American Science Fiction Television and Space

This collection reads the science fiction genre and television medium as examples of heterotopia (and television as science fiction technology), in which forms, processes, and productions of space and time collide a multiplicity of spaces produced and (re)configured. The book looks to be a heterotopic production, with different chapters and spaces (of genre, production, mediums, technologies, homes, bodies, etc), reflecting, refracting, and colliding to offer insight into spatial relationships and the implications of these spaces for a society that increasingly inhabits the world through the space of the screen. A focus on American science fiction offers further spatial focus for this study a question of geographical and cultural borders and influence not only in terms of American science fiction but American television and streaming services. The (contested) hegemonic nature of American science fiction television will be discussed alongside a nation that has significantly been understood, even produced, through the television screen. Essays will examine the various (re)configurations, or productions, of space as they collapse into the science fiction heterotopia of television since 1987, the year Star Trek: Next Generation began airing.

Offer important and imaginative spatial readings of influential American science fiction television shows Examine and theorize space in an increasingly space-conscious age--one dominated by the space Transformative readings of American science fiction television shows and the (television) screen

Auteur
Joel Hawkes is a Sessional Lecturer in English at the University of Victoria, Canada. Hawkes' research is particularly interested in the practices and performances that create the physical and literary spaces we inhabit, and the ritual nature of these. Though primarily a modernist, his work is cross-period and interdisciplinary. His modernist publications engage with spatial theory, and at present focus on the relatively unknown British modernist Mary Butts. He has just finished editing Mary Butts's Collected Essays, which will be published by McPherson & Co. in 2021.

Alexander Christie is Assistant Professor of Digital Prototyping at Brock University's Centre for Digital Humanities. He has published internationally in a number of journals and collections, including Digital Humanities Quarterly, Social Knowledge Creation in the Humanities, and Reading Modernism with Machines. In addition to creating warped 3D maps ofliterary spaces (z-axis research), he is currently completing a book on modern manuscripts and humanities computing.

Tom is an instructor in English at Camosun College in Victoria, British Columbia. His research has examined religiosity and the supernatural in twentieth-century American literature. He is increasingly focused on science fiction storytelling, and in particular cyber punk narratives.

Contenu
1. Introduction , Joel Hawkes (Lecturer in English, University of Victoria); Alex Christie, PhD (Assistant Professor in Digital Prototyping, Brock University); Thomas Nienhuis (Lecturer in English, Camosun College).- 2. Section One Introduction.- 3. Occupied Space: The Contested Habitation of Terok Nor/ Deep Space Nine , Ina Rae Hark (Distinguished Professor Emerita in Film and Media Studies, University of South Carolina).- 4. Welwala at the Borders: Language, Space, and Power in The Expanse , Matt Barton (Professor in English, St. Cloud State University); Sharon Cogdill (Professor in English, St. Cloud State University); Michael B. Dando (Assistant Professor in English, St. Cloud State University); Ed Sadrai (Assistant Professor in English, St. Cloud State University).- 5. 'You've Seen One Post-Apocalyptic City, You've Seen Them All': The Scales and Failures of the Right to the City and the Science Fiction Production of Space in Love, Death and Robots , Phevos Kallitsis (Senior Lecturer in Architecture, University of Portsmouth).- 6. Heaven is a Place on Earth?: The Horizon of Queer Utopia in Black Mirror 's San Junipero, Orin Posner (PhD candidate in English, Tel-Aviv University).- 7. SVOD: A Place for (Outer)Space? Andrew Lynch and Alexa Scarlata (PhD candidates in Culture and Communications, University of Melbourne).- 8. Section Two Introduction.- 9. The Year Everything Changed: Babylon 2020 , Alex Christie (Assistant Professor in Digital Prototyping, Brock University, editor of this collection).- 10. The Wars of Ronald D. Moore: Terrorism, Insurgency, and News Media in Deep Space Nine and Battlestar Galactica , Benjamin Griffin (Professor and Major, United States Army, Fort Leavenworth).- 11. To ensure the safety of the Republic, we must deregulate the banks: A Social Democratic Reading of Star Wars: The Clone Wars , Edward Guimont (PhD candidate in History, University of Connecticut).- 12. Enclosing and Opening the Spaces of Embodied Modernity in The Expanse , Edward Royston (Assistant Professor of English, Pfeiffer University).- 13. Section Three Introduction.- 14. Prestige TV and the Corporate Long Con: Disembodied Spaces of Westworld , John Bruni (Adjunct Professor, School of Communication, Grand Valley State University).- 15. Wading in the Upside-Down: Topsy-Turvy Media Spaces in Stranger Things , Nicolas Orlando (Humanities Instructor, Hillsborough Community College).- 16. Memos from the Novel's Author: The Adaptation of Flash Forward for Television as a Series of Foucauldian Mirrors , Ellen Michelle (Editor, owner of Constellate Publishing).- 17. Section Four Introduction.- 18. The Boys Keep Swinging , Sean Redmond (Professor of Screen and Design, Deakin University).- 19. I Am Also A We: Queer Slippage and Fan Activism in Netflix's Sense8 , Alex Xanthoudakis (MA candidate in Publishing, Simon Fraser University).- 20. Fringe and Dollhouse : Predicting the Apocalypse in the Spectral Bodies of Unconscious Viewers , Joel Hawkes (Lecturer in English, University of Victoria, editor of this collection).- 21. Postscript , Mark Bould (University of West England).