Retrofuturism (adjective retrofuturistic or retrofuture) is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a "science" bent on anticipating what will come, retrofuturism is the remembering of that anticipation. Characterized by a blend of old-fashioned "retro styles" with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world".
The word retrofuturism is formed by the addition of the prefix "retro" from the Latin language, which gives the meaning of "backwards" to the word "future", a word also originating from Latin.
According to the Oxford English Dictionary, an early use of the term appears in a Bloomingdales advertisement in a 1983 issue of The New York Times. The ad talks of jewellery that is "silverized steel and sleek grey linked for a retro-futuristic look". In an example more related to retrofuturism as an exploration of past visions of the future, the term appears in the form of “retro-futurist” in a 1984 review of the film Brazil in The New Yorker. Critic Pauline Kael writes, "[Terry Gilliam] presents a retro-futurist fantasy."
Retrofuturism builds on ideas of futurism, but the latter term functions differently in several different contexts. In avant-garde artistic, literary and design circles, futurism is a long-standing and well-established term. But in its more popular form, futurism (sometimes referred to as futurology) is "an early optimism that focused on the past and was rooted in the nineteenth century, an early-twentieth-century 'golden age' that continued long into the 1960s' Space Age".
Retrofuturism is first and foremost based on modern but changing notions of "the future".
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Explores the analytic continuation of the zeta function and its relation to holomorphic functions and natural numbers.
Since the advent of the cyberpunk genre, a number of derivatives of cyberpunk have become recognized in their own right as distinct subgenres in speculative fiction, especially in science fiction. Rather than necessarily sharing the digitally and mechanically focused setting of cyberpunk, these derivatives can display other futuristic, or even retrofuturistic, qualities that are drawn from or analogous to cyberpunk: a world built on one particular technology that is extrapolated to a highly sophisticated level (this may even be a fantastical or anachronistic technology, akin to retrofuturism), a gritty transreal urban style, or a particular approach to social themes.
Dieselpunk is a retrofuturistic subgenre of science fiction similar to steampunk or cyberpunk that combines the aesthetics of the diesel-based technology of the interwar period through to the 1950s with retro-futuristic technology and postmodern sensibilities. Coined in 2001 by game designer Lewis Pollak to describe his tabletop role-playing game Children of the Sun, the term has since been applied to a variety of visual art, music, motion pictures, fiction, and engineering.
Steampunk is a subgenre of science fiction that incorporates retrofuturistic technology and aesthetics inspired by 19th-century industrial steam-powered machinery. Steampunk works are often set in an alternative history of the Victorian era or the American "Wild West", where steam power remains in mainstream use, or in a fantasy world that similarly employs steam power. Steampunk features anachronistic technologies or retrofuturistic inventions as people in the 19th century might have envisioned them — distinguishing it from Neo-Victorianism — and is likewise rooted in the era's perspective on fashion, culture, architectural style, and art.