The 1950s era of science fiction film effectively ended when space flight became a reality with the first manned orbit of Earth in 1962. As the genre's wildly speculative depictions of science and technology gave way to more reality-based representations, relations between male and female characters reflected the changing political and social climates of the era. Drawing on critical analyses, film reviews and cultural commentaries, this book examines the development of science fiction film and its representations of gender, from the groundbreaking films of 1968--including 2001: A Space Odyssey, Barbarella and Planet of the Apes--through its often overlooked "Middle Period," which includes such films as Colossus: The Forbin Project (1970), The Stepford Wives (1975) and A Boy and His Dog (1975). The author examines intersections of gender and race in The Omega Man (1971) and Frogs (1972), gender and dystopia in Soylent Green (1973) and Logan's Run (1976), and gender and computers in Demon Seed (1977). The big-budget films of the late 1970s--Close Encounters of the Third Kind, Alien and Star Wars--are also discussed.

Gender and Environment in Science Fiction focuses on the variety of ways that gender and “nature” interact in science fiction films and fictions, exploring questions of different realities and posing new ones. Science fiction asks questions to propose other ways of living. It asks what if, and that question is the basis for alternative narratives of ourselves and the world we are a part of. What if humans could terraform planets? What if we could create human-nonhuman hybrids? What if artificial intelligence gains consciousness? What if we could realize kinship with other species through heightened empathy or traumatic experiences? What if we imagine a world without oil? How are race, gender, and nature interrelated? The texts analyzed in this book ask these questions and others, exploring how humans and nonhumans are connected; how nonhuman biologies can offer diverse ways to think about human sex, gender, and sexual orientation; and how interpretive strategies can subvert the messages of older films and written texts.

Women are now central to many science fiction films--but that has not always been the case. Female characters, from their token presence (or absence) in the silent pictures of the early 20th century to their roles as assistants, pulp princesses and sexy robots, and eventually as scientists, soldiers and academics, have often struggled to be seen and heard in a genre traditionally regarded as of men, by men and for men. Surveying more than 650 films across 120 years, the author charts the highs and lows of women's visibility in science fiction's cinematic history through the effects of two world wars, social and cultural upheavals and advances in film technology.

Outbreak narratives have proliferated for the past quarter century, and now they have reached epidemic proportions. From 28 Days Later to 24 to The Walking Dead, movies, TV shows, and books are filled with zombie viruses, bioengineered plagues, and disease-ravaged bands of survivors. Even news reports indulge in thrilling scenarios about potential global pandemics like SARS and Ebola. Why have outbreak narratives infected our public discourse, and how have they affected the way Americans view the world? In Going Viral, Dahlia Schweitzer probes outbreak narratives in film, television, and a variety of other media, putting them in conversation with rhetoric from government authorities and news organizations that have capitalized on public fears about our changing world. She identifies three distinct types of outbreak narrative, each corresponding to a specific contemporary anxiety: globalization, terrorism, and the end of civilization. Schweitzer considers how these fears, stoked by both fictional outbreak narratives and official sources, have influenced the ways Americans relate to their neighbors, perceive foreigners, and regard social institutions. Looking at everything from I Am Legend to The X Files to World War Z, this book examines how outbreak narratives both excite and horrify us, conjuring our nightmares while letting us indulge in fantasies about fighting infected Others. Going Viral thus raises provocative questions about the cost of public paranoia and the power brokers who profit from it. Supplemental Study Materials for "Going Viral": https://www.rutgersuniversitypress.org/going-viral-dahlia-schweitzer Dahlia Schweitzer- Going Viral: https://www.youtube.com/watch?v=5xF0V7WL9ow

Gender and Parenting in the Worlds of Alien and Blade Runner is a comparative, gendered analysis study of Ridley Scott’s contributions to the genre of science fiction and horror cinema, showcasing how patriarchal and gendered expectations regarding women, usually associated with the past, still run rampant.

An undying procession of sons of Dracula and daughters of darkness has animated the horror film genre from the beginning. Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics.The book opens with the influential theoretical works of Linda Williams, Carol J. Clover, and Barbara Creed. Subsequent essays explore the history of the genre, from classic horror such as King Kong and Bride of Frankenstein to the more recent Fatal Attraction and Bram Stoker's Dracula. Other topics covered include the work of horror auteurs David Cronenberg, Dario Argento, and George Romero; the Aliens trilogy; and the importance of gender in relation to horror marketing and reception.Other contributors include Vera Dika, Thomas Doherty, Lucy Fischer, Christopher Sharrett, Vivian Sobchack, Tony Williams, and Robin Wood. Writing across a full range of critical methods from classic psychoanalysis to feminism and postmodernism, they balance theoretical generalizations with close readings of films and discussions of figures associated with the genre.The Dread of Difference demonstrates that horror is hardly a uniformly masculine discourse. As these essays persuasively show, not only are horror movies about patriarchy and its fear of the feminine, but they also offer feminist critique and pleasure.

Article abstracts and citations of reviews and dissertations covering the United States and Canada.