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- W4205129838 abstract "623 BOOKS IN REVIEW outer space that rules out economic competition and military conflict (or even boredom) remains, in this account, an improbable dream. The book achieves what it sets out to do: to establish that outer space culture did not end with the Apollo program in 1973. Rather it continued in new guises and in the hands of actors with professional and national affiliations outside those sponsored by the United States and the Soviet Union. This approach is in line with other recent work that seeks to broaden our understanding of the first human ventures into outer space, such as anthropologist Sean T. Mitchell’s Constellations of Inequality: Space, Race, and Utopia in Brazil (Chicago, 2017) and Bowdoin College Museum of Arts’s Past Futures: Science Fiction, Space Travel, and Postwar Art of the Americas (MIT, 2015). In light of this work investigations into the cultural history of twentieth-century spaceflight are moving from strength to strength. This is a book worth reading and rereading, depending upon your interests. It convinces that our understanding of the ways in which the brief, forceful projection of human beings into outer space matters has often been too limited. Limiting Outer Space, and the broader scholarly inquiry of which it is a part, is a powerful re-survey of territory that might seem over-explored. It opens us up to new stories about how a human prospect in outer space was imagined and why who is doing the imagining is relevant to our inquiries. Geppert’s collections help illustrate what difference this makes in terms of current research agendas in space history and sf studies. Limiting Outer Space has its own limit, however. The focus on devising new ways into the outsized cultural footprint of crewed space ventures leaves groundbased and robotic exploration on the table. We are all aware that the launching of instrumented probes to the moon, Mars, and the outer planets occurred alongside the spectacular “man-in-space” programs. The near- and deep-space achievements of the Voyagers, the Pioneers, Cassini-Huygens, and the Chang’es have consistently outstripped crewed ventures in distance, duration, and certain kinds of knowledge acquisition. The exoplanets discovered by ground- and spacebased missions during the past three decades have expanded our speculations about other habitable worlds. It may be that the cosmic perspective imagined but thwarted by human-centered exploration in the 1970s has been more fully realized in the cultural practices that have responded to these activities. While we have not completely ignored these ventures, they rarely figure in studies of space culture. Within the research agenda laid out in Geppert’s series, this seems like lowhanging fruit ripe for plucking. We have barely begun in our quest to understand how we act and speak in the universe.—De Witt Douglas Kilgore, Indiana University Monstrously Readable. Barry Keith Grant. Monster Cinema. New Brunswick, NJ: Rutgers UP, QUICK TAKES: MOVIES AND POPULAR CULTURE, 2018. 148 pp. $22.46 pbk. Barry Keith Grant offers readers a broad overview of movie monsters and their cultural meanings in Monster Cinema (2018), an entry in Rutgers UP’s QUICK TAKES:MOVIES AND POPULAR CULTURE series. As its name implies, the series 624 SCIENCE FICTION STUDIES, VOLUME 46 (2019) is designed to showcase scholars’ perspectives on a number of subjects in film and media studies in a succinct and easily readable manner. So far, the series has featured overviews of new African cinema, comic-book movies, film remakes, and modern British horror films, to name a few examples. Grant’s Monster Cinema serves as a comfortable and breezy introduction to the study of genre films about monsters and monstrosity. As is to be expected, Grant does not offer detailed critiques of prior studies of monsters in cinema. At most, he uses those prior studies as a springboard for his illustration of what movie monsters can signify culturally. Grant also comments on and lightly interprets newer monster films, such as The Mist (2007) and Cloverfield (2008), as a way to demonstrate the continuing importance of this particular field of study. The work of cultural critic Siegfried Kracauer is felt throughout the text, and with good reason: Grant takes what he describes..." @default.
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- W4205129838 date "2019-01-01" @default.
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- W4205129838 title "Monster Cinema by Barry Keith Grant" @default.
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