Moorcock and Pynchon: Bruce Sterling declared: Thomas Bredehoft, writing on Gibson's treatment of cyberpunk, cyberspace and the recurrence of agent Kihn in the author's fiction, suggests that the media and dystopian realities in which Kihn urges Gibson's character escape the idealism of his visions are symptomatic and in part caused by the worlds he photographs. He draws parallels between Gibson's descriptions of 1930s futuristic design, the author's encounters with computer technology, and the cosmeticism of a vision of technology infused throughout Gibson's work and particularly in Neuromancer. Comparing the language of drug narratives, Gernsback's worlds of the future and cyberspace, he suggests a cyberpunk born of the dual influences of the golden age of the 1930s and 40s and the New Wave, arguing that the futurist utopianism derided in the likes of Gernsback is in fact one feature of a 'Gibsonian' cyberspace itself. Peio Aguirre has compared The Gernsback Continuum to the concept of hauntology by Jacques Derrida Adaptations "The Gernsback Continuum" was adapted during 1993 as Tomorrow Calling, a short TV film by Tim Leandro for Film4 Productions. Originally shown on Channel 4, the film was also presented at the British Film Festival, 4–10 October 1996. See also Raygun Gothic Dieselpunk Futurism Future Shock Footnotes External links "The Gernsback Continuum" at the William Gibson Aleph Burning Chrome and The Gernsback Continuum reviewed at Tangent magazine, 2007 The Gernsback Continuum in full archived from American Heritage.com Getting Out of the Gernsback Continuum by Andrew Ross, in Critical Inquiry Vol.17, No.2, 1991 The Gernsback Continuum: Cyberspace and Gibson's Mervyn Kihn Stories; T. A Bredehoft in Science Fiction Studies Vol.22, No.66, 1995 Cyberpunk short stories Short stories by William Gibson