"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"--

The excitement of possible futures found in science fiction has long fired the human imagination, but the genre's acceptance by academe is relatively recent. No longer marginalized and fighting for respectability, science-fictional works are now studied alongside more traditional art forms. Tracing the capacious genre's birth, evolution, and impact across nations, time periods, subgenres, and media, The Oxford Handbook of Science Fiction offers an in-depth, comprehensive assessment of this robust area of scholarly inquiry and considers the future directions that will dictate the terms of the scholarly discourse. The Handbook begins with a focus on questions of genre, covering topics such as critical history, keywords, narrative, the fantastic, and fandom. A subsequent section on media engages with film, television, comics, architecture, music, video games, and more. The genre's role in the convergence of art and everyday life animates a third section, which addresses topics such as UFOs,

The New Routledge Companion to Science Fiction provides an overview of the study of science fiction across multiple academic fields. It offers a new conceptualisation of the field today, marking the significant changes that have taken place in sf studies over the past 15 years. Building on the pioneering research in the first edition, the collection reorganises historical coverage of the genre to emphasise new geographical areas of cultural production and the growing importance of media beyond print. It also updates and expands the range of frameworks that are relevant to the study of science fiction. The periodisation has been reframed to include new chapters focusing on science fiction produced outside the Anglophone context, including South Asian, Latin American, Chinese and African diasporic science fiction. The contributors use both well- established critical and theoretical approaches and embrace a range of new ones, including biopolitics, climate crisis, critical ethnic studies, disability studies, energy humanities, game studies, medical humanities, new materialisms and sonic studies. This book is an invaluable resource for students and established scholars seeking to understand the vast range of engagements with science fiction in scholarship today.

In the wake of the juvenile space operas of the early 1950s, a groundbreaking series debuted and paved the way for one of viewers’ favorite genres today: adult-oriented science fiction. Science Fiction Theatre aired with a fresh anthology-style narrative from the vision of veteran producer Ivan Tors and with compelling narration by Truman Bradley. Created by industry-leading syndicator Ziv Television Programs, the show pioneered a scientifically based approach to aliens, telepathy, and the mysteries of the universe that provided a model for Rod Serling’s The Twilight Zone (1959–64) and a myriad of acclaimed programs that followed, including The Outer Limits (1963–65), The Ray Bradbury Theater (1985–92),and Black Mirror (2011–present). This book contextualizes Science Fiction Theatre within the budding American television industry of the 1950s, as powerful networks and independent producers and syndicators vied to create and distribute programming to an audience eager to embrace this new, free medium. Including a complete videography of this historically neglected series, author J. P. Telotte illuminates Science Fiction Theatre as a touchstone for understanding the development of science fiction media and the dynamic nature of early television broadcasting.

What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity — all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages.

"Queer media is not one thing but an ensemble of at least four moving variables: history, gender and sexuality, geography, and medium. While many scholars would pinpoint the early 1990s as marking the emergence of a cinematic movement (dubbed by B. Ruby Rich, the "new queer cinema") in the United States, films and television programs that clearly spoke to LGBTQ themes and viewers existed at many different historical moments and in many different forms. Cross-dressing, same-sex attraction, comedic drag performance: at some points, for example in 1950s television, these were not undercurrents but very prominent aspects of mainstream cultural production. Addressing "history" not as dots on a progressive spectrum but as a uneven story of struggle, writers on queer cinema in this volume stress how that queer cinema did not appear miraculously at one moment but describes currents throughout the century-long history of the medium. Likewise, while queer is an Anglophone term that has been widely circulated, it by no means names a unified or complete spectrum of sexuality and gender identity, just as the LGBTQ+ alphabet soup struggles to contain the distinctive histories, politics, and cultural productions of trans artists and genderqueer practices. Across the globe, media makers have interrogated identity and desire through the medium of cinema through rubrics that sometimes vigorously oppose the Western embrace of the pejorative term queer, instead foregrounding indigenous genders and sexualities, or those forged in the global South, or those seeking alternative epistemologies. Finally, while "cinema" is in our title, many scholars in this collection see that term as an encompassing one, referencing cinema and media in a convergent digital environment. The lively and dynamic conversations introduced here aspire to sustain further reflection as "queer cinema" shifts into new configurations"--

What impact did the new art of film have on the development of another new art, the emerging science fiction genre, during the pre- and early post-World War II era? Focusing on such popular pulp magazines as Amazing Stories, Astounding Stories, and Wonder Stories, this book traces this early relationship between film and literature through four common features: stories that involve film or the film industry; film-related advertising; editorial matters and readers' letters commenting on film; and the magazines' heralded cover and story illustrations. By surveying these haunting traces of another medium in early science fiction discourse, we can begin to see the key role that a cinematic mindedness played in this formative era and to expand the early history of science fiction as a cultural idea beyond the usual boundaries that have been staked out by its literary manifestations and the genre's historians.

