This major new study offers a broad historical and theoretical reassessment of the science fiction film genre. The book explores the development of science fiction in cinema from its beginnings in early film through to recent examples of the genre. Each chapter sets analyses of chosen films within a wider historical/cultural context, while concentrating on a specific thematic issue. The book therefore presents vital and unique perspectives in its approach to the genre, which include discussion of the relevance of psychedelic imagery, the 'new woman of science', generic performance and the prevalence of 'techno-orientalism' in recent films. While American films will be one of the principle areas covered, the author also engages with a range of pertinent examples from other nations, as well as discussing the centrality of science fiction as a transnational film genre. Films discussed include The Day the Earth Stood Still, The Body Snatchers, Forbidden Planet, The Quatermass Experiment, 2001: A Space Odyssey, Demon Seed, Star Trek: The Motion Picture, Star Wars, Altered States, Alien, Blade Runner, The Brother from Another Planet, Back to the Future, The Terminator, Predator, The One, Dark City, The Matrix, Fifth Element and eXistenZ. Key Features*Thematically organised for use as a course text.*Introduces current and past theories and practices, and provides an overview of the main themes, approaches and areas of study.*Covers new and burgeoning approaches such as generic performance and aspects of postmodern identity.*Includes new interviews with some of the main practitioners in the field: Roland Emmerich, Paul Verhoeven, Ken Russell, Stan Winston, William Gibson, Brian Aldiss, Joe Morton, Dean Norris and Billy Gray.

Science fiction films present hypothetical futures, featuring imagined technological advancements--not yet realized but perhaps (more or less) plausible. Yet how much of what audiences see is within the bounds of possibility? Can we really envision what a black hole looks like? Can dinosaurs really be genetically re-engineered? Originating from an annual Science Fiction Film Series in Denver, Colorado, this volume of essays examines 10 films, with a focus on discerning the possible, the unlikely, and the purely science fictional. With essays by scientists in relevant fields, chapters provide analyses of the movies themselves, along with examination of the actual science (or lack thereof) in each film.

Science-fiction, fantasy and horror movies cover a broad canvas including Frankenstein and Tod Slaughter, Dracula and Donald Duck, moon men and mad doctors, gorillas and crazy scientists, talking mules and helpful angels. Other categories covered in this book include Alien Encounters, Lost Worlds, Space Travel, Monsters, Creepy Old Houses, Phantom Killers, Mystery Thrillers, Animated Cartoons, and Horror Spoofs such as "Abbott and Costello Meet Frankenstein."

This is a detailed analysis of 103 Japanese science fiction, horror and fantasy feature films released theatrically or directly to television in the United States from 1950 through 1992. Each entry provides a plot synopsis, critique, background on the production, contemporary review quotes, and a comparison between the U.S. and Japanese versions. The filmography is arranged by studio and includes American and Japanese titles, release dates and releasing studios; comprehensive production and cast credits; running time; U.S. rating (when appropriate); and alternate titles.

A look at various science fiction, fantasy, and horror films directed by Steven Spielberg, one of the contemporary filmmakers.

Science Fiction and Fantasy Films of the 1970s by John Kenneth Muir is a detailed history and analysis of more than 100 genre films produced between the span of 1970 - 1979. The book looks at the historical context of dystopian, post-apocalyptic, and outer space movies of the day, and reveals how these movies are both a look at tomorrow and a product of their times.

As a 12-year-old, Richard Eyer costarred with Robby the Robot. In Robinson Crusoe on Mars, Paul Mantee's costar was a monkey named Barney who received billing as Mona, the Woolly Monkey. Actress Randy Stuart played the wife of The Incredible Shrinking Man. Alan Caillou wrote the original pilot outline for television's The Six Million Dollar Man. Asked to look over the final script six months later, he noticed that exactly one of his lines was being used (and that out of context) and that 27 writers were being given writing credit!Tom Weaver--author of Attack of the Monster Movie Makers, Science Fiction Stars and Horror Heroes, They Fought in the Creature Features, and Interviews with B Science Fiction and Horror Movie Makers--returns with a new collection of interviews that go behind the scenes of Golden Age science fiction, horror and fantasy filmmaking. Among the interviewed are Casey Adams, John Badham, Antony Carbone, Robert Clarke, Sidney Hayers, Lewis Allen, Gene Evans, Alex Gordon, Jackie Joseph, Ken Miller, John Moxey, Arthur Ross, Arianne Ulmer, Debra Paget and Edward Dmytryk.

This book charts the dimensions of one of the most popular genres in the cinema. From lurid comic-book blockbusters to dark dystopian visions, science fiction is seen as both a powerful cultural barometer of our times and the product of particular industrial and commercial frameworks. The authors outline the major themes of the genre, from representations of the mad scientist and computer hacker to the relationship between science fiction and postmodernism, exploring issues such as the meaning of special effects and the influence of science fiction cinema on the entertainment media of the digital age. Over one hundred films are discussed and the book concludes with an extensive case study of Star Wars I: The Phantom Menace.

Throughout Disney's phenomenally successful run in the entertainment industry, the company has negotiated the use of cutting-edge film and media technologies that, J. P. Telotte argues, have proven fundamental to the company's identity. Disney's technological developments include the use of stereophonic surround sound for Fantasia, experimentation with wide-screen technology, inaugural adoption of three-strip Technicolor film, and early efforts at fostering depth in the animated image. Telotte also chronicles Disney's partnership with television, development of the theme park, and depiction of technology in science-fiction narratives. An in-depth discussion of Disney's shift into digital filmmaking with its Pixar partnership and an emphasis on digital special effects in live-action films, such as the Pirates of the Caribbean series, also highlight the studio's historical investment in technology. By exploring the technological context for Disney creations throughout its history, The Mouse Machine illuminates Disney's extraordinary growth into one of the largest and most influential media and entertainment companies in the world. Hardbook is unjacketed.

Connoisseurs of fantasy, science fiction, and horror have long recognized the important contributions of thousands of French authors, filmmakers, and artists. The volume is divided into two parts. Part I gives historical overviews, complete lists, descriptions, and summaries for works in film, television, radio, animation, comic books, and graphic novels. This section also includes interviews with animation director Rene Laloux and comic book artist Moebius, as well as comments from filmmaker Luc Besson. Biographies are provided for over 200 important contributors to television and graphic arts. Part II covers the major authors and literary trends of French science fiction, fantasy, and horror from the Middle Ages to the present day. (French-Canadians and Belgians are also examined.) There is a biographical dictionary of over 3,000 authors, a section on major French awards, and a complete bibliography. Many illustrations (!) illuminate this thorough presentation.