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The works of William Gibson encompass literature, journalism, acting, recitation, and performance art. Primarily renowned as a novelist and short fiction writer in the cyberpunk milieu, Gibson invented the metaphor of cyberspace in "Burning Chrome" (1982) and emerged from obscurity in 1984 with the publication of his debut novel Neuromancer.
Gibson scholar Tatiani G. Rapatzikou has commented, in Gothic Motifs in the Fiction of William Gibson, on the origin of the notion of cyberspace: Gibson's vision, generated by the monopolising appearance of the terminal image and presented in his creation of the cyberspace matrix, came to him when he saw teenagers playing in video arcades.
Year Title Role Notes 2012-2013 Last Tango in Halifax: William Recurring role, 11 episodes 2015 Sense8: Nocker 1 episode 2018 The Terror: William Gibson
No Maps for These Territories is an independent documentary film made by Mark Neale focusing on the speculative fiction author William Gibson. [1] It features appearances by Jack Womack, Bruce Sterling, Bono, and The Edge and was released by Docurama. The film had its world premiere at the Vancouver International Film Festival in October 2000.
Burning Chrome (1986) is a collection of short stories written by William Gibson. [1] [2] Three of the stories take place in Gibson's Sprawl, a shared setting for most of his early cyberpunk work. Many of the ideas and themes explored in the short stories were later revisited in Gibson's popular Sprawl trilogy. [3]
William Gibson (November 13, 1914 – November 25, 2008) was an American playwright and novelist. He won the Tony Award for Best Play for The Miracle Worker in 1959, which he later adapted for a film version in 1962.
It's been nearly 60 years since William Shatner flew the unfriendly skies in "Nightmare at 20,000 Feet" — one of the most famous installments of Rod Serling's seminal horror series, The Twilight ...
The trilogy was commercially and critically successful. Steven Poole, writing in The Guardian, described "Neuromancer and the two novels which followed, Count Zero (1986) and the gorgeously titled Mona Lisa Overdrive (1988)" as making up "a fertile holy trinity, a sort of Chrome Koran (the name of one of Gibson's future rock bands) of ideas inviting endless reworkings".
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