The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, from The Jazz Singer to The Wizard of Oz, Roberta, and Into the Woods.

The Oxford Handbook of Cinematic Listening explores the place of cinema in the history of listening. It looks at the ways in which listening to film is situated in textual, spatial, and social practices, and also studies how cinematic modes of listening have extended into other media and everyday experiences. Chapters are structured around six themes. Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing practices such as opera and shadow theatre, and also explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations and Relocations") focuses on specific venues and presentational practices from roadshow movies to contemporary live-score screenings. Part III ("Representations and Re-Presentations") zooms into the formal properties of specific films, analyzing representations of listening on screen as well as the role of sound as a representational surplus. Part IV ("The Listening Body") focuses on the power of cinematic sound to engage the full body sensorium. Part V ("Listening Again") discusses a range of ways in which film sound is encountered and reinterpreted outside the cinema, whether through ancillary materials such as songs and soundtrack albums, or in experimental conditions and pedagogical contexts. Part VI ("Across Media") compares cinema with the listening protocols of TV series and music video, promenade theatre and personal stereos, video games and Virtual Reality.

Exploring cultural and social differences in defining a children's film / Becky Parry -- Screening innocence in children's film / Debbie Olson -- Screen adaptations of the Wizard of OZ and metafilmicity in children's film / Ryan Bunch -- Children's films and the avant-garde / Bettina Kümmerling-Meibauer -- Intertextuality and 'adult' humour in children's film / Sam Summers -- Children's film and the problematic 'happy ending' / Noel Brown -- The cop and the kid in 1930s American film / Pamela Robertson-Wojcik -- History, forbidden games, children's play, and trauma theory / Ian Wojcik-Andrews -- Changing conceptions of childhood in the work of the Children's Film Foundation / Robert Shail -- Migrant children and the 'space between' in the films of Angelopoulos / Stephanie Hemelryk Donald -- Iranian cinema and a world through the eyes of a child / John Stephens -- The American tween and contemporary Hollywood cinema / Timothy Shary -- Growing up on Scandinavian screens / Anders Lysne -- Mary Pickford, Alma Taylor, and girlhood in Early Hollywood and British cinema / Matthew Smith -- Craft and play in Lotte Reiniger's fairy tale films / Caroline Ruddell -- Disney's musical landscapes / Daniel Batchelder -- Hayley Mills and the Disneyfication of childhood / David Buckingham -- Danny Kaye as children's film star / Bruce Babington -- Real animals and the problem of anthropomorphism in children's film / Claudia Alonso-Recarte and Ignacio Ramos-Gay -- Nation, identity, and the arrikin streak in Australian children's cinema / Adrian Schober -- Nationalism in Swedish Children's Film and the Case of Astrid Lindgren / Anders Wilhelm Åberg -- Unreality, Fantasy, and the Anti-Fascist Politics of the Children's Films of Satyajit Ray / Koel Banerjee -- Gender, Ideology, and Nationalism in Chinese Children's Cinema / Yuhan Huang -- Ethnic and racial difference in the Hungarian animated features Macskafogó/Cat City (1986) and Macskafogó 2/Cat City 2 (2007) / Gábor Gergely -- Negotiating East and West when representing childhood in Miyazaki's Spirited away / Katherine Whitehurst -- Coming of age in South Korean cinema / Sung-Ae Lee -- The Walt Disney Company, family entertainment, and global movie hits / Peter Krämer -- Reading Jason and the argonauts as a children's film / Susan Smith -- Hollywood and the baby boom audience in the 1950s and 1960s / James Russell -- Don Bluth and the Disney renaissance / Peter Kunze -- On 'love experts', evil princes, gullible princesses, and Frozen / Amy M. Davis -- Hollywood, regulation, and the 'disappearing' children's film / Filipa Antunes -- How children learn to 'read' movies / Cary Bazalgette -- Star Wars, children's film culture, and fan paratexts / Lincoln Geraghty -- Norwegian tween girls and everyday life through Disney tween franchises / Ingvild Kvale Sørenssen -- A multimethod study on contemporary young audiences and their film/cinema discourses and practices in Flanders, Belgium / Aleit Veenstra, Philippe Meers, and Daniël Biltereyst -- An empirical report on young people's responses to adult fantasy films / Martin Barker -- Disney's adult audiences / James R. Mason.