Imperfect Worlds and Dystopian Narratives in Contemporary Cinema
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Imperfect Worlds and Dystopian Narratives in Contemporary Cinema is a collection of studies on filmic dystopias: Goto, the Island of Love ; Even Dwarfs Started Small ; Stalker ; Videodrome ; Sexmission ; Ga-ga: Glory to the Heroes ; Kingsajz ; Equilibrium ; V for Vendetta ; Children of Men ; The Aerial . Employing a variety of theoretical perspectives (from cultural semiotics to post-structuralist approach), the authors analyse films from different cultural, linguistic and political contexts, demonstrating the interplay between the formulaic dystopian facade and narratological inventiveness,…mehr

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Produktbeschreibung
Imperfect Worlds and Dystopian Narratives in Contemporary Cinema is a collection of studies on filmic dystopias: Goto, the Island of Love; Even Dwarfs Started Small; Stalker; Videodrome; Sexmission; Ga-ga: Glory to the Heroes; Kingsajz; Equilibrium; V for Vendetta; Children of Men; The Aerial. Employing a variety of theoretical perspectives (from cultural semiotics to post-structuralist approach), the authors analyse films from different cultural, linguistic and political contexts, demonstrating the interplay between the formulaic dystopian facade and narratological inventiveness, heightened intertextuality, and generic hybridity. The contributors also explore the ways in which dystopian cinema adapts the motifs and techniques borrowed from classic literary dystopias.
Autorenporträt
Artur Blaim, Professor of English and Chair of English Literature Department at Maria Curie-Sk¿odowska University in Lublin; author of books and articles on English utopian fiction, desert island narratives, and cultural semiotics. Ludmi¿a Gruszewska-Blaim, Associate Professor of English and American Studies, University of Gdäsk; author and co-editor of books on 20th century poetry and prose, literary theory, fictional worlds in literature and cinema.
Rezensionen
«This is an important collection of essays, the most important treatment thus far of the concept of dystopia in film even as it offers readings of a wide range of dystopian films. It has sometimes seemed that almost any film could be described as dystopian, a tendency which has seriously diminished the usefulness of the term. Here, to the contrary, the editors have insisted on clear definitions of the concepts of dystopia and utopia, in sum, this work will be an essential reference for anyone working in the area of film and utopia.» (Peter Fitting, University of Toronto)