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Fantasy vs Technothriller - What's the difference?

fantasy | technothriller |

As nouns the difference between fantasy and technothriller

is that fantasy is that which comes from one's imagination while technothriller is a genre of thriller combining action, fantasy, and science fiction elements, including detailed technical explanations.

As a verb fantasy

is (literary|psychoanalysis) to fantasize (about).

fantasy

English

(wikipedia fantasy)

Alternative forms

* phantasie * phantasy (chiefly dated)

Noun

(fantasies)
  • That which comes from one's imagination.
  • * Shakespeare
    • Is not this something more than fantasy ?
  • * Milton
    • A thousand fantasies begin to throng into my memory.
  • (literature) The literary genre generally dealing with themes of magic and fictive medieval technology.
  • A fantastical design.
  • * Hawthorne
    • Embroidered with fantasies and flourishes of gold thread.
  • (slang) The drug gamma-hydroxybutyric acid.

    • Related terms

    * fantasize

    Derived terms

    * high fantasy * low fantasy

    Verb

  • (literary, psychoanalysis) To fantasize (about).
  • * 2013 , Mark J. Blechner, Hope and Mortality: Psychodynamic Approaches to AIDS and HIV
    • Perhaps I would be able to help him recapture the well-being and emotional closeness he fantasied his brother had experienced with his parents prior to his birth.
  • (obsolete) To have a fancy for; to be pleased with; to like.
    • (Cavendish)
  • * Robynson (More's Utopia)
    • Which he doth most fantasy .

    See also

    * fancy ----

    technothriller

    English

    Noun

    (en noun) (wikipedia technothriller)
  • A genre of thriller combining action, fantasy, and science fiction elements, including detailed technical explanations.
  • *{{quote-news, year=2009, date=May 3, author=Dennis Lim, title=In Familial Bric-a-Brac, Finding Himself, work=New York Times citation
    • , passage=Few filmmakers have his feel for the flux and transience of life as we live it, and his movies are especially eloquent in depicting the passage of time, whether it’s the one-year period of awkward realignments among a constellation of Parisian friends in “Late August, Early September” (1998) or the entire life cycle of a marriage in the period epic “Les Destinées Sentimentales” (2000) or even the jet-lagged permanent-present tense of the technothriller “Demonlover” (2002). }}