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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
Shoshannah Ganz

In addition, the term Gothic is amorphous at best and has been increasingly applied to a variety of works with a variety of messages. Oryx and Crake has historically been referred to as ‘speculative fiction’, but one of the main problems with this generic marker is that it does not account appropriately for the moral message of the text, nor other aspects that are representative of science fiction

in Ecogothic
Suzanne Treister and Roger Luckhurst

with ‘outsider art’, HEXEN unravelled a host of links between military research, occult ritual, and mass popular culture. The diagrams included in the work make frenetic links between Second World War American rocket research, the smuggling of Nazi technicians, the black magic occultism of Aleister Crowley and other 140 Machine-Ghost.indb 140 6/12/2013 12:11:38 PM What happens in the gaps  141 self-proclaimed masters of the dark arts, weird psychical research experiments, science fiction, The Wizard of Oz, and the Jewish kabbala. Since HEXEN, Treister has explored

in The machine and the ghost
Richard Matheson’s I Am Legend and Hammer’s The Night Creatures
Peter Hutchings

casts aside in disgust a copy of Bram Stoker’s Dracula . The old model of vampirism will not do any more, it seems, and in the course of the narrative it is supplanted by a scientific-rational explanation of the vampire. This, along with the novel’s post-nuclear war setting, has often seen I Am Legend classified as science fiction, as if Neville’s own science-based investigation has successfully dispelled the old legends. However, this process of demystification only goes so far, as the novel

in Hammer and beyond
Bruce Woodcock

virtually science fiction or fantasy, and was initially linked with a new generation of Australian fantasy and science fiction which emerged following the 33rd Annual World SF Convention in Melbourne in 1975. In 1977, one of his earliest interviewers and analysts was the science fiction writer and critic Van Ikin, editor of the Sydney-based magazine Science Fiction . He suggested that Carey was best seen not as a science fiction writer since ‘unlike the average science fiction writer, Carey does not strive to prove the scientific validity of his extrapolations’, but as a

in Peter Carey
Against the conspiracy of boredom
Peter Buse, Núria Triana Toribio, and Andy Willis

other directors, genres, and film-styles, a self-assessment well borne out by Acción mutante (1993), the De la Iglesia team’s first feature film, which promiscuously mixes science fiction and comedy, film noir and western, Almodóvar and Ridley Scott. Were such a claim, and its associated renunciation of auteur status, to issue from an American independent director, or even a relatively self-conscious Hollywood director, would it even raise an eyebrow, so eloquently does it express postmodern orthodoxy? And does it make any difference when it comes from a modern

in The cinema of Álex de la Iglesia
Christine Cornea

within and between film productions. Arguably, some of the major genres that have emerged in film studies include the Western, the comedy, the musical, and the animated film, with various other genres like the horror film, science fiction, film noir and so forth making up a more frequently contested list. The classification of most film genres has been intimately linked to narrative, in which particular genres become

in Genre and performance
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Writing American sexual histories
Author: Barry Reay

The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.

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International law at the movies
Gerry Simpson

(between the Klingons and the Federation in Star Trek ), inter-planetary councils issuing ineffectual edicts, and a continual movement between three classic images of the international diplomatic order: constitutionalism ( Battleship Galactica ), idealism ( Star Trek ) and, again, realism (mostly, the law is cruelly neglected in science fiction films (diplomats are shot in the back causing their bodies to dissolve, conventions are torn up …)). In some respects, though, there is a lot of law here. One sometimes gets this impression from Benatar that the Star Trek

in Cinematic perspectives on international law
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Queer theory, literature and the politics of sameness
Author: Ben Nichols

In its contributions to the study of material social differences, queer theoretical writing has mostly assumed that any ideas which embody 'difference' are valuable. More than this, where it is invoked in contemporary theory, queerness is often imagined as synonymous with difference itself. This book uncovers an alternative history in queer cultural representation. Through engagement with works from a range of queer literary genres from across the long twentieth century – fin-de-siècle aestheticism, feminist speculative fiction, lesbian middle-brow writing, and the tradition of the stud file – the book elucidates a number of formal and thematic attachments to ideas that have been denigrated in queer theory for their embodiment of sameness: uselessness, normativity, reproduction and reductionism. Exploring attachments to these ideas in queer culture is also the occasion for a broader theoretical intervention: Same Old suggests, counterintuitively, that the aversion they inspire may be of a piece with how homosexuality has been denigrated in the modern West as a misguided orientation towards sameness. Combining queer cultural and literary history, sensitive close readings and detailed genealogies of theoretical concepts, Same Old encourages a fundamental rethinking of some of the defining positions in queer thought.