This book of essays looks at the multitude of texts and influences which converge in Ridley Scott's film Blade Runner, especially the film's relationship to its source novel, Philip K. Dick's Do Androids Dream of Electric Sheep? The film's implications as a thought experiment provide a starting point for important thinking about the moral issues implicit in a hypertechnological society. Yet its importance in the history of science fiction and science fiction film rests equally on it mythically and psychologically resonant creation of compelling characters and an exciting story within a credible science fiction setting. These essays consider political, moral and technological issues raised by the film, as well as literary, filmic, technical and aesthetic questions. Contributors discuss the film's psychological and mythic patterns, important political issues and the roots of the film in Paradise Lost, Frankenstein, detective fiction, and previous science fiction cinema.

This bibliographic guide covers the “Buffyverse”—the fictional worlds of the acclaimed television series Buffy the Vampire Slayer (1997–2003) and its spinoff Angel (1999–2004), as well as the original Buffy feature film of 1992. It is the largest and most inclusive work of its kind. The author organizes and describes both the original texts of the Buffyverse (episodes, DVDs, novels, comic books, games, and more) and the secondary materials created about the shows, including books, essays, articles, documentaries, dissertations, fan production and websites. This vast and diverse collection of information about these two seminal shows and their feature-film forebear provides an accessible, authoritative and comprehensive survey of the subject.

Since the 1970s, the name Stephen King has been synonymous with horror. His vast number of books has spawned a similar number of feature films and TV shows, and together they offer a rich opportunity to consider how one writer’s work has been adapted over a long period within a single genre and across a variety of media—and what that can tell us about King, about adaptation, and about film and TV horror. Starting from the premise that King has transcended ideas of authorship to become his own literary, cinematic, and televisual brand, Screening Stephen King explores the impact and legacy of over forty years of King film and television adaptations. Simon Brown first examines the reasons for King’s literary success and then, starting with Brian De Palma’s Carrie, explores how King’s themes and style have been adapted for the big and small screens. He looks at mainstream multiplex horror adaptations from Cujo to Cell, low-budget DVD horror films such as The Mangler and Children of the Corn franchises, non-horror films, including Stand by Me and The Shawshank Redemption, and TV works from Salem’s Lot to Under the Dome. Through this discussion, Brown identifies what a Stephen King film or series is or has been, how these works have influenced film and TV horror, and what these influences reveal about the shifting preoccupations and industrial contexts of the post-1960s horror genre in film and TV.

Male-female detective pairings often exhibit offbeat, dark humor and considerable chemistry as they investigate crimes. They have proven to be both entertaining and alluring on screen and television. This work reveals an evolutionary progression in the depictions of three detective duos: the married pair Nick and Nora Charles of The Thin Man, black-humored special agents John Steed and Emma Peel of The Avengers, and finally the smoldering Mulder and Scully in The X-Files. Ten chapters offer critical analysis, rich with background information and insider observations. Production comments are given throughout. Three appendices (one for each series) offer episode guides with original broadcast dates, credits and brief synopses.

The aim of this book is to give John Carpenter's output the sustained critical treament it deserves. It comprises essays that address the whole of Carpenter's work as well as others which focus on a small number of key films.

Star Trek: The Next Generation blended speculative science fiction and space opera in its portrayal of communication. Multiple modes of communication used between characters are presented and the multilevel tapestry of communication in the series is critical in its appeal. This book proposes that these patterns of communication reveal a foundational philosophy of Star Trek (while enticing millions of viewers). These patterns serve both to cause strong empathetic connections with characters and to impel viewers to form relationships with the show, explaining their extreme devotion.

Today, movie theaters are packed with audiences of all ages marveling to exciting science fiction blockbusters, many of which are also critically acclaimed. However, when the science fiction film genre first emerged in the 1950s, it was represented largely by exploitation horror films—lurid, culturally disreputable, and appealing to a niche audience of children and sci-fi buffs. How did the genre evolve from B-movie to blockbuster? Escape Velocity charts the historical trajectory of American science fiction cinema, explaining how the genre transitioned from eerie low-budget horror like It Came from Outer Space to art films like Slaughterhouse-Five, and finally to the extraordinary popularity of hits like E.T. Bradley Schauer draws on primary sources such as internal studio documents, promotional materials, and film reviews to explain the process of cultural, aesthetic, and economic legitimation that occurred between the 1950s and 1980s, as pulp science fiction tropes were adapted to suit the tastes of mainstream audiences. Considering the inescapable dominance of today's effects-driven blockbusters, Escape Velocity not only charts the history of science fiction film, but also gives an account of the origins of contemporary Hollywood.

The sound of chainsaws revving on "haunted" Halloween trails has evoked untold screams since Tobe Hooper's 1974 The Texas Chainsaw Massacre hit the cinemas. Since that first take-no-prisoners horror movie, Hooper's reputation as a master of horror has been secured by his adaptations of Stephen King (Salem's Lot, 1978, and The Mangler, 1995), his blockbuster breakthrough Poltergeist (1982) and a variety of cult hits, from the underrated Lifeforce (1985) to the remake of Invaders from Mars (1986). This reference work is divided into five parts. Part I provides a history and overview of Tobe Hooper's career. Part II offers entries (with synopses, complete credits, critical reception and commentaries) on every feature film by year of release. Part III provides chronological information on Hooper's television movies and miniseries. Part IV offers entries on his episodes from horror television series. Part V is a critical essay and conclusion which places Hooper in horror film history and compares his work to all-time greats such as Romero, Craven and Carpenter.

After working with David on his previous work for the series, The Complete Kubrick, we knew we were on to a winner for this book. Not only is David Lynch a master of modern film-making but David Hughes is well-qualified to write this 'complete' book. The book covers all Lynch's films including Mulholland Drive, TV and other projects, as well as the unrealised ventures such as Revenge of the Jedi (later directed by Richard Marquand as Return of the Jedi). It also includes a foreword by Barry Gifford - the novelist behind Wild at Heart and co-writer with Lynch of the screenplay for Lost Highway - and excerpts from a new interview David Hughes carried out with David Lynch himself. The Complete Lynch is the only comprehensive study of this great director.