After the death of James Dean in 1955, the figure of the teen rebel permeated the globe, and its presence is still felt in the twenty-first century. Rebel iconography--which does not have to resemble James Dean himself, but merely incorporates his disaffected attitude--has become an advertising mainstay used to sell an array of merchandise and messages. Despite being overused in advertisements, it still has the power to surprise when used by authors and filmmakers in innovative and provocative ways. The rebel figure has mass appeal precisely because of its ambiguities; it can mean anything to anyone. The global appropriation of rebel iconography has invested it with fresh meanings. Author Claudia Springer succeeds here in analyzing both ends of the spectrum--the rebel icon as a tool in upholding capitalism's cycle of consumption, and as a challenge to that cycle and its accompanying beliefs. In this groundbreaking study of rebel iconography in international popular culture, Springer studies a variety of texts from the United States and abroad that use this imagery in contrasting and thought-provoking ways. Using a cultural studies approach, she analyzes films, fiction, poems, Web sites, and advertisements to determine the extent to which the icon's adaptations have been effective as a response to the actual social problems affecting contemporary adolescents around the world.

Science fiction, more than any other film genre, allows cinema to exhibit its own distinctive matters of expression. Whether these be the state-of-the-art special effects technologies of "2001: A Space Odyssey," or the symbolic imagery of ruined cityscapes in "Blade Runner," they allow the spectator to experience the totality of the audiovisual thrill.
While this remains in many ways the core defining feature of the genre, recent trends in the study of science fiction cinema have seen a shift of focus away from the specifically cinematic towards the more broadly cultural. New technologies of communication and vision, revolutionary developments in the delivery and reception of moving-image media, the increasing importance of the notion of space: all are forcing new and different ways of thinking about the genre.
"Alien Zone II" presents some of the most exciting new voices in the current debates. A companion volume to "Alien Zone," it continues to pursue the critical and theoretical issues opened up in the earlier book and energetically explores fresh territory with an eye which is both reflective and interventionist: visionary cities, psycho-cybernetics, internet fandom, the convergence of science fiction literature and science action film, the body and its limits are just some of the subjects brought under its gaze.

The love affair between humans and the machines that have made us faster and more powerful has expanded into cyberspace, where computer technology seems to offer both the promise of heightened erotic fulfillment and the threat of human obsolescence. In this pathfinding study, Claudia Springer explores the techno-erotic imagery in recent films, cyberpunk fiction, comic books, television, software, and writing on virtual reality and artificial intelligence to reveal how these futuristic images actually encode current debates concerning gender roles and sexuality.

Drawing on psychoanalytical and film theory, as well as the history of technology, Springer offers the first sustained analysis of eroticism and gender in such films as RoboCop, The Terminator, Eve of Destruction, and Lawnmower Man; cyberpunk books such as Neuromancer, Count Zero, Virtual Light, A Fire in the Sun, and Lady El; the comic books Cyberpunk and Interface, among others; and the television series Mann and Machine. Her analysis demonstrates that while new electronic technologies have inspired changes in some pop culture texts, others stubbornly recycle conventions from the past, refusing to come to terms with the new postmodern social order.

Written to be accessible and entertaining for students and general readers as well as scholars, Electronic Eros will be of interest to a wide interdisciplinary audience.