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Notes
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Notes Introduction 1. The following works cover a wide range of material and approaches: Annette Kuhn, ed., Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema (London: Verso, 1990); J. P. Telotte, Science Fiction Film (London: Cambridge University Press, 2001); Richard Hodgens, “A Brief, Tragical History of the Science Fiction Film,” Film Quarterly 13 (1959): 30–39; Vivian Sobchack, Screening Space: The American Science Fiction Film (New York: Rutgers University Press, 2004); Susan Sontag, “The Imagination of Disaster,” in Liquid Metal: The Science Fiction Film Reader, ed. Sean Redmond (London: Wallflower Press, 2004), 40–47; Thomas C. Sutton and Marilyn Sutton, “Science Fiction as Mythology,” Western Folklore 28 (1969): 230–237. 2. For examples of examinations of race in SF film that are nearly as imaginative as the films they discuss, see articles such as Bryan Carr’s “At the Thresholds of the ‘Human’: Race, Psychoanalysis, and Replication of Imperial Memory,” Cultural Critique 39 (1998): 119–150; David Golumbia’s “Black and White: Race, Ideology, and Utopia in ‘Triton’ and ‘Star Trek,’” Cultural Critique 32 (1995): 75-95; and Susan Bridget McHugh’s “Horses in Blackface: Visualizing Race as Species Difference in Planet of the Apes,” South Atlantic Review 65 (2000): 40–72. Chapter 1 1. Daniel Bernardi, ed., Birth of Whiteness: Race and the Emergence of U.S. Cinema (New Brunswick, NJ: Rutgers University Press, 1996). 2. James Snead, White Screens/Black Images: Hollywood from the Dark Side (New York: Routledge, 1994), 6. 3. Vivian Sobchack, in Screening Space, 89–110, applies the speculative element of SF cinema primarily to the creation of alien imagery and geography. Yet, futuristic times and even the extreme past are the temporal terrain in which such imagery takes place. Thus, in my judgment, temporal speculation is the overarching category in SF cinema. Also see Hodgens, “Brief, Tragical History.” 4. Edward Said, Orientalism (New York: Pantheon, 1978). 5. The association of blacks with monkeys and apes is a common representational motif. See Snead, White Screens/Black Images, 20; John Fiske, Media Matters: Race and Gender in U.S. Politics (Minneapolis: University of Minnesota Press, 1996); and Greene, “Planet of the Apes.” 6. See Harry M. Benshoff, “Blaxploitation Horror Films: Generic Reappropriation or Reinscription?” Cinema Journal 39, no. 2 (Winter 2000): 31–50, which describes the representational tendency to animalize blacks in the horror genre. 7. Spencer R. Weart, Nuclear Fear: A History of Images (Cambridge, MA: Harvard University Press, 1988); Sontag, “Imagination of Disaster;” and Robert Torry, “Apocalypse Then: Benefits of the Bomb in Fifties Science Fiction Films,” Cinema Journal 31 (1991): 7–21. 8. See Jonathan Bignell’s article “Another Time, Another Space: Modernity, Subjectivity, and The Time Machine,” in Alien Identities, ed. Deborah Cartmell, I. Q. Hunter, Heidi Kaye, and Imelda Whelehan (London: Pluto Press, 1999), 87–103; and Krin Gabbard’s Black Magic: White Hollywood and African American Culture (Piscataway, NJ: Rutgers University Press, 2004), 117. 9. Guerrero, Framing Blackness, 70; David James, Allegories of Cinema: American Film in the Sixties (Princeton, NJ: Princeton University Press, 1989), 189–191; and Donald Bogle, Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Film, 3rd ed. (New York: Continuum, 1998). 10. Todd Gitlin, The Whole World Is Watching: Mass Media in the Making and Unmaking of the New Left (Berkeley: University of California Press, 1980), 152–154, 163–164. 11. Michael Omi and Howard Winant, Racial Formation in the United States from the 1960s to the 1990s, 2nd ed. (New York: Routledge, 1994), 102–107. 12. Vladimir Propp, Morphology of the Folktale (Austin: University of Texas Press, 1968). 13. Guerrero, Framing Blackness, 117. 14. Ibid., 118. 15. See Karla Rae Fuller’s essay “Creatures of Good and Evil: Caucasian Portrayals of the Chinese and Japanese during World War II,” 281–300, in Daniel Bernardi, ed., Classic Hollywood Classic Whiteness (Minneapolis: Minnesota Press, 2001). 16. Doug Williams’s “Not So Long Ago and Far Away: Star Wars, Republics and Empires of Tomorrow,” in The Science Fiction Film Reader, ed. Gregg Rickman (New York: Limelight Editions, 2004), and Guerrero’s Framing Blackness, 117–119, amplify these points in a broader scope that links Star Wars to a slew of war films that emerged post-Vietnam, in effect to win on film the war that had been lost on the ground. 17. Daniel Bernardi, Star Trek and History: Race-ing toward a White Future (New Brunswick, NJ: Rutgers University Press, 1998), 80; Bogle, Toms, Coons, Mulattoes, 275; Guerrero, Framing Blackness, 117. 174...