The Bristish artist duo Anderson & Low has created a highly original art project based on the brilliant artifice of the spectacular sets from the latest James Bond movie, Spectre. Shooting entirely at Pinewood Studios, UK, the artist duo highlights a head-on collision of fantasy and reality by photographing the sets' massive scale and extraordinary detail. Allowing the bare soundstage to intrude on the images would normally shatter the illusion of the sets. In this case, however, it has the reverse effect and enhances the sense of illusion, artifice and wonder. Through a poetic and painterly eye, the beautifully designed and magnificently photographed images bring to life these detailed and massive tableaux, creating a poetry and narrative fantasy that mirrors the movie. This book represents a unique study in movie-making and constructed narratives in photography. Exhibition: Camera Work, Berlin 24.6.-27.8.2016

Black Panther was the first Black superhero in mainstream American comics. Black Panther was a cultural phenomenon that broke box office records. Yet it wasn't just a movie led by and starring Black artists. It grappled with ideas and conflicts central to Black life in America and helped redress the racial dynamics of the Hollywood blockbuster. Scott Bukatman, one of the foremost scholars of superheroes and cinematic spectacle, brings his impeccable pedigree to this lively and accessible study, finding in the utopianism of Black Panther a way of re-envisioning what a superhero movie can and should be while centering the Black creators, performers, and issues behind it. He considers the superheroic Black body; the Pan-African fantasy, feminism, and Afrofuturism of Wakanda; the African American relationship to Africa; the political influence of director Ryan Coogler's earlier movies; and the entwined performances of Chadwick Boseman's T'Challa and Michael B. Jordan's Killmonger. Bukatman argues that Black Panther is escapism of the best kind, offering a fantasy of liberation and social justice while demonstrating the power of popular culture to articulate ideals and raise vital questions.

Ridley Scott's dystopian classic Blade Runner, an adaptation of Philip K. Dick's novel, Do Androids Dream of Electric Sheep?, combines noir with science fiction to create a groundbreaking cyberpunk vision of urban life in the twenty-first century. With replicants on the run, the rain-drenched Los Angeles which Blade Runner imagines is a city of oppression and enclosure, but a city in which transgression and disorder can always erupt. Graced by stunning sets, lighting, effects, costumes and photography, Blade Runner succeeds brilliantly in depicting a world at once uncannily familiar and startlingly new. In his innovative and nuanced reading, Scott Bukatman details the making of Blade Runner and its steadily improving fortunes following its release in 1982. He situates the film in terms of debates about postmodernism, which have informed much of the criticism devoted to it, but argues that its tensions derive also from the quintessentially twentieth-century, modernist experience of the city - as a space both imprisoning and liberating. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Bukatman suggests that Blade Runner 's visual complexity allows it to translate successfully to the world of high definition and on-demand home cinema. He looks back to the science fiction tradition of the early 1980s, and on to the key changes in the 'final' version of the film in 2007, which risk diminishing the sense of instability created in the original.

Black Panther was the first Black superhero in mainstream American comics. Black Panther was a cultural phenomenon that broke box office records. Yet it wasn't just a movie led by and starring Black artists. It grappled with ideas and conflicts central to Black life in America and helped redress the racial dynamics of the Hollywood blockbuster. Scott Bukatman, one of the foremost scholars of superheroes and cinematic spectacle, brings his impeccable pedigree to this lively and accessible study, finding in the utopianism of Black Panther a way of re-envisioning what a superhero movie can and should be while centering the Black creators, performers, and issues behind it. He considers the superheroic Black body; the Pan-African fantasy, feminism, and Afrofuturism of Wakanda; the African American relationship to Africa; the political influence of director Ryan Coogler's earlier movies; and the entwined performances of Chadwick Boseman's T'Challa and Michael B. Jordan's Killmonger. Bukatman argues that Black Panther is escapism of the best kind, offering a fantasy of liberation and social justice while demonstrating the power of popular culture to articulate ideals and raise vital questions.

Hellboy, Mike Mignola's famed comic book demon hunter, wanders through a haunting and horrific world steeped in the history of weird fictions and wide-ranging folklores. Hellboy's World shows how our engagement with Hellboy's world is a highly aestheticized encounter with comics and their materiality. Scott Bukatman's dynamic study explores how comics produce a heightened "adventure of reading" in which syntheses of image and word, image sequences, and serial narratives create compelling worlds for the reader's imagination to inhabit. Drawing upon other media - including children's books, sculpture, pulp fiction, cinema, graphic design, painting, and illuminated manuscripts - Bukatman reveals the mechanics of creating a world on the page. He also demonstrates the pleasurable and multiple complexities of the reader's experience, invoking the riotous colors of comics that elude rationality and control and delving into shared fictional universes and occult detection, the horror genre and the evocation of the sublime, and the place of abstraction in Mignola's art. Monsters populate the world of Hellboy comics, but Bukatman argues that comics are themselves little monsters, unruly sites of sensory and cognitive pleasures that exist, happily, on the margins. The book is not only a treat for Hellboy fans, but it will entice anyone interested in the medium of comics and the art of reading.

