Imagery
From Wikipedia, the free encyclopedia
Film theorist Vivian Sobchack argues that science fiction films differ from fantasy films in that while science fiction film seeks to achieve our belief in the images we are viewing, fantasy film instead attempts to suspend our disbelief. The science fiction film displays the unfamiliar and alien in the context of the familiar, thereby making the images appear ordinary.
Despite the alien nature of the scenes and science fictional elements of the setting, the imagery of the film is related back to mankind and how we relate to our surroundings. While the sf film strives to push the boundaries of the human experience, they remain bound to the conditions and understanding of the audience and thereby contain prosaic aspects, rather than being completely alien or abstract.
Genre films such as westerns or war movies are bound to a particular area or time period. This is not true of the science fiction film. However there are several common visual elements that are evocative of the genre. These include the spacecraft or space station, alien worlds or creatures, robots, and futuristic gadgets. More subtle visual clues can appear with changes the human form through modifications in appearance, size, or behavior, or by means a known environment turned eerily alien, such as an empty city.
Scientific elements
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While science is a major element of this genre, many movie studios take significant liberties with what is considered conventional scientific knowledge. Such liberties can be most readily observed in films that show spacecraft maneuvering in outer space. The vacuum should preclude the transmission of sound or maneuvers employing wings, yet the sound track is filled with inappropriate flying noises and changes in flight path resembling an aircraft banking. The film makers assume that the audience will be unfamiliar with the specifics of space travel, and focus is instead placed on providing acoustical atmosphere and the more familiar maneuvers of the aircraft.
Similar instances of ignoring science in favor of art can be seen when movies present environmental effects. Entire planets are destroyed in titanic explosions requiring mere seconds, whereas an actual event of this nature would likely take many hours. A star rises over the horizon of a comet or a Mercury-like world and the temperature suddenly soars many hundreds of degrees, causing the entire surface to turn into a furnace. In reality the energy is initially reaching the ground at a very oblique angle, and the temperature is likely to rise more gradually.
The role of the scientist has varied considerably in the science fiction film genre, depending on the public perception of science and advanced technology. Starting with Dr. Frankenstein, the mad scientist became a stock character who posed a dire threat to society and perhaps even civilization. Certain portrayals of the "mad scientist", such as Peter Sellers's performance in Dr. Strangelove, have become iconic to the genre. In the monster movies of the 1950s, the scientist often played a heroic role as the only person who could provide a technological fix for some impending doom. Reflecting the distrust of government that began in the 1960s in the U.S., the brilliant but rebellious scientist became a common theme, often serving a Cassandra-like role during an impending disaster.
Thursday, November 8, 2007
Themes, imagery, and visual elements
From Wikipedia, the free encyclopedia
Science fiction films are often speculative in nature, and often include key supporting elements of science and technology. However, as often as not the "science" in a Hollywood science fiction movie can be considered pseudo-science, relying primarily on atmosphere and quasi-scientific artistic fancy than facts and conventional scientific theory. The definition can also vary depending on the viewpoint of the observer. What may seem a science fiction film to one viewer can be considered fantasy to another.
Many science fiction films include elements of mysticism, occult, magic, or the supernatural, considered by some to be more properly elements of fantasy or the occult (or religious) film. This transforms the movie genre into a science fantasy with a religious or quasi-religious philosophy serving as the driving motivation. The movie Forbidden Planet employs many common science fiction elements, but the nemesis is a powerful creature with a resemblance to an occult demonic spirit (Some interpretations see it, however, as a manifestation of the Freudian Id, made material by alien superscience). The Star Wars series employed a magic-like philosophy and ability known as the "Force" (see entry on 'Midi-chlorians'). Chronicles of Riddick (2004) included quasi-magical elements resembling necromancy and elementalism.
Some films blur the line between the genres, such as movies where the protagonist gains the extraordinary powers of the superhero. These films usually employ a quasi-plausible reason for the hero gaining these powers. Yet in many respects the film more closely resembles fantasy than science fiction.
