What practical lessons can we learn from corporate theme parks, ad campaigns, video games, celebrity culture and Las Vegas? Can such examples of popular fantasy help us define and make possible a new political future? This is the case for a progressive political strategy that embraces a new set of tools. Although fantasy and spectacle have become the lingua franca of our time, Duncombe points out that liberals continue to depend upon sober reason to guide them. Instead, they need to learn how to communicate in today's spectacular vernacular.

Fantasy is often condemned as escapist, unsophisticated and superficial. This collection of new essays puts such easy dismissals to the test by examining the ways in which Fantasy narratives present diverse, politically relevant discourses--gender, race, religion or consumerism--and thereby serve as indicators of their real-world contexts. Through their depiction of other worlds allegedly disconnected from our own, these texts are able to actualize political attitudes. Instead of categorizing Fantasy either as conservative or progressive, the essays suggest that its generic peculiarity allows the emergence of productive forms of oscillation between these extremes. Covered are J.R.R. Tolkien's The Lord of the Rings, George R.R. Martin's A Song of Ice and Fire sequence, J. K. Rowling's Harry Potter novels, the vampire TV series True Blood, and the dystopian computer game Fallout 3.

From J.R.R. Tolkien to Star Trek and from Game of Thrones to Battlestar Galactica and from The Walking Dead to Janelle Mone's Afrofuturist concept albums, transmedia world building offer us complex and immersive environments beyond capitalism. Science Fiction, Fantasy and Politics examines the ways in which these popular storyworlds offer tools for anticapitalist theory and practice. Building on Hardt and Negir's theory of global capitalism. Dan Hassler-Forest shows how transmedia world-building has the potential to offer more than a momentary escape from capitalist realism in the age of media a converagence and participator culture. This book feature eight fantastic storyworlds that offer vivid illustration of global capitalism contradictory logic. Approaching transmedia world-building both as a cultural form and as a political economy, Hassler-Forest demonstrates the limitations inherent in fandom and fan culture, which is increasingly absorbed as a form of immaterial labor. At the same time, he also explores the productive ways in which fantastic storyworlds contain a radical energy that can give us new ways of thinking about politics popular culture and anticapitalism.

A wrongfully imprisoned storyteller spins stories from his jail cell that just might have the power to save him—and take down a corrupt government. Arrested on accusations of witchcraft and treason, Chant finds himself trapped in a cold, filthy jail cell in a foreign land. With only his advocate, the unhelpful and uninterested Consanza, he quickly finds himself cast as a bargaining chip in a brewing battle between the five rulers of this small, backwards, and petty nation. Or, at least, that's how he would tell the story. In truth, Chant has little idea of what is happening outside the walls of his cell, but he must quickly start to unravel the puzzle of his imprisonment before they execute him for his alleged crimes. But Chant is no witch—he is a member of a rare and obscure order of wandering storytellers. With no country to call his home, and no people to claim as his own, all Chant has is his wits and his apprentice, a lad more interested in wooing handsome shepherds than learning the ways of the world. And yet, he has one great power: his stories in the ears of the rulers determined to prosecute him for betraying a nation he knows next to nothing about. The tales he tells will topple the Queens of Nuryevet and just maybe, save his life.

Fantasy is often condemned as escapist, unsophisticated and superficial. This collection of new essays puts such easy dismissals to the test by examining the ways in which Fantasy narratives present diverse, politically relevant discourses--gender, race, religion or consumerism--and thereby serve as indicators of their real-world contexts. Through their depiction of other worlds allegedly disconnected from our own, these texts are able to actualize political attitudes. Instead of categorizing Fantasy either as conservative or progressive, the essays suggest that its generic peculiarity allows the emergence of productive forms of oscillation between these extremes. Covered are J.R.R. Tolkien's The Lord of the Rings, George R.R. Martin's A Song of Ice and Fire sequence, J. K. Rowling's Harry Potter novels, the vampire TV series True Blood, and the dystopian computer game Fallout 3.

This book offers a psychosocial perspective on political violence, employing a strong current of psychoanalytic thinking. In the course of its chapters an international roster of researchers and scholars offers a richly complex and insightful view of diverse forms of political violence and its build-ups. The authors discuss the processes by which the ground for political violence is prepared, and how violent acts are facilitated. They question how social, cultural and political constellations can develop in such a way that, for certain people in this constellation, violence becomes a logical – perversely reasonable – response. This collection demonstrates what a psychoanalytic perspective can bring to existing approaches to political violence, going beyond the social movement approach by unfolding the inherent ambiguity in accepted concepts within the study of political violence.

Poli Sci Fi: An Introduction to Political Science through Science Fiction allows readers, students, and instructors to explore the multiple worlds of science fiction while gaining a firm grasp of core political science concepts. This carefully composed text is comprised of sixteen brief chapters, each of which takes a prominent science fiction film or television episode and uses it to explore fundamental components of political science. The book is designed to serve as a supplemental text for undergraduate political science courses, especially Introduction to Political Science. The structure and content of the volume is shaped around the organization and coverage of several leading texts in this area, and includes major parts devoted to theory and epistemology, political behavior, institutions, identity, states, and inter-state relations. Its emphasis on science fiction—and particularly on popular movies and television programs—speaks to the popularity of the genre as well as the growing understanding that popular culture can be an extraordinarily successful vehicle for communicating difficult yet foundational concepts, especially to introductory level college students.