Black Space: Imagining Race in Science Fiction Film

213 Pages·2008·5.48 MB·English

by  Adilifu Nama

​Black​Space
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​Black​Space
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​Imagining​Race​in​Science​Fiction​Film​
adilifu​nama​
​
univerSity​of​texaS​preSS,​auStin
Copyright © 2008 by the University of texas press
All rights reserved
Printed in the United States of America
First edition, 2008
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♾ The paper used in this book meets the minimum requirements
of ansi/niso Z39.48-1992 (r1997) (Permanence of Paper).
Library of Congress Cataloging-in-Publication Data
Nama, Adilifu, 1969–
Black space : imagining race in science fiction film / Adilifu Nama. — 1st ed.
p. cm.
Includes bibliographical references and index.
isbn 978-0-292-71697-1 (cloth : alk. paper) —
isbn 978-0-292-71745-9 (pbk. : alk. paper)
1. Science fiction films—History and criticism. 2. Blacks in motion pictures.
3. African Americans in motion pictures. I. Title.
pn1995.9.s26n36 2008
791.43'615—dc22 2007033323
​for​nia,​nizam,​and​tamu
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​contentS
aCknowledgments ix
introdUCtion 1
Chapter 1. Structured Absence and Token Presence 10
Chapter 2. Bad Blood: Fear of Racial Contamination 42
Chapter 3. The Black Body: Figures of Distortion 70
Chapter 4. Humans Unite! Race, Class, and Postindustrial Aliens 96
Chapter 5. White Narratives, Black Allegories 123
Chapter 6. Subverting the Genre: The Mothership Connection 148
notes 173
bibliography 183
index 189
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acknowledgmentS
Although this project is my brainchild, the completion of it has come about
only because of the talents, insights, patience, and support of colleagues,
friends, and family. I must thank Sohail Daulatzai, who reviewed early drafts
of the manuscript and shared critical advice concerning the direction and
approach of the project. His suggestions proved invaluable, and I have truly
benefited from his intellectual sincerity, keen ability for political analy-
sis, and willingness to be a sounding board for my impromptu brainstorm-
ing sessions. He is a great academic colleague but an even better friend. I
also want to thank Christine Acham for her generosity. She is an unselfish
scholar who gave of her time, expertise, and experience whenever I needed
advice about navigating the world of academic publishing. Freelance copy
editor Rosemary Wetherold and the professional and insightful editorial
staff of the University of Texas Press were extremely helpful in improving
and clarifying the expression of my ideas in this project.
I would like to express eternal gratitude to Cynthia Usher, my mother-
in-law, for caring for my children, which allowed me to finish this book.
In addition, I must recognize the generosity of Pauline Goodin, who also
helped take up the slack when my professional commitments created sched-
uling conflicts.
A special note of thanks goes out to Bill Germano and Megan Giller,
who were way ahead of the curve in recognizing what I was doing. I am also
grateful to Anthony Turner, Yusef Doulatzai, Tiffany B., Wesam, and Mau-
rice (Mo) for their enthusiasm and encouragement.
To my mom, Marquetta Rodgers, and dad, Art Nixon, thank you for let-
ting me be me. Most importantly, to my wife, Tamu, thank you. You kept
the faith, repeatedly brought sunshine to my cloudy interludes, and made
time disappear.