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In Red Alert: Marxist Approaches to Science Fiction Cinema, editors Ewa Mazierska and Alfredo Suppia argue that Marxist philosophy, science fiction, and film share important connections concerning imaginings of the future. Contributors look at themes across a wide variety of films, including many international co-productions to explore individualism versus collectivism, technological obstacles to travel through time and space, the accumulation of capital and colonization, struggles of oppressed groups, the dangers of false ideologies, and the extension of the concept of labor due to technological advances.Red Alert considers a wide swath of contemporary international films, from the rarely studied to mainstream science fiction blockbusters like The Matrix. Contributors explore early Czechoslovak science fiction, the Polish-Estonian co-productions of director Marek Piestrak, and science fiction elements in 1970s American blaxploitation films. The collection includes analyses of recent films like Transfer (Damir Lukacevic), Avalon (Mamoru Oshii), Gamer (Mark Neveldine and Brian Taylor), and District 9 and Elysium (Neill Blomkamp), along with more obscure films like Alex Rivera's materialist science fiction works and the Latin American zombie films of Pablo Parés, Hernán Sáez, and Alejandro Brugués. Contributors show that the ambivalence and inner contradictions highlighted by the films illustrate both the richness of Marx's legacy and the heterogeneity and complexity of the science fiction genre.This collection challenges the perception that science fiction cinema is a Western or specifically American genre, showing that a broader, transnational approach is necessary to fully understand its scope. Scholars and students of film, science fiction, and Marxist culture will enjoy Red Alert.

Examines the political cinema of 1968 in relation to global events. The essays in this volume, edited by Christina Gerhardt and Sara Saljoughi, cover a breadth of cinematic movements that were part of the era's radical politics and independence movements.

Robin Wood - one of the foremost critics of cinema - has laid the groundwork for anyone writing about the horror film in the last half-century. Robin Wood on the Horror Film: Collected Essays and Reviews compiles over fifty years of his groundbreaking critiques.

Examines the political cinema of 1968 in relation to global events. The essays in this volume, edited by Christina Gerhardt and Sara Saljoughi, cover a breadth of cinematic movements that were part of the era's radical politics and independence movements.

Following World War II, the world had to confront the unmournable specters of those who had been erased socially and historically. Cinematic Cryptonymies: The Absent Body in Postwar Film explores how cinema addressed these missing bodies through an in-depth analysis of key filmmakers from the immediate postwar moment through the present.

The debut of the film The Boys in the Bandwas revolutionary for its fictional but frank presentation of a male homosexual subculture in Manhattan. The scholars assembled here bring an invigorating variety of methods to their considerations of this singular film. Coming from a wide range of academic disciplines, they pose and answer questions about the film in remarkably different ways.