Charting new territory in filmmaking technologies and Steven Spielberg’s oeuvre, Minority Report portrays a dystopian near-future that comments on our increasingly science fictional world and pays homage to the history of SF cinema. In this monograph, D. Harlan Wilson recounts the film's inception, production, reception, and afterlife since its release in 2002 while depicting it as a symptom of contemporary media pathology, post-9/11 paranoia, consumer-capitalist aggression, religious mania, and above all, the screen culture that has come to define the human condition. In addition, Wilson explores the many self-reflexive flourishes that render the movie a commentary on Spielberg’s style and the history of SF genre.
This study is part of Auteur Publishing's CONSTELLATIONS series. Like the future itself, the imaginative possibilities of science fiction are limitless. And the very development of cinema is inextricably linked to the genre, which, from the earliest depictions of space travel and the robots of silent cinema to the immersive 3D wonders of contemporary blockbusters, has continually pushed at the boundaries. CONSTELLATIONS provides a unique opportunity for writers to share their passion for SF cinema and television in a book-length format. Authors place their chosen title in a variety of contexts—generic, institutional, historic, and social—enabling CONSTELLATIONS to map the terrain of SF film and TV from the past to the present . . . and the future.
"D. Harlan Wilson’s immensely rich analysis of Minority Report takes us on an impressionable journey through the film’s watery allusions, controlling visions, tactile surfaces, and broken horizons. Brilliantly contextualised, superbly illustrated, Wilson places Minority Report within the interface between Spielberg’s New Hollywood oeuvre and the Cruise star vehicle; and in relation to the new forms of surveillance governance that was emerging at the time of its release. Particularly insightful is Wilson’s exploration of religion, and of the radical potential found bubbling away in the film’s political ambivalence. In Wilson’s haptic, gloved hands, the film screams newly into view." —SEAN REDMOND, editor of Starring Tom Cruise and author of Liquid Space: Science Fiction Film and Television in the Digital Age