Not all science fiction themes are equally suitable for movies. In addition to science fiction horror, space opera is most common. Often enough, these films could just as well pass as westerns or WWII movies if the science fiction props were removed. Common motifs also include voyages and expeditions to other planets, and dystopias, while utopias are rare.
Milestones of science fiction film special effects include Stanley Kubrick's 2001: A Space Odyssey, Alien, Blade Runner, the Star Wars films, Star Trek: The Motion Picture, Terminator 2: Judgment Day and, more recently, The Matrix.
From Wikipedia, the free encyclopedia
Science fiction films are often speculative in nature, and often include key supporting elements of science and technology. However, as often as not the "science" in a Hollywood science fiction movie can be considered pseudo-science, relying primarily on atmosphere and quasi-scientific artistic fancy than facts and conventional scientific theory. The definition can also vary depending on the viewpoint of the observer. What may seem a science fiction film to one viewer can be considered fantasy to another.
Many science fiction films include elements of mysticism, occult, magic, or the supernatural, considered by some to be more properly elements of fantasy or the occult (or religious) film. This transforms the movie genre into a science fantasy with a religious or quasi-religious philosophy serving as the driving motivation. The movie Forbidden Planet employs many common science fiction elements, but the nemesis is a powerful creature with a resemblance to an occult demonic spirit (Some interpretations see it, however, as a manifestation of the Freudian Id, made material by alien superscience). The Star Wars series employed a magic-like philosophy and ability known as the "Force" (see entry on 'Midi-chlorians'). Chronicles of Riddick (2004) included quasi-magical elements resembling necromancy and elementalism.
Some films blur the line between the genres, such as movies where the protagonist gains the extraordinary powers of the superhero. These films usually employ a quasi-plausible reason for the hero gaining these powers. Yet in many respects the film more closely resembles fantasy than science fiction.
Not all science fiction themes are equally suitable for movies. In addition to science fiction horror, space opera is most common. Often enough, these films could just as well pass as westerns or WWII movies if the science fiction props were removed. Common motifs also include voyages and expeditions to other planets, and dystopias, while utopias are rare.
Milestones of science fiction film special effects include Stanley Kubrick's 2001: A Space Odyssey, Alien, Blade Runner, the Star Wars films, Star Trek: The Motion Picture, Terminator 2: Judgment Day and, more recently, The Matrix.
E.T. the Extra-Terrestrial (1982).
From Wikipedia, the free encyclopedia
Star Wars and Close Encounters of the Third Kind, both released in 1977 , were box-office hits that brought about a huge increase in science fiction films. As well, Star Wars helped to blur the distinction between the science fiction, fantasy, and superhero genres. In 1979, Star Trek: The Motion Picture brought the television series to the big screen for the first time. Ridley Scott's films, such as Alien and Blade Runner, presented the future as dark, dirty and chaotic, and depicted non-humans such as aliens and cyborgs as hostile and dangerous. In contrast, Steven Spielberg's E.T. The Extraterrestrial, one of the most successful films of the 1980s, presented aliens as benign and friendly.
The big budget adaptations of Frank Herbert's Dune and Arthur C. Clarke's sequel to 2001, 2010: The Year We Make Contact, were box office duds that dissuaded producers from investing in science fiction literary properties. The strongest contributors to the genre during the second half of the 1980s were James Cameron and Paul Verhoeven with The Terminator and RoboCop entries. In the 1980s, animation began being used for science fiction films, such as the Japanese anime film Akira (1988) and the French animated science fiction film Light Years (1988).
1990s-2000s
From Wikipedia, the free encyclopedia
In the 1990s, the emergence of the world wide web and the cyberpunk genre spawned several movies on the theme of the computer-human interface, such as Total Recall (1990), The Lawnmower Man (1992), Virtuosity (1995), Johnny Mnemonic (1995), eXistenZ (1999) and The Matrix (1999) . Other themes included disaster movies (e.g., Armageddon and Deep Impact both from 1998), alien invasion (Independence Day from 1996) and genetic experimentation (e.g., Jurassic Park from 1993 and Gattaca from 1997).
