Publisher:<\/strong> Editura Universit\u0103\u021bii Tehnice \u201eGheorghe Asachi” din Ia\u0219i, Ia\u0219i, 2026
ISBN:<\/strong> 978-973-621-579-7
Language:<\/strong> Bilingual (Romanian\/English)<\/p>\n\n\n\n
About the volume<\/h4>\n\n\n\n
Dystopian cinema diagnoses the present through hyperbole: it exaggerates tendencies already active in the urban fabric, in housing policy, in the relationship between architecture and society. Utopia and dystopia are not simple opposites but mirror images of one another; dystopia functions as a metaphor for the anxieties of an era, born from the failure of the modernist ideal city to deliver on its own utopian rhetoric. Beyond the Image. Dystopia as a Critical Instrument<\/strong> \/ Not\u0103 editorial\u0103 \u2014 Dincolo de imagine. Distopia ca instrument critic (p. 5)<\/em><\/p>\n\n\n\n Section I \u2014 Architecture and Cinema: Styles, Locations, Stigmatizations \/ Arhitectur\u0103 \u0219i cinema: stiluri, situri, stigmatiz\u0103ri<\/strong><\/p>\n\n\n\n Section II \u2014 Dystopian Imagination: Theory, Memory, Representation \/ Imaginar distopic: teorie, memorie, reprezentare<\/strong><\/p>\n\n\n\n Section III \u2014 Tools and Representation: Technology, Design, Image \/ Instrumente \u0219i reprezentare: tehnologie, design, imagine<\/strong><\/p>\n\n\n\n Contributors \/ Contribuitori<\/strong> (p. 241)<\/p>\n\n\n\n The volume was reviewed favourably by two scientific referees prior to publication: Conf. univ. dr. arh. Tudor Gr\u0103dinaru<\/strong> and \u0218.l. univ. dr. arh. Alin Enver Hoblea<\/strong>, both of the “G.M. Cantacuzino” Faculty of Architecture, Technical University “Gheorghe Asachi” of Ia\u0219i. Editorial coordination at the publishing house: Prof. univ. dr. ing. Neculai Eugen Seghedin.<\/p>\n\n\n\n Cover illustration:<\/strong> Dan Perjovschi <\/p>\n\n\n\n The volume was launched on 12 May 2026<\/strong>, as part of the closing events of SF(a)5, alongside the final exhibition vernisaj.<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Society, Architecture, and Cinema \/ Dincolo de distopie. Societate, Arhitectur\u0103 \u0219i Cinema Editors \/ Coordonatori: Nely V\u00een\u0103u, R\u0103zvan Mircea Nica, Tiberiu Teodor-StanciuPublisher: Editura Universit\u0103\u021bii Tehnice \u201eGheorghe Asachi” din Ia\u0219i, Ia\u0219i, 2026ISBN: 978-973-621-579-7Language: Bilingual (Romanian\/English) About the volume Dystopian cinema diagnoses the present through hyperbole: it exaggerates tendencies already active in the urban fabric, in housing policy, in the relationship between architecture and society. Utopia and dystopia are not simple opposites but mirror images of one another; dystopia functions as a metaphor for the anxieties […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1216","page","type-page","status-publish","hentry"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages\/1216","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/comments?post=1216"}],"version-history":[{"count":2,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages\/1216\/revisions"}],"predecessor-version":[{"id":1220,"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/pages\/1216\/revisions\/1220"}],"wp:attachment":[{"href":"https:\/\/sf-a.org\/index.php\/wp-json\/wp\/v2\/media?parent=1216"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
The volume argues that dystopian film is not a backdrop but a theoretical object in its own right, capable of generating its own analytical categories and revealing dimensions of the built environment that classical architectural criticism tends to overlook. Its four structuring films – Metropolis<\/em>, A Clockwork Orange<\/em>, Blade Runner<\/em>, Blade Runner 2049<\/em> – are treated not as illustrations of pre-existing architectural theses but as critical devices, each interrogating a real mechanism: socio-spatial segregation, the failure of modernist utopia, the ideological instrumentalisation of built form, the relationship between technology and dwelling.
The three sections – Architecture and Cinema: Styles, Locations, Stigmatizations<\/em>; Dystopian Imagination: Theory, Memory, Representation<\/em>; Tools and Representation: Technology, Design, Image<\/em> – trace an arc from concrete case toward theory, and from theory toward the instruments through which architecture is imagined and represented. Contributors come from academic contexts in Romania, Austria, and Hong Kong, working across architecture, art and film history, graphic and industrial design, video art, and artificial intelligence \u2014 disciplines convened not as labels but as distinct angles of access to a shared object.
The studies gathered here are independent research contributions, developed from the themes, debates, and questions generated across the five annual editions of SF(a) Society. Film. Architecture; they are not conference proceedings.<\/p>\n\n\n\n![\"\"](\"https:\/\/sf-a.org\/wp-content\/uploads\/2026\/09\/SFA_book-770x1024.webp\")
<\/figure>\n\n\n\nTable of contents \/ Cuprins<\/h4>\n\n\n\n
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Peer review<\/h4>\n\n\n\n
Credits<\/h4>\n\n\n\n
Layout and cover design:<\/strong> R\u0103zvan Mircea Nica
Translation:<\/strong> Articles by Viola R\u00fchse, Anca Horvath, and Silviu Teodor-Stanciu were translated from English by Adina Maria Simion.<\/p>\n\n\n\nLaunch<\/h4>\n\n\n\n