95. http://www.jstor.org/stable/27669107.
  40. ^ Taylor, Jonathan. 「The Emerging Geographies of Virtual Worlds.」 Geographical Review 87, no. 2 (1997): 172–92. https://doi.org/10.2307/216004.
  41. ^ RUPPERT, PETER. 「Tracing Utopia: Film, Spectatorship and Desire.」 Utopian Studies 7, no. 2 (1996): 139–52. http://www.jstor.org/stable/20719514.
  42. ^ Dyson, Frances. 「Immersion.」 In Sounding New Media: Immersion and Embodiment in the Arts and Culture, 1st ed., 107–35. University of California Press, 2009. http://www.jstor.org/stable/10.1525/j.ctt1pn6r1.10.
  43. ^ 「Book Reviews.」 Film Quarterly 56, no. 2 (2002): 50–62. https://doi.org/10.1525/fq.2002.56.2.50.
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