As the decade progressed, computers played an increasingly important role in both the addition of special effects and the production of films. As the software developed in sophistication it was used to produce more complicated effects . Developments in software also enabled filmmakers to enhance the visual quality of animation, which was used in the science fiction films Ghost in the Shell (1995) from Japan and The Iron Giant (1999) and Titan A.E. (2000) from the US.
During the 2000s, fantasy and superhero films abounded, as did earthbound SF such as the Matrix Reloaded and Matrix Revolutions. In 2005, the Star Wars sextet was completed with the darkly-themed Star Wars Episode III: Revenge of the Sith. Science-fiction returned as a tool for political commentary in films such as A.I.: Artificial Intelligence, Minority Report, and Children of Men. The year 2005 saw a remake of King Kong.
From Wikipedia, the free encyclopedia
Star Wars and Close Encounters of the Third Kind, both released in 1977 , were box-office hits that brought about a huge increase in science fiction films. As well, Star Wars helped to blur the distinction between the science fiction, fantasy, and superhero genres. In 1979, Star Trek: The Motion Picture brought the television series to the big screen for the first time. Ridley Scott's films, such as Alien and Blade Runner, presented the future as dark, dirty and chaotic, and depicted non-humans such as aliens and cyborgs as hostile and dangerous. In contrast, Steven Spielberg's E.T. The Extraterrestrial, one of the most successful films of the 1980s, presented aliens as benign and friendly.
The big budget adaptations of Frank Herbert's Dune and Arthur C. Clarke's sequel to 2001, 2010: The Year We Make Contact, were box office duds that dissuaded producers from investing in science fiction literary properties. The strongest contributors to the genre during the second half of the 1980s were James Cameron and Paul Verhoeven with The Terminator and RoboCop entries. In the 1980s, animation began being used for science fiction films, such as the Japanese anime film Akira (1988) and the French animated science fiction film Light Years (1988).
1990s-2000s
From Wikipedia, the free encyclopedia
In the 1990s, the emergence of the world wide web and the cyberpunk genre spawned several movies on the theme of the computer-human interface, such as Total Recall (1990), The Lawnmower Man (1992), Virtuosity (1995), Johnny Mnemonic (1995), eXistenZ (1999) and The Matrix (1999) . Other themes included disaster movies (e.g., Armageddon and Deep Impact both from 1998), alien invasion (Independence Day from 1996) and genetic experimentation (e.g., Jurassic Park from 1993 and Gattaca from 1997).
As the decade progressed, computers played an increasingly important role in both the addition of special effects and the production of films. As the software developed in sophistication it was used to produce more complicated effects . Developments in software also enabled filmmakers to enhance the visual quality of animation, which was used in the science fiction films Ghost in the Shell (1995) from Japan and The Iron Giant (1999) and Titan A.E. (2000) from the US.
During the 2000s, fantasy and superhero films abounded, as did earthbound SF such as the Matrix Reloaded and Matrix Revolutions. In 2005, the Star Wars sextet was completed with the darkly-themed Star Wars Episode III: Revenge of the Sith. Science-fiction returned as a tool for political commentary in films such as A.I.: Artificial Intelligence, Minority Report, and Children of Men. The year 2005 saw a remake of King Kong.
1900-1920s
From Wikipedia, the free encyclopedia
Science fiction films appeared early in the silent film era, typically as short films shot in black and white, sometimes with colour tinting. They usually had a technological theme and were often intended to be humorous. In 1902, Georges Méliès released Le Voyage dans la Lune, a film that used early trick photography effects to depict a spacecraft’s journey to the moon. Several films merged the science-fiction and horror genres, such as Frankenstein (1910), a film adaptation of Mary Shelley's novel, and Dr. Jekyll and Mr. Hyde (1912). A longer science fiction film, 20,000 Leagues Under the Sea (1916), was based on Jules Verne’s novel. In the 1920s, European filmmakers tended to use science fiction films for prediction and social commentary, as can be seen in German films such as Metropolis (1926) and Frau im Mond (1929).
