The 6th edition of this highly respected text builds upon the successful structure, engaging writing style and clear presentation of previous editions. Examining urban social geography from a theoretical and historical perspective, it also explores how it has developed into the modern day. Taking account of recent critical work, whilst simultaneously presenting well established approaches to the subject, it ensures students are well-informed about all the issues. The result is a topical book that is clear and accessible for students

Brave New World is Aldous Huxley’s dystopian novel. Borrowing from The Tempest , Huxley imagines a genetically-engineered future where life is pain-free but meaningless. The book heavily influenced George Orwell’s 1984 and science-fiction in general. The novel examines a futuristic society, called the World State, that revolves around science and efficiency. In this society, emotions and individuality are conditioned out of children at a young age, and there are no lasting relationships because “every one belongs to every one else” (a common World State dictum). Huxley begins the novel by thoroughly explaining the scientific and compartmentalized nature of this society, beginning at the Central London Hatchery and Conditioning Centre, where children are created outside the womb and cloned in order to increase the population. The reader is then introduced to the class system of this world, where citizens are sorted as embryos to be of a certain class. The embryos, which exist within tubes and incubators, are provided with differing amounts of chemicals and hormones in order to condition them into predetermined classes. Embryos destined for the higher classes get chemicals to perfect them both physically and mentally, whereas those of the lower classes are altered to be imperfect in those respects. These classes, in order from highest to lowest, are Alpha, Beta, Gamma, Delta, and Epsilon. The Alphas are bred to be leaders, and the Epsilons are bred to be menial labourers.

Ridley Scott's dystopian classic Blade Runner, an adaptation of Philip K. Dick's novel, Do Androids Dream of Electric Sheep?, combines noir with science fiction to create a groundbreaking cyberpunk vision of urban life in the twenty-first century. With replicants on the run, the rain-drenched Los Angeles which Blade Runner imagines is a city of oppression and enclosure, but a city in which transgression and disorder can always erupt. Graced by stunning sets, lighting, effects, costumes and photography, Blade Runner succeeds brilliantly in depicting a world at once uncannily familiar and startlingly new. In his innovative and nuanced reading, Scott Bukatman details the making of Blade Runner and its steadily improving fortunes following its release in 1982. He situates the film in terms of debates about postmodernism, which have informed much of the criticism devoted to it, but argues that its tensions derive also from the quintessentially twentieth-century, modernist experience of the city – as a space both imprisoning and liberating. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Bukatman suggests that Blade Runner 's visual complexity allows it to translate successfully to the world of high definition and on-demand home cinema. He looks back to the science fiction tradition of the early 1980s, and on to the key changes in the 'final' version of the film in 2007, which risk diminishing the sense of instability created in the original.

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with these kinds of questions. This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition? What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner? How are memory, empathy, and moral agency related in Blade Runner? How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance? Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies. Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve.