Mapping Agriculture on Mars by Raphaëlle Costa de Beauregard

“…Le film de science-fiction de Ridley Scott, The Martian/Seul sur Mars (2015) joue sur plusieurs sources d'intérêt pour le spectateur. …”
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Deus está morto. Viva o autômato! by Amadeu de Oliveira Weinmann, Roberto Henrique Amorim de Medeiros, Gustavo Caetano de Mattos Mano

“…Nesse sentido, toma como matéria de análise dois clássicos do cinema de ficção científica: 2001: uma odisseia no espaço, de Stanley Kubrick, e Blade runner, de Ridley Scott. Se a paixão pelo autômato consiste em uma forma do sujeito moderno denegar a finitude, nos filmes em debate tal condição é elaborada de um modo muito singular. 2001 e Blade runner oferecem ao espectador a possibilidade de resistir à assunção dessa inclinação da subjetividade moderna. …”
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The Human in the Age of Mechanical Reproduction: the Artificial Unconscious in Science Fiction by Emanuela Piga Bruni, Christiano Presutti

“…Dick and in the film Blade Runner (1982) by Ridley Scott; the dialogues between programmers and androids of the TV series Westworld (2016–) by Jonathan Nolan and Lisa Joy. …”
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“Novelization” as an aesthetic and media issue: Alien – a case study by Werner Faulstich, Ricarda Strobel

“…Werner Faulstich and Ricarda Strobel’s reflections on the novelization of film refer to Ridley Scott’s picture titled Alien (1979), Richard J. …”
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Rupture, Suture, Nietzsche: Impossible Intersubjectivity in Alien by Dominic Lash

“…It argues that certain key moments in Ridley Scott's Alien (1979) activate ideas of corporeality, desire, and intersubjectivity in ways that contribute to a wider thematic and figurative nexus at work in the film directed at the exploration of impossible intersubjectivities. …”
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Lágrimas na chuva: reflexão epistemológica sobre desumanização e desperdício da tecnologia educacional by Filipe de Menezes Jesuino Jesuino, Marcos Antonio Martins Lima, Andréa Moura da Costa Souza, Gabrielle Silva Marinho

“…Este ensaio apresenta um trabalho de pesquisa que focaliza a descrição, o estabelecimento e a compreensão das relações entre o filme Blade Runner, dirigido Ridley Scott e lançado em 1982, e a circunscrição epistemológica da técnica educacional com base na filosofia da ciência de Bachelard e de uma aproximação teórica do problema da tecnologia no âmbito da educação de acordo com autores como Martin Heidegger, Álvaro Vieira Pinto e Pedro Demo. …”
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Cyberpunk Redux: Dérives in the Rich Sight of Post-Anthropocentric Visuality by Frenchy Lunning

“…Both films are influenced by Ridley Scott’s initial vision of the cinematic cyberpunk universe and organized as sequential narratives. …”
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From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics by Sylvie Magerstädt

“…Yet, while many biblical films of this period were primarily aimed at religious audiences, Darren Aronofsky’s <i>Noah</i> (2014) and Ridley Scott’s <i>Exodus:</i><i>Gods and Kings</i> (2014) stand out due to their broader epic appeal and religious skepticism. …”
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Black Hawk-Down: Adaptation and the Military-Entertainment Complex by Johan Höglund, Martin Willander

“…This article investigates the non-fiction book Black Hawk Down (1999) by Mark Bowden, Black Hawk Down the movie (2001) directed by Ridley Scott, and the computer game Delta Force: Black Hawk Down (2003). …”
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Educational Paradigms of Communication of the 21st Century: Educational Challenges for the Specialists of the Future by Ferdinando Cabrini

“…Blade Runner is a 1982 science fiction film directed by Ridley Scott, Metaverse The metaverse is a new adventure that we have thanks to a huge amount of hardware and software technologies; for example, VR, AI, and AR have generated ever larger and more detailed spaces, think of the movie Matrix. …”
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El mundo de ficción como clave en el proceso de adaptación: El caso de Blade Runner, el videojuego by Clara Fernández Vara

“…Dick y la película Blade Runner de Ridley Scott. A través de un análisis comparativo de estos textos podemos apreciar cómo el juego utiliza los textos originales para recrear su mundo de ficción, utilizando los pilares que según Herman definen el mundo-historia, que son los estados, acontecimientos y acciones que lo caracterizan.  …”
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Apuntes sobre la percepción subconsciente en el cine. El ejemplo de Alien, el octavo pasajero (1979) y su propuesta orgánica de atracción/repulsión by Enrique Carrasco Molina

“… En una revisión profunda en la que se aportan datos hasta ahora inéditos, el presente artículo analiza nuevas claves de por qué la película Alien, el octavo pasajero (Ridley Scott, 1979), ha causado una atracción sobredimensionada del espectador en su estreno y reposición a lo largo de más de tres décadas. …”
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