1930s-1950s
From Wikipedia, the free encyclopedia
In the 1930s, there were several big budget science fiction films, notably Just Imagine (the first feature length science fiction film by a US studio), the US-made films King Kong (1933) and Lost Horizon (1936) and the British-made Things to Come (1936). Starting in 1934, a number of science fiction comic strips were adapted as serials, notably Flash Gordon and Buck Rogers, both starring Buster Crabbe. These serials, and the comic strips they were based on, helped fix in the mind of the US public the idea that science fiction was juvenile and absurd, and led to the common description of science fiction as "that crazy Buck Rogers stuff". After 1936, no more big budget science fiction films were produced until 1950's Destination Moon, the first color sf film.
During the 1950s, public interest in space travel and new technologies revived. While many 1950s science-fiction movies were still low-budget B movies, there were several successful films with larger budgets and impressive special effects, notably Destination Moon, The Day the Earth Stood Still, This Island Earth, and Forbidden Planet. Some of the many B mvoies are also still of interest today, especially Howard Hawks's The Thing from Another World, Invasion of the Body Snatchers and It Came From Outer Space.
There was a close connection between the science fiction genre and the monster movie, in, for example, Them, The Beast From 20,000 Fathoms, and The Blob
Ray Harryhausen began to use stop-motion animation to create special effects for films such as Earth vs. the Flying Saucers (1956).
1960s-1980s
From Wikipedia, the free encyclopedia
There were relatively few science fiction films in the 1960s, but some of the films transformed science fiction cinema. Stanley Kubrick’s 2001: A Space Odyssey (1968) brought new realism to the genre, with its groundbreaking visual effects and realistic portrayal of space travel and influenced the genre with its epic story and transcendent philosophical scope. Other 1960s films included Planet of the Apes (1968) and Fahrenheit 451 (1966), which provided social commentary, and the campy Barbarella (1968), which explored the sillier side of earlier science fiction.
The era of manned trips to the moon in the 1970s saw a resurgence of interest in the science fiction film. Andrei Tarkovsky’s slow-paced Solaris (1972) had visuals and a philosophic scope reminiscent of 2001: A Space Odyssey. Science fiction films from the early 1970s explored the theme of paranoia, in which humanity is depicted as under threat from ecological or technological adversaries of its own creation, such as Silent Running (ecology), Westworld (man vs. robot), THX 1138 (man vs. the state), and Stanley Kubrick's A Clockwork Orange (threat of brainwashing). Conspiracy thriller films of the 1970s included Soylent Green and Futureworld. The science fiction comedies of the 1970s included Woody Allen's Sleeper and Dan O'Bannon's Dark Star.
From Wikipedia, the free encyclopedia
Science fiction films appeared early in the silent film era, typically as short films shot in black and white, sometimes with colour tinting. They usually had a technological theme and were often intended to be humorous. In 1902, Georges Méliès released Le Voyage dans la Lune, a film that used early trick photography effects to depict a spacecraft’s journey to the moon. Several films merged the science-fiction and horror genres, such as Frankenstein (1910), a film adaptation of Mary Shelley's novel, and Dr. Jekyll and Mr. Hyde (1912). A longer science fiction film, 20,000 Leagues Under the Sea (1916), was based on Jules Verne’s novel. In the 1920s, European filmmakers tended to use science fiction films for prediction and social commentary, as can be seen in German films such as Metropolis (1926) and Frau im Mond (1929).
