The focal image of the film "The Black Hole" functions as a visual metaphor for the sacred, order, unity, and eternal time. The black hole is a symbol that unites the antinomic pairs of conscious/unconscious, water/fire, immersion/emersion, death/rebirth, and hell/heaven. The black hole is further associated with the quest for…

This book is divided into twelve sections and contains photographs from many of the films discussed. The introduction defines film genre and describes the general theories behind this book; "The Individual Film" analyzes the film "Little Caesar" as it relates to the genre of gangster films; "Comparative Forms"…

Critiques three contemporary films, "Rocky IV,""Blade Runner," and "The Terminator." Constructs an evolving dystopian shadow myth that expresses the culture's repressed fears about its relationship to technology. Offers implications for the reinterpretation of the dystopian myth and for the conduct of other cultural…

"Star Trek II" is a treatment of the penultimate stages of the monomyth in which the hero descends into the underworld and is reborn. This psychological sense of rebirth is evoked in modern audiences by the film. In particular, the doppelganger (psychic double) motif, so often associated in film, literature, and myth with the…

Argues that Fritz Lang's film "Metropolis" deserves exploration and analysis because of its outlandish plot, dazzling visual and technical elements, and its reflection of the closing days of Weimar Germany. Presents a brief study guide designed to stimulate student curiosity and facilitate further interest in the film. (RS)

Fritz Lang's "Metropolis" (1927) is a seminal film because of its concern, now generic, with the profound impact technological progress has on mankind's social and spiritual progress. As in many later science fiction films, the ascendancy of artifact over nature is depicted not as liberating human beings, but as subjecting and corrupting…

Looks at "The World of Tomorrow" (a 1984 documentary film of the 1939 New York World's Fair) as a gloss on the cultural tendency to sell the pleasures of technology while deferring questions about its nature. Notes that the film views the link between pleasure and technology that science fiction films variously exploit. (RS)

Traces the changes in the depiction of childhood in science fiction films from the 1950s to the present decade. Argues that the contemporary science fiction representation of the sentimental child is a cultural idealization that opposes the social reality of the vanishing child. (FMW)