Cyberpunk and Visual Culture

Cyberpunk and Visual Culture. Edited by Graham Murphy and Lars Schmeink. Abingdon-on-Thames / New York: Routledge, 2017.[1] Available as a hardback, paperback, and eBook.

Information from the publisher's website:[2]

Contents include a Foreword by Scott Bukatman, an Introduction by the editors, fourteen essays by various hands followed by Schmeink's "Afterthoughts: Cyberpunk Engagements with Countervisuality." The essays include

Timothy Wilcox on "Embodying Failures of the Imagination: Defending the Posthuman in The Surrogates"

Graham J. Murphy's "Cyberpunk Urbanism and Subnatural Bugs in BOOM! Studios’ Do Androids Dream of Electric Sheep?"

Stina Attebery and Josh Pearson's "'Today's Cyborg is Stylish': The Humanity Cost of Posthuman Fashion in Cyberpunk 2020."

Christopher McGunnigle's "'My Targeting System is a Little Messed Up': The Cyborg Gaze in the RoboCop Media Franchise."[3]　 　

Ryan J. Cox's "Kusanagi’s Body: Dualism and the Performance of Identity in Ghost in the Shell and Stand Alone Complex."

Mark R. Johnson's "The History of Cyberspace Aesthetics in Video Games."

"'We Are Data': The Cyberpunk Imaginary of Data Worlds in Watch Dogs."[4]   

Sherryl Vint, "Cyberwar: The Convergence of Virtual and Material Battlefields in Cyberpunk Cinema."

　 The publisher's Description summarizes the coverage, "Cyberpunk and Visual Culture provides critical analysis, close readings, and aesthetic interpretations of [...] those visual elements that define cyberpunk today, moving beyond [...] printed text to also focus on [...] images, forms, and compositions that are the heart [...] of cyberpunk graphic novels, films, television shows, and video games.[5]

Definitely see for such tropes of cyberpunk, SF dystopias, and SF more generally as cyborgs, prosthetics, surveillance, and future war.

RDE, updating, 1Sep19