1930s-1950s
From Wikipedia, the free encyclopedia
In the 1930s, there were several big budget science fiction films, notably Just Imagine (the first feature length science fiction film by a US studio), the US-made films King Kong (1933) and Lost Horizon (1936) and the British-made Things to Come (1936). Starting in 1934, a number of science fiction comic strips were adapted as serials, notably Flash Gordon and Buck Rogers, both starring Buster Crabbe. These serials, and the comic strips they were based on, helped fix in the mind of the US public the idea that science fiction was juvenile and absurd, and led to the common description of science fiction as "that crazy Buck Rogers stuff". After 1936, no more big budget science fiction films were produced until 1950's Destination Moon, the first color sf film.
During the 1950s, public interest in space travel and new technologies revived. While many 1950s science-fiction movies were still low-budget B movies, there were several successful films with larger budgets and impressive special effects, notably Destination Moon, The Day the Earth Stood Still, This Island Earth, and Forbidden Planet. Some of the many B mvoies are also still of interest today, especially Howard Hawks's The Thing from Another World, Invasion of the Body Snatchers and It Came From Outer Space.
There was a close connection between the science fiction genre and the monster movie, in, for example, Them, The Beast From 20,000 Fathoms, and The Blob
Ray Harryhausen began to use stop-motion animation to create special effects for films such as Earth vs. the Flying Saucers (1956).
1960s-1980s
From Wikipedia, the free encyclopedia
There were relatively few science fiction films in the 1960s, but some of the films transformed science fiction cinema. Stanley Kubrick’s 2001: A Space Odyssey (1968) brought new realism to the genre, with its groundbreaking visual effects and realistic portrayal of space travel and influenced the genre with its epic story and transcendent philosophical scope. Other 1960s films included Planet of the Apes (1968) and Fahrenheit 451 (1966), which provided social commentary, and the campy Barbarella (1968), which explored the sillier side of earlier science fiction.
The era of manned trips to the moon in the 1970s saw a resurgence of interest in the science fiction film. Andrei Tarkovsky’s slow-paced Solaris (1972) had visuals and a philosophic scope reminiscent of 2001: A Space Odyssey. Science fiction films from the early 1970s explored the theme of paranoia, in which humanity is depicted as under threat from ecological or technological adversaries of its own creation, such as Silent Running (ecology), Westworld (man vs. robot), THX 1138 (man vs. the state), and Stanley Kubrick's A Clockwork Orange (threat of brainwashing). Conspiracy thriller films of the 1970s included Soylent Green and Futureworld. The science fiction comedies of the 1970s included Woody Allen's Sleeper and Dan O'Bannon's Dark Star.
Science fiction film
From Wikipedia, the free encyclopedia
Science fiction film is a film genre that uses speculative, science-based depictions of imaginary phenomena such as extra-terrestrial life forms, alien worlds, and time travel, often along with technological elements such as futuristic spacecraft, robots, or other technologies. Science fiction films have often been used to provide social commentary on political or social issues, and to explore philosophical issues, such as "what makes us human." In many cases, tropes derived from written science fiction may be used by filmmakers ignorant of or at best indifferent to the standards of scientific plausibility and plot logic to which written science fiction is traditionally held.
The genre has existed since the early years of silent cinema, when Georges Melies' A Trip to the Moon (1902) amazed audiences with its trick photography effects. From the 1930s to the 1950s, the genre consisted mainly of low-budget B-movies. After Stanley Kubrick's 1968 landmark 2001: A Space Odyssey, the science fiction film genre was taken more seriously. In the late 1970s, big-budget science fiction films filled with special effects became popular with audiences. The hugely influential Star Wars trilogy and Close Encounters of the Third Kind, appeared, paving the way for the blockbuster hits of subsequent decades, such as E.T. the Extra-Terrestrial (1982) and Men in Black (1997).
Definition
From Wikipedia, the free encyclopedia
Defining precisely which movies belong to the science fiction genre is often difficult, as there is no universally accepted definition of the genre, or in fact its underlying genre in literature. According to one definition:
Science fiction film is a film genre which emphasizes actual, extrapolative, or speculative science and the empirical method, interacting in a social context with the lesser emphasized, but still present, transcendentalism of magic and religion, in an attempt to reconcile man with the unknown (Sobchack 63).
