Stephen Lee Naish (he/him) is a British/Canadian writer and author of several books of nonfiction. His writing has appeared in Aquarium Drunkard, Film International, The Quietus, Cineaction, Dirty Movies, and many other online and in-print journals. His books include Create or Die: Essays on the Artistry of Dennis Hopper (AUP), Deconstructing Dirty Dancing (Zero Books), Riffs and Meaning (Headpress), and Music and Sound in the Films of Dennis Hopper (Routledge). He lives in Kingston, Ontario, Canada.

• Preface to the New EditionPrefaceStar Wars Accelerationism: The Triumphs and Failures of the Sequel Trilogy Shut Up, Capitalism!: Socialist Superheroes in Film and Life Post-Catastrophe Cinema: It’s the End of the World and We Know It Metropolis Now!: Navigating the Cinematic City Men on the Verge of a Nervous Breakdown: Cinematic SCUM Masculinity Northern Exposure: North Korea in Film and as Film The Middle Word in Life: The Creative life of Dennis Hopper and David Lynch Being Nicolas Cage: From National Laughing Stock to National Treasure All-American Tragedy: The American Pie Trilogy as Cautionary Capitalist Tale The Opening Line of Fear and Loathing in Las Vegas (Book and Film) Crying at Robots: Emotional Responses to Artificial Life The Slow Dissolve: Goodbye to Reality, Hello to Hyperreality Afterword: Cinema During and After a PandemicEndnotesAcknowledgments

Stephen Lee Naish (he/him) is a British/Canadian writer and author of several books of nonfiction. His writing has appeared in Aquarium Drunkard, Film International, The Quietus, Cineaction, Dirty Movies, and many other online and in-print journals. His books include Create or Die: Essays on the Artistry of Dennis Hopper (AUP), Deconstructing Dirty Dancing (Zero Books), Riffs and Meaning (Headpress), and Music and Sound in the Films of Dennis Hopper (Routledge). He lives in Kingston, Ontario, Canada.

• Preface to the New EditionPrefaceStar Wars Accelerationism: The Triumphs and Failures of the Sequel Trilogy Shut Up, Capitalism!: Socialist Superheroes in Film and Life Post-Catastrophe Cinema: It’s the End of the World and We Know It Metropolis Now!: Navigating the Cinematic City Men on the Verge of a Nervous Breakdown: Cinematic SCUM Masculinity Northern Exposure: North Korea in Film and as Film The Middle Word in Life: The Creative life of Dennis Hopper and David Lynch Being Nicolas Cage: From National Laughing Stock to National Treasure All-American Tragedy: The American Pie Trilogy as Cautionary Capitalist Tale The Opening Line of Fear and Loathing in Las Vegas (Book and Film) Crying at Robots: Emotional Responses to Artificial Life The Slow Dissolve: Goodbye to Reality, Hello to Hyperreality Afterword: Cinema During and After a PandemicEndnotesAcknowledgments

Stephen Lee Naish (he/him) is a British/Canadian writer and author of several books of nonfiction. His writing has appeared in Aquarium Drunkard, Film International, The Quietus, Cineaction, Dirty Movies, and many other online and in-print journals. His books include Create or Die: Essays on the Artistry of Dennis Hopper (AUP), Deconstructing Dirty Dancing (Zero Books), Riffs and Meaning (Headpress), and Music and Sound in the Films of Dennis Hopper (Routledge). He lives in Kingston, Ontario, Canada.

• Preface to the New EditionPrefaceStar Wars Accelerationism: The Triumphs and Failures of the Sequel Trilogy Shut Up, Capitalism!: Socialist Superheroes in Film and Life Post-Catastrophe Cinema: It’s the End of the World and We Know It Metropolis Now!: Navigating the Cinematic City Men on the Verge of a Nervous Breakdown: Cinematic SCUM Masculinity Northern Exposure: North Korea in Film and as Film The Middle Word in Life: The Creative life of Dennis Hopper and David Lynch Being Nicolas Cage: From National Laughing Stock to National Treasure All-American Tragedy: The American Pie Trilogy as Cautionary Capitalist Tale The Opening Line of Fear and Loathing in Las Vegas (Book and Film) Crying at Robots: Emotional Responses to Artificial Life The Slow Dissolve: Goodbye to Reality, Hello to Hyperreality Afterword: Cinema During and After a PandemicEndnotesAcknowledgments