This book offers a comprehensive scholarly examination of Vincente Minnelli, one of American cinema's central filmmakers.Widely known for innovative films like ""Meet Me in St. Louis"", ""An American in Paris"", and ""The Band Wagon"", Vincente Minnelli also directed classic film comedies like ""Father of the Bride"" and ""Designing Woman"", and melodramas such as ""The Bad and the Beautiful"" and ""Some Came Running"". Though his work is beloved by filmmakers and audiences alike, Minnelli has nonetheless received very little critical attention in English. ""Vincente Minnelli: The Art of Entertainment"" remedies this imbalance, offering the first-ever comprehensive and scholarly examination of Minnelli's career within a variety of discourses and methods.Bringing together a number of previously uncollected and untranslated essays by some of the most important scholars and critics in North America, Australia, and Europe, ""Vincente Minnelli: The Art of Entertainment"" places Minnelli's cinema in its rightful position at the forefront of film history. In essays written over the last five decades, as well as a number of new essays commissioned especially for this volume, contributors consider Minnelli from a number of perspectives from auteurism to genre studies and psychoanalysis to close textual analysis.The volume is divided into four chronological sections, Minnelli in the 1960s: The Rise and Fall of an Auteur; The 1970s and 1980s: Genre, Psychoanalysis, and Close Readings; The 1990s: Matters of History, Culture, and Sexuality; and, Minnelli Today: The Return of the Artist. An introduction by Joe McElhaney addresses the history of the reception of Minnelli's films, situating this reception within larger questions of film theory, criticism, and aesthetics.Too often dismissed as little more than a stylist dependent on the resources of the studio system and the structures of genre, Vincente Minnelli deserves a second look from serious film scholars. ""Vincente Minnelli: The Art of Entertainment"" demonstrates the remarkable and sustained rigor of Minnelli's vision and will appeal to students and teachers of film studies as well as fans of Minnelli's work.

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.

In "The Poetics of Slumberland", Scott Bukatman celebrates play, plasmatic possibility, and the life of images in cartoons, comics, and cinema. Bukatman begins with Winsor McCay's "Little Nemo in Slumberland" to explore how and why the emerging media of comics and cartoons brilliantly captured a playful, rebellious energy characterized by hyperbolic emotion, physicality, and imagination. The book broadens to consider similar "animated" behaviors in seemingly disparate media - films about Jackson Pollock, Pablo Picasso, and Vincent van Gogh; the musical "My Fair Lady" and the story of Frankenstein; the slapstick comedies of Jerry Lewis; and, contemporary comic superheroes - drawing them all together as the purveyors of embodied utopias of disorder.

Scott Bukatman's "Terminal Identity"--referring to both the site of the termination of the conventional "subject" and the birth of a new subjectivity constructed at the computer terminal or television screen--puts to rest any lingering doubts of the significance of science fiction in contemporary cultural studies. Demonstrating a comprehensive knowledge, both of the history of science fiction narrative from its earliest origins, and of cultural theory and philosophy, Bukatman redefines the nature of human identity in the Information Age.
Drawing on a wide range of contemporary theories of the postmodern--including Fredric Jameson, Donna Haraway, and Jean Baudrillard--Bukatman begins with the proposition that Western culture is suffering a crisis brought on by advanced electronic technologies. Then in a series of chapters richly supported by analyses of literary texts, visual arts, film, video, television, comics, computer games, and graphics, Bukatman takes the reader on an odyssey that traces the postmodern subject from its current crisis, through its close encounters with technology, and finally to new self-recognition. This new "virtual subject," as Bukatman defines it, situates the human and the technological as coexistent, codependent, and mutally defining.
Synthesizing the most provocative theories of postmodern culture with a truly encyclopedic treatment of the relevant media, this volume sets a new standard in the study of science fiction--a category that itself may be redefined in light of this work. Bukatman not only offers the most detailed map to date of the intellectual terrain of postmodern technology studies--he arrives at new frontiers, providing a propitious launching point for further inquiries into the relationship of electronic technology and culture.

The headlong rush, the rapid montage, the soaring superhero, the plunging roller coaster—Matters of Gravity focuses on the experience of technological spectacle in American popular culture over the past century. In these essays, leading media and cultural theorist Scott Bukatman reveals how popular culture tames the threats posed by technology and urban modernity by immersing people in delirious kinetic environments like those traversed by Plastic Man, Superman, and the careening astronauts of 2001: A Space Odyssey and The Right Stuff. He argues that as advanced technologies have proliferated, popular culture has turned the attendant fear of instability into the thrill of topsy-turvydom, often by presenting images and experiences of weightless escape from controlled space.Considering theme parks, cyberspace, cinematic special effects, superhero comics, and musical films, Matters of Gravity highlights phenomena that make technology spectacular, permit unfettered flights of fantasy, and free us momentarily from the weight of gravity and history, of past and present. Bukatman delves into the dynamic ways pop culture imagines that apotheosis of modernity: the urban metropolis. He points to two genres, musical films and superhero comics, that turn the city into a unique site of transformative power. Leaping in single bounds from lively descriptions to sharp theoretical insights, Matters of Gravity is a deft, exhilarating celebration of the liberatory effects of popular culture.