This definition assumes that a continuum exists between (real-world) empiricism and (supernatural) transcendentalism, with science fiction film on the side of empiricism, and horror film and fantasy film on the side of transcendentalism. However, there are numerous well-known examples of science fiction horror films, epitomized by such pictures as Frankenstein and Alien. And the Star Wars films blend elements typical of science fiction film (such as spaceships, androids and ray guns) with the mystical "Force", a magical power that would seem to fit the fantasy genre better than science fiction. Movie critics therefore sometimes use terms like "Sci Fi/Horror" or "Science Fantasy" to indicate such films' hybrid status.
The visual style of science fiction film can be characterized by a clash between alien and familiar images. This clash is implemented when alien images become familiar, as in A Clockwork Orange, when the repetitions of the Korova Milkbar make the alien decor seem more familiar. As well, familiar images become alien; for example, in Dr. Strangelove, the distortion of the humans make the familiar images seem more alien. Finally, alien and familiar images are juxtaposed, as in The Deadly Mantis, when a giant praying mantis is shown climbing the Washington Monument.
Cultural theorist Scott Bukatman has proposed that science fiction film allows contemporary culture to witness an expression of the sublime, be it through exaggerated scale (the Death Star in Star Wars Episode IV: A New Hope), apocalypse (Independence Day) or transcendence (2001: A Space Odyssey).[citation needed]
Also notable is the period shift in set design between white or light background sets (1960s Star Trek, 2001) to dark and black set design (1980s).
From Wikipedia, the free encyclopedia
Science fiction film is a film genre that uses speculative, science-based depictions of imaginary phenomena such as extra-terrestrial life forms, alien worlds, and time travel, often along with technological elements such as futuristic spacecraft, robots, or other technologies. Science fiction films have often been used to provide social commentary on political or social issues, and to explore philosophical issues, such as "what makes us human." In many cases, tropes derived from written science fiction may be used by filmmakers ignorant of or at best indifferent to the standards of scientific plausibility and plot logic to which written science fiction is traditionally held.
The genre has existed since the early years of silent cinema, when Georges Melies' A Trip to the Moon (1902) amazed audiences with its trick photography effects. From the 1930s to the 1950s, the genre consisted mainly of low-budget B-movies. After Stanley Kubrick's 1968 landmark 2001: A Space Odyssey, the science fiction film genre was taken more seriously. In the late 1970s, big-budget science fiction films filled with special effects became popular with audiences. The hugely influential Star Wars trilogy and Close Encounters of the Third Kind, appeared, paving the way for the blockbuster hits of subsequent decades, such as E.T. the Extra-Terrestrial (1982) and Men in Black (1997).
Definition
From Wikipedia, the free encyclopedia
Defining precisely which movies belong to the science fiction genre is often difficult, as there is no universally accepted definition of the genre, or in fact its underlying genre in literature. According to one definition:
Science fiction film is a film genre which emphasizes actual, extrapolative, or speculative science and the empirical method, interacting in a social context with the lesser emphasized, but still present, transcendentalism of magic and religion, in an attempt to reconcile man with the unknown (Sobchack 63).
This definition assumes that a continuum exists between (real-world) empiricism and (supernatural) transcendentalism, with science fiction film on the side of empiricism, and horror film and fantasy film on the side of transcendentalism. However, there are numerous well-known examples of science fiction horror films, epitomized by such pictures as Frankenstein and Alien. And the Star Wars films blend elements typical of science fiction film (such as spaceships, androids and ray guns) with the mystical "Force", a magical power that would seem to fit the fantasy genre better than science fiction. Movie critics therefore sometimes use terms like "Sci Fi/Horror" or "Science Fantasy" to indicate such films' hybrid status.
