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Fifty Key Figures in Science Fiction is a collection of engaging essays on some of the most significant figures who have shaped and defined the genre. Diverse groups within the science fiction community are represented, from novelists and film makers to comic book and television writers. Important and influential names discussed include: Octavia Butler George Lucas Robert Heinlein Gene Roddenberry Stan Lee Ursula K. Le Guin H.G. Wells This outstanding reference guide charts the rich and varied landscape of science fiction and includes helpful and up-to-date lists of further reading at the end of each entry. Available in an easy to use A-Z format, Fifty Key Figures in Science Fiction will be of interest to students of Literature, Film Studies, and Cultural Studies.
A collection of engaging essays on some of the most significant figures in cyberpunk culture, this outstanding guide charts the rich and varied landscape of cyberpunk from the 1970s to present day. The collection features key figures from a variety of disciplines, from novelists, critical and cultural theorists, philosophers, and scholars, to filmmakers, comic book artists, game creators, and television writers. Important and influential names discussed include: J. G. Ballard, Jean Baudrillard, Rosi Braidotti, Charlie Brooker, Pat Cadigan, William Gibson, Donna J. Haraway, Nalo Hopkinson, Janelle Monáe, Annalee Newitz, Katsuhiro Ōtomo, Sadie Plant, Mike Pondsmith, Ridley Scott, Bruce Sterling, and the Wachowskis. The editors also include an afterword of ‘Honorable Mentions’ to highlight additional figures and groups of note that have played a role in shaping cyberpunk. This accessible guide will be of interest to students and scholars of cultural studies, film studies, literature, media studies, as well as anyone with an interest in cyberpunk culture and science fiction.
Edited collection examining the relationship between science fiction and the formation of cult cinema.
Teaching Science Fiction is the first text in thirty years to explore the pedagogic potential of that most intellectually stimulating and provocative form of popular literature: science fiction. Innovative and academically lively, it offers valuable insights into how SF can be taught historically, culturally and practically at university level.
The Oxford Handbook of Science Fiction attempts to descry the historical and cultural contours of SF in the wake of technoculture studies. Rather than treating the genre as an isolated aesthetic formation, it examines SF's many lines of cross-pollination with technocultural realities since itsinception in the nineteenth century, showing how SF's unique history and subcultural identity has been constructed in ongoing dialogue with popular discourses of science and technology.The volume consists of four broadly themed sections, each divided into eleven chapters. Section I, "Science Fiction as Genre," considers the internal history of SF literature, examining its characteristic aesthetic and ideological modalities, its animating social and commercial institutions, and itsrelationship to other fantastic genres. Section II, "Science Fiction as Medium," presents a more diverse and ramified understanding of what constitutes the field as a mode of artistic and pop-cultural expression, canvassing extra-literary manifestations of SF ranging from film and television tovideogames and hypertext to music and theme parks. Section III, "Science Fiction as Culture," examines the genre in relation to cultural issues and contexts that have influenced it and been influenced by it in turn, the goal being to see how SF has helped to constitute and define important(sub)cultural groupings, social movements, and historical developments during the nineteenth, twentieth, and twenty-first centuries. Finally, Section IV, "Science Fiction as Worldview," explores SF as a mode of thought and its intersection with other philosophies and large-scale perspectives on theworld, from the Enlightenment to the present day.
This is the first introduction to the whole field of modern fantasy literature in the English-speaking world.
As we move through the 21st century, the importance of science fiction to the study of English Literature is becoming increasingly apparent. The Science Fiction Handbook provides a comprehensive guide to the genre and how to study it for students new to the field. In particular, it provides detailed entries on major writers in the SF field who might be encountered on university-level English Literature courses, ranging from H.G. Wells and Philip K. Dick, to Doris Lessing and Geoff Ryman. Other features include an historical timeline, sections on key writers, critics and critical terms, and case studies of both literary and critical works. In the later sections of the book, the changing nature of the science fiction canon and its growing role in relation to the wider categories of English Literature are discussed in depth introducing the reader to the latest critical thinking on the field.
This book provides students and other interested readers with a comprehensive survey of science fiction history and numerous essays addressing major science fiction topics, authors, works, and subgenres written by a distinguished scholar. This encyclopedia deals with written science fiction in all of its forms, not only novels and short stories but also mediums often ignored in other reference books, such as plays, poems, comic books, and graphic novels. Some science fiction films, television programs, and video games are also mentioned, particularly when they are relevant to written texts. Its focus is on science fiction in the English language, though due attention is given to international authors whose works have been frequently translated into English. Since science fiction became a recognized genre and greatly expanded in the 20th century, works published in the 20th and 21st centuries are most frequently discussed, though important earlier works are not neglected. The texts are designed to be helpful to numerous readers, ranging from students first encountering science fiction to experienced scholars in the field.
This book is a collection of essays that considers the continuing cultural relevance of the cyberpunk genre into the new millennium. Cyberpunk is no longer an emergent phenomenon, but in our digital age of CGI-driven entertainment, the information economy, and globalized capital, we have never more been in need of a fiction capable of engaging with a world shaped by information technology. The essays in explore our cyberpunk realities to soberly reconsider Eighties-era cyberpunk while also mapping contemporary cyberpunk. The contributors seek to move beyond the narrow strictures of cyberpunk as defined in the Eighties and contribute to an ongoing discussion of how to negotiate exchanges among information technologies, global capitalism, and human social existence. The essays offer a variety of perspectives on cyberpunk’s diversity and how this sub-genre remains relevant amidst its transformation from a print fiction genre into a more generalized set of cultural practices, tackling the question of what it is that cyberpunk narratives continue to offer us in those intersections of literary, cultural, theoretical, academic, and technocultural environments.
Once confined solely to literature and film, science fiction has emerged to become a firmly established, and wildly popular, television genre over the last half century. The Essential Science Fiction Television Reader provides insight into and analyses of the most important programs in the history of the genre and explores the breadth of science fiction programming. Editor J. P. Telotte and the contributors explain the gradual transformation of the genre from low-budget cinematic knockoffs to an independent and distinct televisual identity. Their essays track the dramatic evolution of early hits such as The Twilight Zone and Star Trek into the science fiction programming of today with its more recent successes such as Lost and Heroes. They highlight the history, narrative approaches, and themes of the genre with an inviting and accessible style. In essays that are as varied as the shows themselves, the contributors address the full scope of the genre. In his essay "The Politics of Star Trek: The Original Series," M. Keith Booker examines the ways in which Star Trek promoted cultural diversity and commented on the pioneering attitude of the American West. Susan George takes on the refurbished Battlestar Galactica series, examining how the show reframes questions of gender. Other essays explore the very attributes that constitute science fiction television: David Lavery's essay "The Island's Greatest Mystery: Is Lost Science Fiction?"calls into question the defining characteristics of the genre. From anime to action, every form of science fiction television is given thoughtful analysis enriched with historical perspective. Placing the genre in a broad context, The Essential Science Fiction Television Reader outlines where the genre has been, where it is today, and where it may travel in the future. No longer relegated to the periphery of television, science fiction now commands a viewership vast enough to sustain a cable channel devoted to the genre.