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This chapter is the editor’s introduction to Austrian Economics: The Next Generation, which includes a brief description of the workshop that produced the papers and short summaries of each contribution organized by sub-topic.

Contemporary cinema and video games express considerable skepticism toward the colonization of further planets. Contemporary films including Elysium and Passengers depict space travel as the prolongation of inequalities within human civilization, while others such as Gravity and The Martian predict a rebirth of the human species through technological advances and space travel limited to a lucky few. Games, meanwhile, explore topics ranging from private spaceflight to the genetic modification required for long-term space habitation, especially in EVE Online, which we focus on in this chapter. Although both contemporary films and games celebrate technological advances, these media also show that multiple inequalities lurk behind the celebratory human renewal into a multiplanetary species.

While the use of the pragmatic sociology of critique has enjoyed increasing academic popularity, the relationship between justification and broader power relations remains unclear. Recent attention to the concept of ‘domination’ suggests the need for a greater focus on how employed public goods reinforce prevailing social arrangements. In this article we explore the public debate over the expansion of hydraulic fracturing of shale gas (so-called ‘fracking’) in the United Kingdom (UK). This technology has generated significant debate and controversy. Through a detailed examination of public inquiries into the technology we explore how different actors employ discursive strategies to justify their claims for the expansion or rejection of fracking. Through this analysis, the article identifies how some of these justifications enjoy precedence over others within the prevailing neoliberal political regime. By explaining how such a political regime is constituted, our study contributes to better understanding how different justifications support hegemonic political ideologies.

Inequalities in English schools stem from numerous factors be they educational, social or economic. Thatcherite policies reshaped the education agenda in the 1980s and inequalities were ignored by successive governments until 1997 when New Labour included social objectives in its approach with measures, such as Education Action Zones and Excellence in Cities. The following Conservative-Liberal Democrat coalition and Conservative governments of David Cameron maintained such objectives through the Pupil Premium and the Universal Infant Free School Meals scheme. Theresa May’s government seems to have adopted a different policy since July 2016, focusing on meritocracy. Methodological obstacles are inherent to studies on the evolution of inequalities at school level and it may be argued that successive Cabinets since 1997 have not implemented structural reforms designed to tackle economic inequalities, thus limiting the effect of their educational reforms.

Archive footage is now a staple of much cinematic and broadcast production. This chapter explores some of the ways in which archival material has been recycled and considers some of the tensions between filmmakers, archivists, and audiences throughout the process of research, production, and screening. It considers some of the controversies associated with the repositioning of material in short-form, narrative and documentary filmmaking, particularly in relation to content that was never intended for exhibition in the public sphere. Drawing upon Benjaminian ideas of accessing authenticity in a form that has been reproduced, it considers the responsibility of both filmmaker and viewer in critiquing moving image content that has borrowed, self-consciously or surreptitiously, from earlier filmic forms. It concludes by making recommendations for an ethical approach to recycling archival material in research contexts that are pertinent to the burgeoning field of academic creative practice, with a particular focus on the stakeholders involved and a reasonable contextual positioning of the source material in its remediated form.

This chapter explores the development of the dangerous, sexualized fembot archetype in science-fiction film and television, drawing a line from the robot Maria in Fritz Lang's Metropolis (1927) to contemporary versions of the archetype.

Primarily, this chapter outlines how this historically villainous trope has been augmented and redefined in twenty-first Century posthuman science-fiction texts Ex Machina (Alex Garland, 2014) and Westworld (Joy et al., 2016 –). Both feature fembot characters who are central to the narrative, and can be defined as both villainous at times, but who also occupy the position of arguable sympathetic protagonists. In part, this redefinition can be argued as more a reflection of a Western hegemonic shift towards feminist values. Nevertheless, there have been criticisms of the male gaze present in both and of the emphasis on female suffering.

As oblique texts for an 18–35 audience, both Ex Machina and Westworld ask more questions than they answer. Through textual analysis and with reference to relevant scholarship, this chapter considers the impact of audience and institution on representation, the interplay between genre conventions and the presentation of the archetype as well as a considering how both offer different treatment of intersectional androids.