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The Cinema of Small Nations

postmodern subjectivity’ and a signifier of the ways characters in science fiction film ‘are both excited and traumatized in a collision with technology’ (pp. 220–221). Once again, the interview at the end of the chapter, this time with Dean Norris, an actor with numerous appearances in science fiction films, strongly enriches Cornea’s argument. While Cornea’s final chapter does not break new ground in its discussion of special effects technologies in science fiction film, it does present an important reflection on the ways in which 9/11 has impacted the genre. Cornea concludes her study with the thought that pure fantasy films might now be taking over the territory previously staked out between fantasy and reality by science fiction films. Indeed, she somewhat somberly suggests that ‘we may be witnessing the beginning of the end of the second ‘‘golden age’’ for the science fiction film, an age that began with the late 1970s and early 1980s science fiction blockbuster’ (p. 267). Considering the prevalence and success of science fiction films since this book was published in 2007, this may be one of the very few dubious propositions Cornea advances, and it’s a small pity that she concluded her study before getting a chance to respond to films such as Avatar (James Cameron, 2009) and District 9 (Neill Blomkamp, 2009).