New Books in Film

Wastelands and Wonderlands: Utopias and Dystopias in Film and Literature with Matthew Leggatt (SUNY Press, 2026) is an edited collection exploring utopias ad dystopias in films and literature. It challenges readers, in these uniquely dystopian times, to reevaluate their ideas about utopia and dystopia.
The book brings together film, literary, and utopian studies scholars from across the world. As an interdisciplinary collection, it covers a wide range of utopias and dystopias, from those of visionaries as varied as William Morris and George Lucas to such fresh new and distinctive voices like Nana Kwame Adjei-Brenyah and N. K. Jemisin.
Contributors dismantle myths about utopian and dystopian film, literature, and television. Several chapters analyse the nature of utopian and dystopian fiction and its important relationship to our present moment. What's the future of utopia? What does it mean to be a utopia today? Do we still need the warnings of dystopia?
Whether through ecocritical work, work aimed at decolonizing utopian studies, debates about our relationship with technology and the nonhuman, forms of utopian hope and pessimism, or new thinking about cinematic and literary techniques and production, the essays offer fresh insight into the subject area and something to interest any reader.

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Thomas Schatz returns us to an era when a newly enriched movie industry rediscovered its creative energy, and indie went mainstream without losing its edge.

Between 1989 and 2004, all the old studios either merged with other media giants or were swallowed up by even bigger diversified behemoths, leading to an infusion of money and fast-tracking the digital revolution. Yet even as CGI and piles of cash fueled a new breed of blockbusters—Batman and Titanic, Toy Story and The Lord of the Rings—an indie ethos permeated the industry. And at the crossroads of commodification and aesthetic vision, auteurs ranging from Steven Soderbergh and Quentin Tarantino to Sofia Coppola and Ang Lee became household names.

Power Surge: Conglomerate Hollywood and the Studio System's Last Hurrah with Thomas Schatz (U California Press, 2026) traces these trajectories, which increasingly clashed and commingled during the 1990s and early 2000s, resulting in nothing short of a new golden age—and perhaps the last gasp of the century-old studio system.

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Psychoanalysing Mind-Body Narratives Through Beckett and Artaud: The Trauma of the Body (Routledge, 2026) provides an epistemology of the body as it relates to subjectivity through an analysis of selected works of Antonin Artaud and Samuel Beckett. Presented in three parts, the book explores a fundamental premise: that there is a traumatic and alienating dimension to embodiment that resists expression within representational systems and is core to the being of any subject. In Part One, The Epistemology of the Body, Meehan O'Callaghan approaches a theory of the body as traumatic by framing it as a question, a gap in knowledge through the lens of psychoanalysis and theatre studies. Part Two, The Body of Drama, is devoted to a study of the body in the works of Beckett and Artaud from the perspective of psychoanalysis. Part Three, The Body Between Being and Non-Being, provides a deeper exploration of how the interrogation of the body opens onto a question of being and uses the insights gained from the dialectical encounter of psychoanalysis with the specific works of Beckett and Artaud to apply them to contemporary and scholarly issues of the body. Psychoanalysing Mind-Body Narratives through Beckett and Artaud will be essential reading for psychoanalysts in practice and in training, and for academics and scholars of Lacanian studies, psychoanalytic studies, the body, disability studies, and literary and theatre studies.

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As we approach the 50th anniversaries of Alex Haley’s Pulitzer Prize-winning novel Roots (1976) and its landmark television adaptation (1977), journalist and storyteller Lucas L. Johnson II reflects on the enduring legacy of Haley’s work through the voices of those it continues to move, including scholars, artists, genealogists, students, and original cast members like LeVar Burton and Ben Vereen.

With vivid personal anecdotes, emotional tributes, and probing reflections, Remembering Roots: How an American Classic Transformed the World (Broadleaf Books, 2026)shows how Haley’s vision gave birth to a genealogy movement, inspired generations to reclaim their identities, and challenged America to confront its past. From a sixth-grader who became the first lawyer in her family, to a blind musician empowered by his father’s retelling of Roots’ most iconic scene, Johnson traces the ripple effects of Haley’s griot storytelling across time and culture.

As debates rage over which histories get told, Remembering Roots boldly asserts the necessity to remember and retell our stories. A call to action, this book reaffirms that storytelling is not just an art — it’s a path to healing. A companion reading and viewing guide to the book and film is available here.

Lucas L. Johnson II is a former reporter for the Associated Press, where he worked for more than twenty years mainly covering politics, education, and religion. He is the author of Finding the Good and coauthor of Youth Change Agent. Lucas works in higher education and has taught high school and college students. A freelance writer and communications strategist, Lucas lives in Nashville, Tennessee. You can find him at his website.

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In Hollywood today, thousands of data specialists work for streaming video platforms, playing a role not just in distribution and marketing but also in decisions about content and production. In Data-Driven Hollywood: The New Data Professionals in the Age of Streaming (Princeton UP, 2026), Violaine Roussel examines the emergence of this new category of professionals at the heart of the Hollywood dream factory. Roussel shows how the rise of data and algorithm specialists has transformed organizations and rearranged power relationships within them. Drawing on extensive interviews and in situ observations, she describes the ways that technical “data work” carried out by professionals at streaming platforms including Netflix, Amazon Prime Video, and Disney+ has had a significant effect on creative decisions.
Rather than fetishizing data and algorithmic models, Roussel explores the practices of the professionals who shape them, manipulate them, and give them power. She examines the relationships of these workers with traditional producers, describing legitimacy struggles and the eventual stabilization of new professional arrangements. Roussel’s account of the ways that data specialists deploy algorithmic models to reinvent their industry’s approach to content, artists, and the market—the first in-depth sociological study of the rise of this new profession—reveals the new forms of power and knowledge at play in today’s Hollywood.
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