Liquid Space

In this ground-breaking study, Sean Redmond travels to the far reaches of screen outer space, previously undiscovered and unexplored, to reveal new ways of seeing science fiction as an immersive, interactive experience at one with our digital lives.' - Howard Hughes, author of Outer Limits: The Filmgoers' Guide to the Great Science-Fiction Films # 'Cinema is science fiction: this startling, persuasive conclusion guides Sean Redmond's enquiry into the liquid state of digital culture seen through the lenses, heard through the speakers and felt through the trackpads of science fiction film and television. From capitalism to race, surveillance to the sublime, in a brilliant constellation of close readings Redmond tracks the new heavens and hells of our compulsorily fluid condition. --Sean Cubitt, Goldsmiths, University of London Accessible and passionately written, this is a welcome contribution to contemporary science fiction film and television theory. Especially noteworthy - for its rarity and descriptive power - is the absolutely terrific last chapter, devoted to close analysis of recent science fiction's aesthetics of sound. --Vivian Sobchack, UCLA; author of Screening Space: The American Science Fiction Film In this immersive yet critical book, Sean Redmond never forgets the structures of power behind the enticing mirrored surfaces of science fiction. A warm, generous and honest academic-poet: he gently shapes our understanding by sharing his personal experiences. --Will Brooker, Kingston University; author of Hunting the Dark Knight: Twenty-first Century Batman

Sean Redmond is Associate Professor of Media and Communication at Deakin University, Australia. He is the author of numerous books including Blade Runner (2016), The Cinema of Takeshi Kitano: Flowering Blood (2013) and Liquid Metal: A Reader in Science Fiction Film (2004).

Chapter 1 Then and Now: Television Time Travel and the Once Wonderful End to the Working Day Chapter 2 Eye-Tracking the Sublime in Spectacular Moments of Science Fiction Film Chapter 3 Emptying Spaces: Digital De-territorialisation Chapter 4 Liquid Bodies Chapter 5 Millennial Whiteness and Cinematic Outer Space Chapter 6 Liquid Terror Chapter 7 Sounding Liquid Science Fiction Conclusion We Never Let the Fire Go Out References