Steampunk Film: A Critical Introduction is a concise and accessible overview of steampunk's indelible impact within film, and acts as a case study for examining the ways with which genres hybridize and coalesce into new forms. Since the beginning of the 21st century, a series of high-profile and big-budget films have adopted steampunk identities to re-imagine periods of industrial development into fantastical histories where future meets past. By calling this growing mass-cultural fetishism for anachronistic machines into question, this book examines how a retro-futuristic romanticism for technology powered by cogs, pistons and steam-engines has taken center stage in blockbuster cinema. As the first monograph to consider cinema's unique relationship with steampunk, it places this burgeoning genre in the context of ongoing debates within film theory: each of which reflecting the movement's remarkable interest in reengineering historical technologies. Rather than acting as a niche subculture, Robbie McAllister argues that steampunk's proliferation in mainstream filmmaking reflects a desire to reassess contemporary relationships with technology and navigate the intense changes that the medium itself is experiencing in the 21st century.

In November 2010, a small but growing group of Victorian Alternate Historians, often referred to as Steampunk, met for the first conference of its kind. There was music, fashion, merchants, and all the other trappings of the Victorian time period set in a venue of “what if.” What set this conference apart was the academic nature of the presentations. Utilizing the internet and scholarly publications, a call for papers was sent out and the response was impressive. Faculty, graduate students, specialists, and general interest writers wrote, prepared, and presented on a wide array of subject matters. This publication is the culmination of those presentations. Before, during, and after the conference, Steampunk became a much debated and discussed subject on our list servers and emails. While some had no idea what Steampunk was and others had an idea that they thought was correct, there was no “one size fits all” definition to this new genre. It was at that point that a number of us that had been at the conference sat down and tried to describe the phenomenon. This is what we came up with: Steampunk is a juxtaposition of science fiction, fantasy, and Victorian alternate history. Its roots are in the literature and architecture of the late 19th century while having its branches reach into the future. It is The League of Extraordinary Gentlemen, the music of Abney Park, the engineering of Nikola Tesla, and the aviation of helium and hot air. In the 1980s a subculture of science fiction found a foothold in literature and science fiction conventions. These “paths not taken” alternative histories gave the cyberpunk and Goth followers at the conventions a new path to follow. There were the works of H. G. Wells, the undersea submersible of Captain Nemo in Verne’s 20,000 Leagues Under the Sea, and the Victorian work of Mary Shelley’s Frankenstein to start with. Add to that the architecture of the Victorian age as a gentrification in many of the inner cities of America and England, and you have a breeding ground for something not quite realized but possibly attainable.

Bringing together neo-Victorian and medievalism scholars in dialogue with each other for the first time, this collection of essays foregrounds issues common to both fields. The Victorians reimagined the medieval era and post-Victorian medievalism repurposes received nineteenth century tropes, as do neo-Victorian texts. For example, aesthetic movements such as Arts and Crafts, which looked for inspiration in the medieval era, are echoed by steampunk in its return to Victorian dress and technology. Issues of gender identity, sexuality, imperialism and nostalgia arise in both neo-Victorianism and medievalism, and analysis of such texts is enriched and expanded by the interconnections between the two fields represented in this groundbreaking collection.

What is steampunk and why are people across the globe eagerly embracing its neo-Victorian aesthetic? Old-fashioned eye goggles, lace corsets, leather vests, brass gears and gadgets, mechanical clocks, the look appears across popular culture, in movies, art, fashion, and literature. But steampunk is both an aesthetic program and a way-of-life and its underlying philosophy is the key to its broad appeal. Steampunk champions a new autonomy for the individual caught up in today's technology-driven society. It expresses optimism for the future but it also delivers a note of caution about our human role in a world of ever more ubiquitous and powerful machines. Thus, despite adopting an aesthetic and lifestyle straight out of the Victorian scientific romance, steampunk addresses significant 21st-century concerns about what lies ahead for humankind. The movement recovers autonomy from prevailing trends even as it challenges us to ask what it is to be human today.

What began in the late 1980s as an underground community of science fantasy aficionados with a fetish for Victoriana now pervades almost every aspect of popular culture from music and movies to comics and computer games. Steampunk is much more than a retro-futuristic fashion statement or a subgenre of science fiction. On the surface its adherents profess a penchant for neo-Victorian fashion, fanciful clockwork accessories and have a desire to live in an alternative reality inhabited by airships and eccentric inventions. But the literature, art, music and movies of this burgeoning community offer a radical and irreverent re-imagining of society the way it might have evolved had history taken a sharp detour prior to the industrial revolution giving us a world without electricity, the infernal (sic) combustion engine and the technology that we take for granted today. The world of steampunk is the elegant gas lit world of Jules Verne and HG Wells, of Michael Moorcock and their literary antecedents for whom the digital age never dawned. Author and musician Paul Roland traces the history of Steampunk, covering every element of the genre, from fashion and jewelry to music and literature, drawing on exclusive quotes from leading writers, artists, musicians and filmmakers in the field.

