Aliens R Us: The Other in Science Fiction Cinema

by Ziauddin Sardar (Editor)

Aliens R Us explores the global culture of science fiction cinema, and in particular its presentation of contemporary images of the Other. Taking as a starting point the popularity of international forms such as Japanese Manga and Hong Kong sci-fi, in addition to the success of films such as The Matrix and television series such as Deep Space Nine, the contributors examine the science fiction genre as an international, populist form of social analysis. In doing so, they discuss issues such as Orientalism, technology, apocalyptic futures, xenophobia, militarism and the role of women. Most contemporary studies look at the generic characteristics of science fiction,with its allegorical rendering of contemporary life, usually in relation to America. This book moves beyond a purely generic study, assessing European and Asian film work, discussing their varying representations of the Other, and what this reveals about popular perceptions of global culture and society. Case studies include Independence Day, Star First Contact and Until the End of the World, in addition to chapters on Eco-Apocalypse and new French sci-fi and New Manchester Ecstasy sci-fi.

Genres: Nonfiction

192 pages, Paperback

First published February 20, 2002

About the author

Ziauddin Sardar has written or edited 45 books over a period of 30 years, many with his long-time co-author Merryl Wyn Davies. Recent titles include Balti Britain: a Journey Through the British Asian Experience (Granta, 2008); and How Do You Know: Reading Ziauddin Sardar on Islam, Science and Cultural Relations (Pluto, 2006). The first volume of his memoirs is Desperately Seeking Paradise: Journeys of a Sceptical Muslim (Granta, 2006). His recent television work includes a 90-minute documentary for the BBC in 2006 called 'Battle for Islam'. Sardar's online work includes a year-long blog on the Qur'an published in 2008 by The Guardian newspaper.
Sardar is a Visiting Professor of Postcolonial Studies in the Department of Arts Policy and Management at City University London and is Editor of the forecasting and planning journal, Futures. He is also a member of the UK Commission on Equality and Human Rights. His journalism appears most often in The Guardian and The Observer, as well as the UK weekly magazine, New Statesman. In the 1980s, he was among the founders of Inquiry, a magazine of ideas and policy focusing on Muslim countries. His early career includes working as a science correspondent for Nature and New Scientist magazines and as a reporter for London Weekend Television.
>>(from wikipedia http://en.wikipedia.org/wiki/Ziauddin... )<<
--
*You can know more from his own site:
http://www.ziauddinsardar.com/Biograp...

Reviews

[Tara van Beurden · Rating 2 out of 5]

I picked up this book in a discount bin at a bookshop in SoHo, New York while waiting for a Catacombs tour to start. It said it was about aliens in science fiction television and movies and I remember being pretty excited. I should have checked two things before I paid my $7. One was the date of publication (2002); the other was the titles of the chapters. Because this book is hardly at all about science fiction. Its very philosophy-esk, with a few science fiction TV references (or movies) tossed in to illustrate a point. In addition, so many of the 'facts' about the sci-fi referenced is wrong. The plot line of Star Trek: First Contact is pulled to shreds, but half the facts listed are erroneous. Similar things happen in the chapter about Star Trek: Deep Space Nine. The best piece is about Independence Day, though it still suffers from the same thing that all of them do - missing the point that sci-fi's core intention is to tell human stories using alien characters. It gets so hung up on the Euro-centricity of Hollywood cinema (um...duh, you think Bollywood sci-fi (if such a thing exists) gets hung up on telling white people stories), it completely misses the point that stories are still worthy of being told just because they have white people in them (I'm not saying diversity in cinema isn't important - it is - but as the recent reviews of Star Trek: Discovery have demonstrated, the average modern story teller has no idea how to do this in an authentic way). Ultimately, a real disappointment.