Artur Blaim, Professor of English and Chair of English Literature Department at Maria Curie-Sklodowska University in Lublin; author of books and articles on English utopian fiction, desert island narratives, and cultural semiotics.
Ludmila Gruszewska-Blaim, Associate Professor of English and American Studies, University of Gdansk; author and co-editor of books on 20th century poetry and prose, literary theory, fictional worlds in literature and cinema.

Exklusives Verkaufsrecht für: Gesamte Welt.

Contents: Artur Blaim/Ludmila Gruszewska Blaim: Introductory Remarks: The Uses of Dystopian Worlds - Artur Blaim: Failed Carnival: The Metonymic Dystopias in Werner Herzog's Even Dwarfs Started Small - Barbara Klonowska: Defamiliarization of Dystopian Narratives: Esteban Sapir's The Aerial - Zofia Kolbuszewska: Of Dystopia, Desire and Death: Goto, the Island of Flies - Grzegorz Maziarczyk: Huxley/Orwell/Bradbury Reloaded; or, The Campy Art of Bricolage - Justyna Galant: Vague Boundaries and Re-configured Senses: Dystopia(s) in the making in David Cronenberg's Videodrome - Ludmila Gruszewska Blaim: Against the Culture of Fear: Terror and Romance in V for Vendetta - Marta Komsta: Juliusz Machulski 's Sexmission, or Paradise Regained - Andrzej Slawomir Kowalczyk: Between Dystopia and Eutopia: Andrei Tarkovsky's Stalker - Katarzyna Pisarska: Out of the Drawer and Back Again: Utopian Satire in Juliusz Machulski 's Kingsajz - Ludmila Gruszewska Blaim/Patrycja Wawrzyszak: East European Golgotha: Constructing Postmodern Dystopia in Piotr Szulkin's Ga-ga: Glory to the Heroes - Urszula Terentowicz-Fotyga: On the Impossibility of Dystopia? Children of Men or the Apocalypse Now.

Imperfect Worlds and Dystopian Narratives in Contemporary Cinema is a collection of studies on filmic dystopias: Goto, the Island of Love; Even Dwarfs Started Small; Stalker; Videodrome; Sexmission; Ga-ga: Glory to the Heroes; Kingsajz; Equilibrium; V for Vendetta; Children of Men; The Aerial. Employing a variety of theoretical perspectives (from cultural semiotics to post-structuralist approach), the authors analyse films from different cultural, linguistic and political contexts, demonstrating the interplay between the formulaic dystopian facade and narratological inventiveness, heightened intertextuality, and generic hybridity. The contributors also explore the ways in which dystopian cinema adapts the motifs and techniques borrowed from classic literary dystopias.