By Eve Tushnet
I came to Douglas Coupland’s novel Generation X: Tales for an Accelerated Culture, thirty years after its 1991 publication date, expecting sharp sociocultural observation and maybe some economic critique…
By Sam Moore
One of the first, most potent images in Wakefield Poole’s groundbreaking 1971 adult film Boys in the Sand is that of Casey Donovan emerging from the waves before making his way onto the beach. The image feels like a queering of a common cultural touchstone…
The Angel Levine was greeted with irritation, befuddlement, and a good amount of indifference upon its release in 1970. Organized and produced by Harry Belafonte, the movie is an allegorical discussion of Black-Jewish relationships using a mix of realism and fantasy…
By Alex Adams
Ishiro Honda’s 1954 Godzilla is perhaps the most widely praised Kaiju film ever made. A special effects masterpiece at the time, the monochrome mother of all monster movies had bleak, fume-laden visuals, a gloomy, mournful tone, and an unambiguous anti-nuclear message…
Today’s sophisticated communications infrastructure did not emerge fully formed as totalitarian surveillance. Its annihilation of privacy was merely the price we had to pay for an unprecedented level of reliability within an endless array of applications…
Originally released one month after the Apollo 11 moon landing, Jim Sullivan’s psych-folk hidden gem UFO (1969) is characterized by a drifting kind of hopefulness. Over the floating strings and upbeat horns of The Wrecking Crew, who famously backed The Beach Boys and Phil Spector, the album’s lyrics consider alien abduction and psychic links…
By Andrew Nette
In a June 2017 article in Fortean Times, the British magazine concerned with strange and paranormal phenomena, writer and broadcaster Bob Fischer discussed how the sensation of not being exactly sure what you were watching on television was a common experience in relation to consuming visual culture in the 1960s and 1970s…
I don’t really remember anybody actually mentioning Hawkwind in my youth. You just seemed to absorb an awareness of them from the landscape by osmosis, the same way you absorbed knowledge of the locations of short-cuts, haunted houses, and the more dangerous potholes…
The irony of the Voight-Kampff test, an analysis that Rick Deckard (Harrison Ford) performs to identify “replicant” androids in 1982’s Blade Runner, is that it does not actually prove that his subjects are replicants…
As far as innovative 1980s music videos go, probably none is more immediately visceral and less popularly remembered than Belfegore’s “All That I Wanted.”
We Are the Mutants 