The visual style of science fiction film can be characterized by a clash between alien and familiar images. This clash is implemented when alien images become familiar, as in A Clockwork Orange, when the repetitions of the Korova Milkbar make the alien decor seem more familiar. As well, familiar images become alien; for example, in Dr. Strangelove, the distortion of the humans make the familiar images seem more alien. Finally, alien and familiar images are juxtaposed, as in The Deadly Mantis, when a giant praying mantis is shown climbing the Washington Monument.
Cultural theorist Scott Bukatman has proposed that science fiction film allows contemporary culture to witness an expression of the sublime, be it through exaggerated scale (the Death Star in Star Wars Episode IV: A New Hope), apocalypse (Independence Day) or transcendence (2001: A Space Odyssey).[citation needed]
Also notable is the period shift in set design between white or light background sets (1960s Star Trek, 2001) to dark and black set design (1980s).
Romania
From Wikipedia, the free encyclopedia
Romania (Romanian: România, IPA: [ro.mɨˈni.a]) is a country in Southeastern Europe. It shares border with Hungary and Serbia to the west, Ukraine and Moldova to the northeast, and Bulgaria to the south. Romania has a stretch of sea coast along the Black Sea, and the eastern and southern Carpathian Mountains run through its center.
The modern state of Romania was formed by the merging of the Danubian Principalities of Moldavia and Wallachia in 1859. The state united with Transylvania in 1918. Its capital and largest city is Bucharest (Romanian: Bucureşti /bu.kuˈreʃtʲ/ (help·info)), the sixth largest city in the EU. Romania joined NATO on March 29, 2004, and the European Union (EU) on January 1, 2007. Romania has the seventh largest population and the ninth largest territory in the EU.
From Wikipedia, the free encyclopedia
Romania (Romanian: România, IPA: [ro.mɨˈni.a]) is a country in Southeastern Europe. It shares border with Hungary and Serbia to the west, Ukraine and Moldova to the northeast, and Bulgaria to the south. Romania has a stretch of sea coast along the Black Sea, and the eastern and southern Carpathian Mountains run through its center.
The modern state of Romania was formed by the merging of the Danubian Principalities of Moldavia and Wallachia in 1859. The state united with Transylvania in 1918. Its capital and largest city is Bucharest (Romanian: Bucureşti /bu.kuˈreʃtʲ/ (help·info)), the sixth largest city in the EU. Romania joined NATO on March 29, 2004, and the European Union (EU) on January 1, 2007. Romania has the seventh largest population and the ninth largest territory in the EU.
Etymology of Romania
The name of Romania (România) comes from Român (Romanian) which is a derivative of the word Romanus ("Roman") from Latin. The fact that Romanians call themselves a derivative of Romanus (Romanian: Român/Rumân) is mentioned as early as the 16th century by many authors among whom were Italian Humanists travelling in Transylvania, Moldavia and Wallachia. The oldest surviving document written in the Romanian language is a 1521 letter (known as "Neacşu's Letter from Câmpulung") which notifies the mayor of Braşov about the imminent attack of the Ottoman Turks. This document is also notable for having the first occurrence of "Rumanian" in a Romanian written text, Wallachia being here named The Rumanian Land - Ţeara Rumânească (Ţeara < terra =" land).">
The name of Romania (România) comes from Român (Romanian) which is a derivative of the word Romanus ("Roman") from Latin. The fact that Romanians call themselves a derivative of Romanus (Romanian: Român/Rumân) is mentioned as early as the 16th century by many authors among whom were Italian Humanists travelling in Transylvania, Moldavia and Wallachia. The oldest surviving document written in the Romanian language is a 1521 letter (known as "Neacşu's Letter from Câmpulung") which notifies the mayor of Braşov about the imminent attack of the Ottoman Turks. This document is also notable for having the first occurrence of "Rumanian" in a Romanian written text, Wallachia being here named The Rumanian Land - Ţeara Rumânească (Ţeara < terra =" land).">
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