Science Fiction Film and Television
Film studies, Horror films, Environmental justice, Social justice, Racial justice, Decolonization, Settler colonialism, Hegemony, Patriarchy, Anti-racism, Race discrimination, Indigenous peoples -- Study and teaching, African Americans -- Study and teaching
This article examines the triangulation of whiteness, Blackness, and Indigeneity in the ‘creature feature’ sf-horror film Prophecy (Frankenheimer US 1979), arguing that the film’s renderings of environmental racism ultimately function to justify white supremacist hetero-patriarchal maintenance and surveillance of Black and Indigenous lands and bodies. A close examination of Prophecy’s representational and ideological shortfalls – in particular its renderings of Black and Indigenous maternity – reveals troubling entanglements between settler-colonial logics of geography, ecology, monstrosity, and subjectivity.
This is the author's accepted manuscript version.
This work is licensed under a Creative Commons Attribution 4.0 International License.
The final version, © Liverpool University Press, is available on the publisher's website: https://doi.org/10.3828/sfftv.2021.23
Simmons, K. (2021). [Post-print version] 'The environment is us': Settler cartographies of Indigeneity and Blackness in Prophecy (1979). Science Fiction Film and Television, 14(3), 315-331. Final Version: https://doi.org/10.3828/sfftv.2021.23