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Science Fiction America: Essays on SF Cinema, by David J. Hogan
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From the inception of the science fiction film, writers, directors, producers, and actors have understood that the genre lends itself to a level of social commentary not available in other formats. Viewers find it easier to accept explorations of such issues as domestic violence, war, xenophobia, faith, identity, racism, and other difficult topics when the protagonists exist in future times or other worlds that are only vaguely similar to our own. The 22 original essays in this collection examine how the issues in particular science fiction films--from 1930's High Treason to 1999's The Iron Giant--reflect and comment on the prevailing issues of their time. The 16 writers (including such noted contributors as Ted Okuda, Gary Don Rhodes, Bryan Senn, John Soister and Ken Weiss) provide insight on how the genre's wistful daydreaming, forthcoming wonders, and nightmarish scenarios are often grounded in the grimmer realities of the human condition. Films covered include It Came from Outer Space, Godzilla, The 27th Day, Alien and Starship Troopers, plus television's The Adventures of Superman, the Flash Gordon serials, and vintage space cartoons by Fleischer.
- Sales Rank: #4067695 in Books
- Brand: Brand: McFarland
- Published on: 2011-04-06
- Original language: English
- Number of items: 1
- Dimensions: 9.98" h x .65" w x 7.02" l, 1.13 pounds
- Binding: Paperback
- 288 pages
- Used Book in Good Condition
About the Author
David J. Hogan has written reviews and features for Filmfax, Outre, Moviegoer, Photon, Cinefantastique and other film magazines. He lives in Arlington Heights, Illinois.
Most helpful customer reviews
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"Maybe this is the dark side of the moon..."
By takingadayoff
That's what the hero of the 1962 sci-fi classic Nude on the Moon wonders, when he lands on the lunar surface and finds antennae-sporting "moondolls" sunbathing and swimming au naturel.
Nude on the Moon is one of the few films in Science Fiction America that I haven't seen (for some reason Leonard Maltin doesn't cover it in his movie guide either). But it's interesting to read Chase Winsted's essay on voyeurism, comparing director Doris Wishman's Nude on the Moon to Roger Corman's "X" - - The Man with the X-Ray Eyes. One story is liberating, one conservative. It looks like Doris Wishman deserves credit for being an early feminist filmmaker.
Editor David Hogan picked twenty-two essays that reflect America's twentieth century as seen through science fiction movies, from the aftermath of World War I (the British film High Treason) to the first glimpses of the so-called War on Terror (Starship Troopers and The Iron Giant).
It's talking about more than just the usual films you expect (for example, I Married a Monster from Outer Space, Invaders from Mars, and It Came from Outer Space) that makes this book so good (though the chapters on those films are good too). But Fleischer cartoons, Godzilla, TV, exploitation flicks, fifties saucer movies, seventies youth pictures, all tell as much about American life as film noir or Douglas Sirk-style weepy dramas ever did.
Leonard Kohl's analysis of the Flash Gordon serials shows how anti-escapist movies sometimes were back then despite themselves, even when they were trying to take audiences all the way to another planet, like Mongo.
And editor Hogan's own essay on the low budget The Adventures of Superman illuminates the fifties better than some of the big theatrical films (which makes sense, when you consider that it was the beginning of the age of television). We were just learning to talk to ourselves through the box.
Brian Senn's chapter on the seventies movies Death Race 2000 and Rollerball makes you realize how unintelligent recent remakes of classic science fiction films have been, mostly because they go out of their way to pander to a pubescent audience and they don't dare to make a statement (for instance, the remakes of Rollerball and The Stepford Wives).
Ken Weiss's article, comparing Robert Heinlein's novel Starship Troopers to Paul Verhoeven's film, is fascinating, but I think Weiss may be giving Heinlein too much credit as a satirist. I don't think Heinlein saw his future history as a dystopia.
Science Fiction America is as good an example of McFarland & Company's film books as I've come across, and that is high praise.
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