“Wonderful essays on everything steampunk, written by well-known names in the movement who are living steampunk every day” (Wired.com). Steampunk—a grafting of Victorian aesthetic and punk rock attitude onto various forms of science-fiction culture—is a phenomenon that has come to influence film, literature, art, music, fashion, and more. The Steampunk Bible is the first compendium about the movement, tracing its roots in the works of Jules Verne and H. G. Wells through its most recent expression in movies such as Sherlock Holmes. Its adherents celebrate the inventor as an artist and hero, re-envisioning and crafting retro technologies including antiquated airships and robots. A burgeoning DIY community has brought a distinctive Victorian-fantasy style to their crafts and art. Steampunk evokes a sense of adventure and discovery, and embraces extinct technologies as a way of talking about the future. This ultimate manual will appeal to aficionados and novices alike as author Jeff VanderMeer takes the reader on a wild ride through the clockwork corridors of Steampunk history. Praise for The Steampunk Bible “An informed, informative and beautifully illustrated survey of the subject.” —The Financial Times “The Steampunk Bible is far and away the most intriguing catalog of all things steam yet written.” —The Austin Chronicle

Steampunk is more than a fandom, a literary genre, or an aesthetic. It is a research methodology turning history inside out to search for alternatives to the progressive technological boosterism sold to us by Silicon Valley. This book turns to steampunk's quirky temporalities to embrace diverse genealogies of the digital humanities and to unite their methodologies with nineteenth-century literature and media archaeology. The result is nineteenth-century digital humanities, a retrofuturist approach in which readings of steampunk novels like William Gibson and Bruce Sterling's The Difference Engine and Ken Liu's The Grace of Kings collide with nineteenth-century technological histories like Charles Babbage's use of the difference engine to enhance worker productivity and Isabella Bird's spirit photography of alternate history China. Along the way, Steampunk and Nineteenth-Century Digital Humanities considers steampunk as a public form of digital humanities scholarship and activism, examining projects like Kinetic Steam Works's reconstruction of Henri Giffard's 1852 steam-powered airship, Jake von Slatt's use of James Wimshurst's 1880 designs to create an electric influence machine, and the queer steampunk activism of fans appearing at conventions around the globe. Steampunk as a digital humanities practice of repurposing reacts to the growing sense of multiple non-human temporalities mediating our human histories: microtemporal electricities flowing through our computer circuits, mechanical oscillations marking our work days, geological stratifications and cosmic drifts extending time into the millions and billions of years. Excavating the entangled, anachronistic layers of steampunk practice from video games like Bioshock Infinite to marine trash floating off the shore of Los Angeles and repurposed by media artist Claudio Garzón into steampunk submarines, Steampunk and Nineteenth-Century Digital Humanities uncovers the various technological temporalities and multicultural retrofutures illuminating many alternate histories of the digital humanities.

This volume is a fresh examination of the works of Jules Verne, the pioneering and enduringly popular science fiction writer. Essays study Verne's various novels--including Around the World in Eighty Days, The Mysterious Island and The Adventures of Captain Hatteras. Included essays offer analyses of literary responses to Verne's work, assessments of film adaptations of his novels and discussions of steampunk, the Verne-inspired science fiction subgenre that has influenced writers like Philip Jose Farmer, Caleb Carr and Adam Roberts.

Anime: A Critical Introduction maps the genres that have thrived within Japanese animation culture, and shows how a wide range of commentators have made sense of anime through discussions of its generic landscape. From the battling robots that define the mecha genre through to Studio Ghibli's dominant genre-brand of plucky shojo (young girl) characters, this book charts the rise of anime as a globally significant category of animation. It further thinks through the differences between anime's local and global genres: from the less-considered niches like nichijo-kei (everyday style anime) through to the global popularity of science fiction anime, this book tackles the tensions between the markets and audiences for anime texts. Anime is consequently understood in this book as a complex cultural phenomenon: not simply a “genre,” but as an always shifting and changing set of texts. Its inherent changeability makes anime an ideal contender for global dissemination, as it can be easily re-edited, translated and then newly understood as it moves through the world's animation markets. As such, Anime: A Critical Introduction explores anime through a range of debates that have emerged around its key film texts, through discussions of animation and violence, through debates about the cyborg and through the differences between local and global understandings of anime products. Anime: A Critical Introduction uses these debates to frame a different kind of understanding of anime, one rooted in contexts, rather than just texts. In this way, Anime: A Critical Introduction works to create a space in which we can rethink the meanings of anime as it travels around the world.

"For the contemporary film audience, science fiction has become a key locus for displaying-and imaginatively addressing-its most pressing concerns. Those concerns increasingly surface not just as displaced subjects, injected into conventional sf narratives, but as inflections in the very nature of the genre. We might describe these issues that bulk so large in our everyday world as angling into the world of science and technology, becoming a kind of slant presence in the genre, and in the process altering the thrust of our sf films and other screen media, resulting in what seems like a proliferation of sub-genre labels that mark off a substantially "new" group of sf cinemas. These cinemas challenge us to view or "read" them differently, from perspectives that are just coming into focus. Through an introductory overview and series of articles on various of these contemporary "slants" and the theories that drive them, this volume offers a guide to both what the new sf cinemas are about and how we have come to think about or "read" them differently. In the process, it also links these fragments of the constantly growing sf supertext to our changing sense of how genres function as a process, marked by consistent growth and evolution, and discussed in ways that reflect contemporary culture's own constant changes"--