The Oxford Handbook of Science Fiction PDF
Preview The Oxford Handbook of Science Fiction
THE OXFORD HANDBOOK OF S C I E N C E F IC T IO N THE OXFORD HANDBOOK OF SCIENCE FICTION Edited by ROB LATHAM 1 3 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data The Oxford Handbook of Science Fiction / edited by Rob Latham. pages cm Includes bibliographical references and index. ISBN 978–0–19–983884–4 (hardcover : acid-free paper)—ISBN 978–0–19–983885–1 (ebook) 1. Science fiction—History and criticism. I. Latham, Rob, 1959– editor of compilation. PN3433.5.O94 2014 809.3′8762—dc23 2014004219 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper Contents Contributors ix Introduction 1 PART I. SCIENCE FICTION AS GENRE 1. Extrapolation and Speculation 23 Brooks Landon 2. Aesthetics 35 Peter Stockwell 3. Histories 47 Arthur B. Evans 4. Literary Movements 59 Gary K. Wolfe 5. Fandom 71 Farah Mendlesohn 6. The Marketplace 81 Gary Westfahl 7. Pulp Science Fiction 93 Jess Nevins 8. Literary Science Fiction 104 Joan Gordon 9. Slipstream 115 Victoria de Zwaan 10. The Fantastic 127 Brian Attebery vi CONTENTS 11. Genre vs. Mode 139 Veronica Hollinger PART II. SCIENCE FICTION AS MEDIUM 12. Film 155 Mark Bould 13. Radio and Television 169 J. P. Telotte 14. Animation 184 Paul Wells 15. Art and Illustration 196 Jerome Winter 16. Comics 212 Corey K. Creekmur 17. Video Games 226 Paweł Frelik 18. Digital Arts and Hypertext 239 James Tobias 19. Music 252 John Cline 20. Performance Art 263 Steve Dixon 21. Architecture 277 Nic Clear 22. Theme Parks 291 Leonie Cooper PART III. SCIENCE FICTION AS CULTURE 23. The Culture of Science 305 Sherryl Vint CONTENTS vii 24. Automation 317 Roger Luckhurst 25. Military Culture 329 Steffen Hantke 26. Atomic Culture and the Space Race 340 David Seed 27. UFOs, Scientology, and Other SF Religions 352 Gregory L. Reece 28. Advertising and Design 364 Jonathan M. Woodham 29. Countercultures 383 Rob Latham 30. Sexuality 395 Patricia Melzer 31. Body Modification 408 Ross Farnell 32. Cyberculture 421 Thomas Foster 33. Retrofuturism and Steampunk 434 Elizabeth Guffey and Kate C. Lemay PART IV. SCIENCE FICTION AS WORLDVIEW 34. The Enlightenment 451 Adam Roberts 35. The Gothic 463 William Hughes 36. Darwinism 475 Patrick B. Sharp 37. Colonialism and Postcolonialism 486 John Rieder viii CONTENTS 38. Pseudoscience 498 Anthony Enns 39. Futurology 513 Andrew M. Butler 40. Posthumanism 524 Colin Milburn 41. Feminism 537 Lisa Yaszek 42. Libertarianism and Anarchism 549 Neil Easterbrook 43. Afrofuturism 561 De Witt Douglas Kilgore 44. Utopianism 573 Phillip E. Wegner Index 585 Contributors Brian Attebery alternates between scholarly projects in fantasy and science fiction, with occasional forays into children’s literature and other areas of cultural study. His latest books are Parabolas of Science Fiction, edited with Veronica Hollinger (Wesleyan, 2013), and Stories about Stories: Fantasy and the Remaking of Myth (Oxford, 2014). Mark Bould is reader in film and literature at the University of the West of England, and co-editor of the journal Science Fiction Film and Television. His books include Science Fiction: The Routledge Film Guidebook (2012), The Routledge Concise History of Science Fiction (2011), The Routledge Companion to Science Fiction (2009), Fifty Key Figures in Science Fiction (Routledge, 2009), and Red Planets: Marxism and Science Fiction (Pluto/Wesleyan, 2009). Andrew M. Butler is the author of Solar Flares: Science Fiction in the 1970s (Liverpool, 2012) and Pocket Essentials volumes on Philip K. Dick, cyberpunk, Terry Pratchett, film studies, and postmodernism. He is a winner of the SFRA Pioneer Award and an editor of Extrapolation. Nic Clear is head of the Department of Architecture and Landscape Architecture at the University of Greenwich, where he also teaches a postgraduate design unit that special- izes in the use of film and animation in the generation, development, and representa- tion of speculative architectural spaces. John Cline received his Ph.D. in American studies from the University of Texas. He is the co-editor of two collections of essays on film, From the Arthouse to the Grindhouse: Highbrow and Lowbrow Transgression in Cinema’s First Century (Scarecrow, 2010) and Cinema Inferno: Celluloid Explosions from the Cultural Margins (Scarecrow, 2010), as well as numerous scholarly articles, including entries in the revised Grove Dictionary of American Music. He contributes regularly to The Los Angeles Review of Books and The Oxford American. Leonie Cooper is a lecturer in the Faculty of Art, Design and Architecture, Monash University. Her research field is screen cultures and the construction of new heuristic tools to think through its epistemological and perceptual transitions. She has had essays published in Stars in Our Eyes: The Star Phenomenon in the Contemporary Era (Praeger, 2002) and Star Voyager: Exploring Space on Screen (Hardie Grant, 2011). While having addressed digital media and SF at international conferences, she is also concerned with their relationship to the material practices and methods of creative research.
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