Arrival: (21st Century Film Essentials)

A study of Denis Villeneuve’s genre-transcendent film. In Denis Villeneuve’s Arrival (2016), scientists must decipher the language of and peacefully communicate with aliens who have landed on Earth before the world’s military attacks. In this first book-length study of the film, scholar David Roche argues that it is one of the most important films of this century, and the most brilliant science fiction film since Blade Runner. Roche posits Arrival as a blockbuster with artistic ambitions-an argument supported by the film’s several Academy Award nominations-and looks closely at how the film engages with theoretical questions posed by contemporary film studies and philosophy alike. Each section explores a central aspect of the film: its status as an auteur adaptation; its relation to the science fiction genre; its themes of communication on narrative and meta-narrative levels; its aesthetics of time and space; and the political and ethical questions it raises. Ultimately, Roche declares Arrival a unique, multifaceted experience in the world of hard science fiction films, placing it in context with works like 2001: A Space Odyssey, Close Encounters of the Third Kind, and Contact while also examining how it bridges the gap between genre and art house cinema.

Table of Contents:
Introduction 1. Arrival as Auteur Film Adaptation 2. Arrival as Hard Soft Science Fiction 3. Arrival as a Reflection on/of Communication 4. Arrival as an Experience of Time 5. Arrival as an Experience of Space 6. Arrival as a Political and Ethical Experience Conclusion Acknowledgments Notes Filmography Bibliography Index

About the Author :
David Roche is a professor of film studies at UniversitÉ Paul-ValÉry Montpellier 3 and an Institut Universitaire de France member. He is the author of Meta in Film and Television Series and Quentin Tarantino: Poetics and Politics of Cinematic Metafiction, and coeditor of Transnationalism and Imperialism: Endurance of the Global Western Film.

Review :
My metric of success for any monograph can be boiled down to a simple question: When I finish reading nearly two hundred pages about the same movie, do I feel sick of thinking about it or eager for a rewatch? The fact that I had the latter reaction is a testament to Roche’s ability-not unlike Villeneuve’s, come to think of it-to entertain everyday audiences without sacrificing philosophical complexity or skimping on actual research. Good prose stylists, like good filmmakers, can have it both ways. (Film International)