‘Afrocyberpunk Cinema: The Postcolony Finds Its Own Use for Things’ in Graham J Murphy and Lars Schmeink, eds, Cyberpunk and Visual Culture (Routledge 2017), 213–234
‘Pulp SF and its Others, 1918–39’ in Roger Luckhurst, ed., Science Fiction: A Literary History (British Library 2017), 100–128
‘Between the Sleep and the Dream of Reason: Dystopian Science Fiction Cinema’ in Rainer Rother and Annika Schaeffer, eds, Future Imperfect: Science Fiction Film (Bertz/Fischer Verlag 2017), 42–63
‘Paying Freedom Dues: Marxism, Black Radicalism, and Blaxploitation Sf’ in Ewa Mazierska and Alfredo Suppia, eds, Red Alert: Marxist Approaches to Science Fiction Cinema (Wayne State UP 2016)—forthcoming
‘The Coy Cult Text: The Man Who Wasn’t There as Noir Sf’ in JP Telotte and Gerald Duchovnay, eds, Science Fiction Double Feature: The Science Fiction Film as Cult Text (Liverpool UP 2015), 38–52
‘Slipstream Cinema: Dick without the Dick’ in Alexander Dunst and Stefan Schlensageds, The World According to Philip K. Dick (Palgrave Macmillan 2015), 119–136
‘The Futures Market: American Utopias’ in Eric Carl Link and Gerry Canavan, eds, The Cambridge Companion to American Science Fiction (Cambridge UP 2015), 83–96
‘Post-noir: Getting Back to Business’ in Homer B Pettey and R Barton Palmer, eds, International Noir (Edinburgh UP 2014), 220–40
‘Film’ in Rob Latham, ed., The Oxford Handbook of Science Fiction (Oxford UP 2014), 155–68
‘Genre, Hybridity, Heterogeneity; or, the Noir-Sf-Vampire-Zombie-Splatter-Romance-Comedy-Action-Thriller Problem’ in Andrew Spicer and Helen Hanson, eds, A Companion to Film Noir (Blackwell 2013), 33–49
‘Serial Infidelities and Extraordinary Renditions: The Many Lives of Flash Gordon’ in IQ Hunter and Thomas van Parys, eds, Science Fiction Across Media: Adaptation/ Novelization (Gylphi 2013), 309–321
‘Other Worlds Are Possible: Some Trends in European Fantastic Film after the Cold War’ in Sabine Coelsch-Foisner and Sarah Herbe, eds, New Directions in the European Fantastic (Heidelberg: Universitätsverlag Winter 2013), 29–40
with Sherryl Vint, ‘Political Readings of the Fantastic’ in Edward James and Farah Mendlesohn, eds, Cambridge Companion to Fantasy Literature (Cambridge UP 2012), 102–12
‘Doctor Who: Adaptations and Flows’ in JP Telotte and Gerald Duchovnay, eds, Science Fiction Film, Television and Adaptation: Across the Screens (Routledge 2011), 143–63
‘Why Neo Flies, and Why He Shouldn’t: The Critique of Cyberpunk in Gwyneth Jones’s Escape Plans and M John Harrison’s Signs of Life’ in Graham J Murphy and Sherryl Vint, eds, Beyond Cyberpunk: New Critical Perspectives (Routledge 2010), 116–34
with Kathrina Glitre and Greg Tuck, ‘Parallax Views: An Introduction’ in Mark Bould, Kathrina Glitre and Greg Tuck, eds, Neo-Noir (Wallflower 2009), 1–10
with Sherryl Vint, ‘The Thin Men: Anorexic Subjectivity in Fight Club and The Machinist’ in Mark Bould, Kathrina Glitre and Greg Tuck, eds, Neo-Noir (Wallflower 2009), 221–39
with Sherryl Vint, ‘Manufacturing Landscapes, Disappearing Labour: From Production Lines to Cities of the Future’ in Luke White and Claire Pajaczkowka, eds, The Sublime Now (Cambridge Scholars 2009), 269–85
‘Rough Guide to a Lonely Planet, from Nemo to Neo’ in Mark Bould and China Miéville, eds, Red Planets: Marxism and Science Fiction (Pluto/Wesleyan UP 2009), 1–26
with Sherryl Vint, ‘Dead Penguins in Immigrant Pilchard Scandal: Telling Stories about the “Environment” in Antarctica’, in William J Burling, ed., Kim Stanley Robinson Maps the Unimaginable: Critical Essays (McFarland 2009), 257–73
‘Language and Linguistics’ in Mark Bould, Andrew M Butler, Adam Roberts and Sherryl Vint, eds, The Routledge Companion to Science Fiction (Routledge 2009), 225–35
with Sherryl Vint, ‘There is No Such Thing as Science Fiction’, in James Gunn, Marleen S Barr and Matthew Candelaria, eds, Reading Science Fiction (Palgrave 2008), 43–51
‘Science Fiction Television in the United Kingdom’ in JP Telotte, ed., The Essential Science Fiction Television Reader (UP of Kentucky 2008), 209–30
‘On the Edges of Fiction: Silent Actualités, City Symphonies and Early Sf Movies’ in Gary D Rhodes and John Parris Springer, eds, Docufictions: Mockumentary and Docudrama in Film and Television (McFarland 2005), 43–63
‘The False Salvation of the Here and Now: Aliens, Images and the Commodification of Desire in The Brother from Another Planet’ in Diane Carson and Heidi Kenaga, eds, Sayles Talk: Essays on Independent Filmmaker John Sayles (Wayne State UP 2005), 79–102
‘Cyberpunk’ in David Seed, ed., A Companion to Science Fiction (Blackwell 2005), 217–31
‘Let’s Make a Little Noise, Colorado: An Introduction in Eight Parts’ in Mark Bould and Michelle Reid, eds, Parietal Games: Critical Writings By and On M John Harrison (Science Fiction Foundation 2005), 13–30
‘Old, Mean and Misanthropic: An Interview with M John Harrison’ in Mark Bould and Michelle Reid, eds, Parietal Games: Critical Writings By and On M John Harrison (Science Fiction Foundation 2005), 326–41
‘This is the Modern World: The Prisoner, Authorship and Allegory’ in Jonathan Bignell and Stephen Lacey, eds, Popular Television Drama: New Perspectives (Manchester UP 2005), 93–109
‘Film and Television’ in Edward James and Farah Mendlesohn, eds, The Cambridge Companion to Science Fiction (Cambridge UP 2003), 79–95
‘Apocalypse Here and Now: Making Sense of The Texas Chain Saw Massacre’ in Gary D Rhodes, ed., Horror at the Drive-In: Essays in Popular Americana (McFarland 2003), 97–112
‘Preserving Machines: Recentering the Decentered Subject in Blade Runner and Johnny Mnemonic’, in Jonathan Bignell, ed., Writing and Cinema (Longman 1999), 164–77
Mark Bould 