The British Science Fiction Boom: Tracking the Currents of the Future between Postimperialism, Postnationalism, and Globalization: Editorial Introduction

A Research on the Change of Female Characters Portrayed in Science Fiction Films and Its Social Influences

“…This is a definite process of mutual interaction. [9] may agree with this statement; he mentions that the prosperity of sci-fi works in the British society is because the audience needs this science fiction content to help them to respond to political issues and the real situation. Nowadays, many films begin to tell the story of female characters, giving them an independent personality, and let these female characters participate in the development of the plots, and even lead the story.…”

Transmodern Reconfigurations of Territoriality, Defense, and Cultural Awareness in Ken MacLeod’s Cosmonaut Keep

“…MacLeod is one of the leading figures in contemporary Scottish SF, and a key member of what has been called the "British Boom"-a loose designation applied to the rise of a group of young British science-fiction writers in the middle 1990s and continuing well into the 21st century [45] (p. 49). As O'Connell mentions, the British science-fiction boom was not a "purposefully aligned and properly manifestoed movement," but rather the "conjunction of a particular set of political and cultural forces that created both a cultural-economic void and a cultural product to fill it" [48] (p. 2). The authors included in this movement-Iain Banks, Gwyneth Jones, Kim Lakin-Smith, Ken MacLeod, China Miéville, Adam Roberts, Jane Rogers, and Charles Stross, to name but a few-usually focus "on the Earthly, the contemporary, and the near future" [48] (p. 3).…”

“…As O'Connell mentions, the British science-fiction boom was not a "purposefully aligned and properly manifestoed movement," but rather the "conjunction of a particular set of political and cultural forces that created both a cultural-economic void and a cultural product to fill it" [48] (p. 2). The authors included in this movement-Iain Banks, Gwyneth Jones, Kim Lakin-Smith, Ken MacLeod, China Miéville, Adam Roberts, Jane Rogers, and Charles Stross, to name but a few-usually focus "on the Earthly, the contemporary, and the near future" [48] (p. 3). Their texts not only offer a subjective imprint of globalization's consequences, but also theorize on globalization: "they offer useful, revealing insights into the operations and/or consequences of the increasing scale and pitch of emergent global interconnectivity during the long twentieth century and beyond" [49] (pp.…”