Liquid Space: Science Fiction Film and Television in the Digital Age

by Sean Redmond

Overview

Science fiction is perhaps the most effective genre to explore the concerns of the present whilst reflecting on the possibilities of the future. But what precisely can it tell us about present and future by setting these two timeframes in the same critical space?

Product Details

ISBN-13:	9781786721044
Publisher:	Bloomsbury Publishing
Publication date:	02/28/2017
Series:	International Library of the Moving Image
Sold by:	Barnes & Noble
Format:	eBook
Pages:	224
File size:	2 MB

About the Author

Sean Redmond is Associate Dean of Media, Writing and Publishing at RMIT University, Melbourne, Australia.

Table of Contents

Chapter 1
Then and Now: Television Time Travel and the Once Wonderful End to the Working Day

Chapter 2
Eye-Tracking the Sublime in Spectacular Moments of Science Fiction Film

Chapter 3
Emptying Spaces: Digital De-territorialisation

Chapter 4
Liquid Bodies

Chapter 5
Millennial Whiteness and Cinematic Outer Space

Chapter 6
Liquid Terror

Chapter 7
Sounding Liquid Science Fiction

Conclusion
We Never Let the Fire Go Out

References

Editorial Reviews

In this ground-breaking study, Sean Redmond travels to the far reaches of screen outer space, previously undiscovered and unexplored, to reveal new ways of seeing science fiction as an immersive, interactive experience at one with our digital lives.’ – Howard Hughes, author of Outer Limits: The Filmgoers' Guide to the Great Science-Fiction Films #
‘Cinema is science fiction: this startling, persuasive conclusion guides Sean Redmond's enquiry into the liquid state of digital culture seen through the lenses, heard through the speakers and felt through the trackpads of science fiction film and television. From capitalism to race, surveillance to the sublime, in a brilliant constellation of close readings Redmond tracks the new heavens and hells of our compulsorily fluid condition.

Sean Cubitt

Accessible and passionately written, this is a welcome contribution to contemporary science fiction film and television theory. Especially noteworthy – for its rarity and descriptive power – is the absolutely terrific last chapter, devoted to close analysis of recent science fiction’s aesthetics of sound.

Vivian Sobchack

In this immersive yet critical book, Sean Redmond never forgets the structures of power behind the enticing mirrored surfaces of science fiction. A warm, generous and honest academic-poet: he gently shapes our understanding by sharing his personal experiences.

Will Brooker