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Brooklyn goes to space in Girl in Landscape
James Peacock

some accommodation to the idea that there’s some things that science fiction writers do that might be okay , another planet is the line they won’t cross, and so no one wants to read a book set on another planet’ (Personal Interview, 2009). It is true that Girl in Landscape ‘crosses the line’, but this argument proceeds from a desire to unpack Lethem’s statements with the aim of complicating them and

in Jonathan Lethem
Natalie Bormann

too irrational to abide by the rules of the game. Star wars, science fiction, NMD Don’t Worry, It’s Only Science Fiction. (Franklin 1988, 131) The intimate correlation between popular culture and the textual practices of US foreign policy has been attended to by a number of IR scholars with a particular focus on fiction in film. Much of it stems from the notion, as Prince (1992, xv) aptly puts it, that ‘movies are vehicles 9780719074707_4_C06.qxd 124 10/06/2008 11:16 AM Page 124 National missile defence and the politics of US identity revealing the

in National missile defence and the politics of US identity
Imperial fictions: Doctor Who, post-racial slavery and other liberal humanist fantasies
Susana Loza

6 Whiteness, normativity and the ongoing racial Other: imperial fictions: Doctor Who, post-racial slavery and other liberal humanist fantasies Susana Loza Science fiction often talks about race by not talking about race, makes real aliens, has hidden race dialogues. Even though it is a literature that talks a lot about underclasses or oppressed classes, it does so from a privileged if somewhat generic white space. (Isiah Lavender III, Race in American Science Fiction)1 In Framing Monsters: Fantasy Film and Social Alienation, Joshua Bellin claims that fantasy

in Adjusting the contrast
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Richard Hewett

Acting aims to address that lack, utilising a selection of science fiction case studies from the world of BBC television drama to investigate how small screen performance and its various determinants have altered since the days of live production. Television science fiction provides a particularly useful starting point, this being a genre that is almost as old as the medium itself, and –​ as will be demonstrated –​one that is arguably less inflected by genre-​specific performance tropes than other styles such as crime drama or period adaptation. While a multi

in The changing spaces of television acting
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry

F ORBIDDEN P LANET (W ILCOX 1956), MGM’s big-budget entry into the 1950s ‘golden age’ of cinema science fiction, has long been considered the best science-fiction film from the decade, only surpassed by Kubrick’s 2001: A Space Odyssey some twelve years later. Beyond its spectacular special effects and memorable robot, Robby, Forbidden Planet ’s story has had the added prestige of being considered a thoughtful adaptation of Shakespeare’s The Tempest , with Morbius as Prospero, Robby as Ariel, Altaira as Miranda, Commander Adams as

in Adapting Frankenstein
The Prisoner, authorship and allegory
Mark Bould

-the-less presented as a talent fighting for his (admittedly delicious) voice to be heard, but, rather than struggling against the vulgarity of a medium and organisations indifferent to his artistry, he seeks an accommodation with capital, eventually taking his script to another network. As I have argued elsewhere (Bould 2003 ), visual science fiction provides a privileged site for observing the conflict between premodern and modern forms. For example, the towering skyscrapers and abstract machinery of Metropolis (1926) suggest the triumph of reason but there also is an

in Popular television drama
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Genre collisions and mutations
James Peacock

‘Of course it’s weird,’ said Don. ‘That’s why we love it, right Paul? It’s from another dimension, it’s fucking weird, it’s science fiction.’ (Lethem, 2002 : 94) What do you get if you cross detection and science fiction? What happens when you stage a sci

in Jonathan Lethem
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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Monstrous becomings in Abel Ferrara’s Body Snatchers
Jay McRoy

, with their anti-individualist inclination towards the formation of aggregate collectives, 3 as a threat to the ‘American’ way of life. As Adam Roberts states in his sweeping, predominantly historical investigation of science fiction: During the latter 1950’s, American society was convulsed with a paranoid campaign against

in Monstrous adaptations
In search of Manly Banister, an excerpt from an unpublishable memoir
R.L. Tillman

suppose it's unlikely that I will ever know much more, and I'm not sure that I would care to. In my imagination, the man has assumed a mythic stature proportionate to his name. Banister had a wide-ranging career as a writer, driven by an amateur's interest in art, science fiction, and mechanical tinkering. He had been a fireman, a Marine on Okinawa

in Perspectives on contemporary printmaking