Politics in Popular Movies: Rhetorical Takes on Horror, War, Thriller, and Sci-Fi Films

by John S. Nelson

Popular movies can be surprisingly smart about politics - from the portentous politics of state or war, to the grassroots, everyday politics of family, romance, business, church and school. Politics in Popular Movies analyses the politics in many well-known films across four popular genres: horror, war, thriller and science fiction. The book's aims are to appreciate specific movies and their shared forms, to understand their political engagements and to provoke some insightful conversations. The means are loosely related 'film takes' that venture ambitious, playful and engaging arguments on political styles encouraged by recent films. Politics in Popular Movies shows how conspiracy films expose oppressive systems; it explores how various thrillers prefigured American experiences of 9/11 and shaped aspects of the War on Terror; how some horror films embrace new media, while others use ultra-violence to spur political action; it argues that a popular genre is emerging to examine non-linear politics of globalisation, terrorism and more. Finally it analyses the ways in which sci-fi movies reflect populist politics from the Occupy and Tea Party movements, rethink the political foundations of current societies and even remake our cultural images of the future.

256 pages, Kindle Edition

First published April 1, 2014

Reviews

[Maria · Rating 1 out of 5]

One of the worst books on film and politics I have ever had the displeasure of reading. Unfounded personal theories, incredibly far fetched connections painfully established in an attempt to prove already questionable points. Highlight: undoubtedly the Bush/Blade Saddam/Dracula comparison, which misses the point of militarised vampires hunting in postmodern metropoles entirely. If I could give zero stars, I would.

[Anna · Rating 3 out of 5]

Quite focused on terrorism and thrillers and maybe it've been better if it was more focused in general. I liked it though, it's quite simple and introduces general theories for political study of film.