This book offers an in-depth analysis of Janelle Monae's Dirty Computer, an Afrofuturist project that appeared simultaneously as a concept album and a visual album or "emotion picture" in spring 2018. In the previous decade, Janelle Monae has developed into a global media personality who effortlessly unites speculative world-building with social and political activism. Across the intersecting album and film that together make up Dirty Computer, Monae brings together the science-fictional themes that informed her previous work, resulting in a powerfully focused artistic and political statement. While the music on the album can be enjoyed as an accessible collection of pop tracks, the accompanying film, music videos, and media paratexts add layers of meaning that combine speculative world-building with anti-racist activism. This unique convergence of energies, ideas, and media platforms has made Dirty Computer a new classic of Afrofuturist science fiction.

Whether one describes them as sequential art, graphic narratives or graphic novels, comics have become a vital part of contemporary culture. Their range of expression contains a tremendous variety of forms, genres and modes from high to low, from serial entertainment for children to complex works of art. This has led to a growing interest in comics as a field of scholarly analysis, as comics studies has established itself as a major branch of criticism. This handbook combines a systematic survey of theories and concepts developed in the field alongside an overview of the most important contexts and themes and a wealth of close readings of seminal works and authors. It will prove to be an indispensable handbook for a large readership, ranging from researchers and instructors to students and anyone else with a general interest in this fascinating medium.

From Tolkien to Star Trek, from Game of Thrones to Battlestar Galactica, and from The Walking Dead to Janelle Monae's Afrofuturist concept albums, transmedia world-building offers us complex and immersive environments beyond capitalism. This book examines the ways in which these popular storyworlds offer tools for anticapitalist theory and practice. Building on Hardt and Negri's theory of global capitalism, Science Fiction, Fantasy, and Politics shows how transmedia world-building has the potential of offering more than a momentary escape from capitalist realism in the age of media convergence and participatory culture. The book features eight fantastic storyworlds that offer vivid illustrations of global capitalism's contradictory logic. Approaching transmedia world-building both as a cultural form and as a political economy, it demonstrates the limitations inherent in fandom and fan culture, which is increasingly absorbed as a form of immaterial labor. But at the same time, the book also explores the productive ways in which fantastic storyworlds contain a radical energy that can give us new ways of thinking about politics, popular culture, and anticapitalism.

From Tolkien to Star Trek and from Game of Thrones to The Walking Dead, imaginary worlds in fantastic genres offer us complex and immersive environments beyond capitalism. This book examines the ways in which these popular storyworlds offer valuable tools for anticapitalist theory and practice. Building on Hardt and Negri's concept of Empire as a way of understanding globalization, Science Fiction, Fantasy, and Politics shows how popular fantastic fiction has the potential of offering more than a momentary escape from capitalist realism in the age of media convergence and participatory culture. The book approaches fantastic world-building as an ideologically ambiguous way of imagining alternatives to global capitalism. By approaching transmedia world-building both as a narrative form and as a growing industry derived from fan culture, it shows on the one hand the limitations inherent in the political economy of popular genre fiction. But at the same time, it also explores the productive ways in which fantastic storyworlds contain a radical energy that can give us new ways of thinking about politics, popular culture, and anticapitalism.

Singer. Dancer. Movie star. Activist. Queer icon. Afrofuturist. Working class heroine. Time traveler. Prophet. Feminist. Android. Dirty Computer.   Janelle Monáe is all these things and more, making her one of the most fascinating artists to emerge in the twenty-first century. This provocative new study explores how Monáe’s work has connected different media platforms to strengthen and enhance new movements in art, theory, and politics. It considers not only Monáe’s groundbreaking albums The ArchAndroid, The Electric Lady, and Dirty Computer, but also Monáe’s work as an actress in such films as Hidden Figures and Antebellum, as well as her soundtrack appearances in socially-engaged projects ranging from I May Destroy You to Us. Examining Monáe as a cultural icon whose work is profoundly intersectional, this book maps how she is actively reshaping discourses around race, gender, sexuality, and capitalism. Tracing Monáe’s performances of joy, desire, pain, and hope across a wide range of media forms, it shows how she imagines Afrofuturist, posthumanist, and postcapitalist utopias, while remaining grounded in the realities of being a Black woman in a white-dominated industry. This is an exciting introduction to an audacious innovator whose work offers us fresh ways to talk about identity, desire, and power.

Singer. Dancer. Movie star. Activist. Queer icon. Afrofuturist. Working class heroine. Time traveler. Prophet. Feminist. Android. Dirty Computer.   Janelle Monáe is all these things and more, making her one of the most fascinating artists to emerge in the twenty-first century. This provocative new study explores how Monáe’s work has connected different media platforms to strengthen and enhance new movements in art, theory, and politics. It considers not only Monáe’s groundbreaking albums The ArchAndroid, The Electric Lady, and Dirty Computer, but also Monáe’s work as an actress in such films as Hidden Figures and Antebellum, as well as her soundtrack appearances in socially-engaged projects ranging from I May Destroy You to Us. Examining Monáe as a cultural icon whose work is profoundly intersectional, this book maps how she is actively reshaping discourses around race, gender, sexuality, and capitalism. Tracing Monáe’s performances of joy, desire, pain, and hope across a wide range of media forms, it shows how she imagines Afrofuturist, posthumanist, and postcapitalist utopias, while remaining grounded in the realities of being a Black woman in a white-dominated industry. This is an exciting introduction to an audacious innovator whose work offers us fresh ways to talk about identity, desire, and power.

In the same way that Stallone and Schwarzenegger played film heroes who came to embody the values of Ronald Reagans aggressive conservative agenda in the 1980s, the 21st-century film narratives of Batman, Spider-Man and Superman reflect the policies of the Bush Doctrine after 9/11. This book offers a groundbreaking study of the relationship that exists between post-9/11 American politics and the contemporary superhero movie phenomenon. No other Hollywood subgenre was as consistently popular during the George W. Bush presidency, as films such as Spider-Man, Superman Returns, Iron Man, and The Dark Knight embodied the key contradictions that inform the cultural and political life of the post-9/11 years. By combining in-depth analyses of numerous major superhero films from this era with astute readings of contemporary critical theory, this book offers accessible and academically potent insight into the complex interplay between politics, ideology, and entertainment in the 21st century.