Dieselpunk

[4] The name "dieselpunk" is a derivative of the science fiction subgenre cyberpunk,[5] and represents the time period from World War I until the 1950s, when diesel-based locomotion was the main technological focus of Western culture.

[3] The term also refers to the tongue-in-cheek[7] name given to a similar cyberpunk derivative, "steampunk", which focuses on science-fiction-based on industrial steam power and which is often set within the Victorian era.

She defines steampunk as concerned with the Victorian era, and the shift in technology and energy generation that came with industrialization, and dieselpunk as combining the aesthetic and genre influences of the period of both world wars.

[11] Iolanda Ramos, an assistant professor of English and Translation studies at NOVA University Lisbon, argues, Dieselpunk draws not on the hiss of steam nor on the Victorian and Edwardian aesthetics and cosplay but on the grease of fuel-powered machinery and the Art Deco movement, marrying rectilinear lines to aerodynamic shapes and questioning the impact of technology on the human psyche.In addition, Ramos gives "noir ambience" as an element of dieselpunk.

[1] According to the online magazine Never Was, decodence (a portmanteau of "[Art] Deco" and "decadence"), "embraces the styles and technologies of the era; it rejoices in a prolonged Jazz Age ambience characterized by great enthusiasm and hopes about the future.

Depending on the source it ends either at the conclusion of World War II or continues until the early part of the 1950s with the advent of such cultural icons as the Golden Age of Television and the replacement of Big Band and Swing music with Rock and Roll in popularity.

Len Deighton's SS-GB, Philip K. Dick's The Man in the High Castle, Alan Glenn's Amerikan Eagle, Robert Harris's Fatherland, Philip Roth's The Plot Against America, Guy Saville's The Afrika Reich, Harry Turtledove's The War That Came Early series and The Man with the Iron Heart, and Jo Walton's Farthing are considered dieselpunk by some.

[22] One theme, named "Piecraftian" after its proponent author "Piecraft", focuses on the aesthetics of the world wars and speculates on how human culture could theoretically cease to evolve due to constant, widespread warfare.

A second theme, named "Ottensian" after its proponent author Nick Ottens,[13] focuses on a setting where the decadent aesthetics and utopian philosophies of the American Roaring Twenties continued to evolve unhindered by war or economic collapse.

Ottensian dieselpunk fiction is primarily concerned with a positive vision of technology, where the utopian ideals predicted by the World's Fairs of the times came to light.

With regard to moving pictures, dieselpunk combines the tropes, character archetypes, and settings of diesel-era fiction genres such as Serial Adventure, Noir,[33] Pulp, and War with postmodern storytelling techniques and cinematography.

"[56] The article references Japanese artist Shunya Yamashita's having created one of the definitive examples of dieselpunk art with his work I Can't Explain.

[58] Other prominent artists in the dieselpunk movement include: Alexey Lipatov,[59] Stefan Prohaczka,[60] ixlrlxi,[61][62] Keith Thompson,[63] Rob Schwager,[64] and Sam Van Olffen.

[citation needed] Dieselpunk music,[1] which has roots in the neo-swing revival,[76] combines elements of blues, jazz, ragtime, cabaret, swing, and bluegrass commonly found during the diesel era with contemporary instrumentation, production, and composition.

[77] Some commonly referenced examples of dieselpunk bands are: Big Bad Voodoo Daddy,[78] Cherry Poppin' Daddies (who released a song and music video entitled "Diesel PunX" in 2019),[79] Royal Crown Revue,[80][81] Squirrel Nut Zippers,[82] The Brian Setzer Orchestra, Indigo Swing, Wolfgang Parker,[76] The End Times Spasm Band, RPM Orchestra, Big Rude Jake, and Lee Press-on and the Nails.