Science Fiction Film

Science fiction film

Science fiction has been a film genre since the earliest days of cinema. Science fiction films have explored a great range of subjects and themes, including many that can not be readily presented in other genre. Science fiction films have been used to explore sensitive social and political issues, while often providing an entertaining story for the more casual viewer. Today, science fiction films are in the forefront of new special effects technology, and the audience has become accustomed to displays of realistic alien life forms, spectacular space battles, energy weapons, faster than light travel, and distant worlds.

There are many memorable of films, and an even greater number that are mediocre or even among the worst examples of film production. It took many decades, and the efforts of talented teams of film producers, for the science fiction film to be taken seriously as an art form. There is much genre cross-over with science fiction, particularly with horror films (such as Alien (1979)).

History
Movies that could be categorized as belonging to the science fiction genre first appeared during the silent film era. However these were generally singular efforts that were based on the works of notable authors. It was only in the 1950s that the genre came into its own, reflecting the growing output of science fiction pulp magazines and books. But it took Stanley Kubrick's 2001: A Space Odyssey before the genre was taken seriously.

Since that time science fiction movies have become one of the dominant box office staples, pulling in large audiences for blockbuster movies such as Star Wars Episode IV: A New Hope, Jurassic Park, Independence Day, and The Day After Tomorrow. Science fiction films have been in the forefront of special effects technology, and have been used as a vehicle for biting social commentary for which this genre is ideally suited.

Definition
Defining precisely which movies belong to the science fiction genre can be as difficult with films as it is with literature.
Science fiction film is "a film genre which emphasizes actual, extrapolative, or
speculative science and the empirical method, interacting in a social context with
the lesser emphasized, but still present, transcendentalism of magic and religion,
in an attempt to reconcile man with the unknown" (Sobchack 63).

This definition assumes that a continuum exists between (real-world) empiricism and (supernatural) transcendentalism, with science fiction film on the side of empiricism and horror film and fantasy film on the side of transcendentalism. However, there are numerous well-known examples of science fiction horror films, epitomized by Frankenstein and Alien.

The visual style of science fiction film can be characterized by a clash between alien and familiar images. This clash is implemented in the following ways:
1. Alien images become familiar
o In A Clockwork Orange, the repetitions of the Korova Milkbar make the alien decor
seem more familiar.
2. Familiar images become alien
o In Dr. Strangelove, the distortion of the humans make the familiar images seem
more alien.
3. Alien and familiar images are juxtaposed
o In The Deadly Mantis, the giant praying mantis is shown climbing the Washington
Monument.

Cultural theorist Scott Bukatman has proposed that science fiction film is the main area in which it is possible in contemporary culture to witness an expression of the sublime be it through exaggerated scale (the Death Star in Star Wars Episode IV: A New Hope), apocalypse (Independence Day) or transcendence (2001: A Space Odyssey).

Themes
A science fiction film will be speculative in nature, and often includes key supporting elements of science and technology. However, as often as not the "science" in a Hollywood sci-fi movie can be considered pseudo-science, relying primarily on atmosphere and quasi-scientific artistic fancy than facts and conventional scientific theory. The definition can also vary depending on the viewpoint of the observer. What may seem a science fiction film to one viewer can be considered fantasy to another.

Many science fiction films include elements of mysticism, occult, magic, or the supernatural, considered by some to be more properly elements of fantasy or the occult (or religious) film. This transform the movie genre into a science fantasy with a religious or quasi-religious philosophy serving as the driving motivation. The movie Forbidden Planet employs many common science fiction elements, but the nemesis is a powerful creature with a resemblance to an occult demonic spirit. The Star Wars series employed a magic-like philosophy and ability known as the "Force". Chronicles of Riddick (2004) included quasi-magical elements resembling necromancy and elementalism.

Some films blur the line between the genres, such as movies where the protagonist gains the extraordinary powers of the superhero. These films usually employ a quasi-plausible reason for the hero gaining these powers. Yet in many respects the film more closely resembles fantasy than sci-fi.

Not all science fiction themes are equally suitable for movies. In addition to science fiction horror, space opera is most common. Often enough, these films could just as well pass as westerns or WWII movies if the science fiction props were removed. Common themes also include voyages and expeditions to other planets, and dystopias, while utopias are rare.

Special effects in science fiction movies range from laughable to groundbreaking. Milestones in this respect include Stanley Kubrick's 2001: A Space Odyssey, the Star Wars films, and, more recently, The Matrix.

Imagery
As was illustrated by Vivian Sobchack, one sense in which the science fiction film differs from the fantasy film is that the former seeks to achieve our belief in the images we are viewing while fantasy instead attempts to suspend our belief. The science fiction film displays the unfamiliar and alien in the context of the familiar, thereby making the images appear almost ordinary and even commonplace.

Despite the alien nature of the scenes and science fictional elements of the setting, the imagery of the film is related back to mankind and how we relate to our surroundings. While the of film strives to push the boundaries of the human experience, they remain bound to the conditions and understanding of the audience and thereby contain prosaic aspects, rather than being completely alien or abstract.

Genre films such as westerns or war movies are bound to a particular area or time period. This is not true of the science fiction film. However there are several common visual elements that are evocative of the genre. These include the spacecraft or space station, alien worlds or creatures, robots, and futuristic gadgets. More subtle visual clues can appear with changes the human form through modifications in appearance, size, or behavior, or by means a known environment turned eerily alien, such as an empty city.

Scientific elements
While science is a major element of this genre, many movie studios take significant liberties with what is considered conventional scientific knowledge. Such liberties can be most readily observed in films that show spacecraft maneuvering in outer space. The vacuum should preclude the transmission of sound or maneuvers employing wings, yet the sound track is filled with inappropriate flying noises and changes in flight path resembling an aircraft banking. The filmmakers assume that the audience will be unfamiliar with the specifics of space travel, and focus is instead placed on providing acoustical atmosphere and the more familiar maneuvers of the aircraft.

Similar instances of ignoring science in favor of art can be seen when movies present environmental effects. Entire planets are destroyed in titanic explosions requiring mere seconds, whereas an actual event of this nature would likely take many hours. A star rises over the horizon of a comet or a Mercury-like world and the temperature suddenly soars many hundreds of degrees, causing the entire surface to turn into a furnace. In reality the energy is initially reaching the ground at a very oblique angle, and the temperature is likely to rise more gradually.

The role of the scientist has varied considerably in the science fiction film genre, depending on the public perception of science and advanced technology. Starting with Dr. Frankenstein, the mad scientist became a stock character who posed a dire threat to society and perhaps even civilization. In the monster movies of the 1950s, the scientist often played a heroic role as the only person who could provide a technological fix for some impending doom. Reflecting the distrust of government that began in the 1960s in the US, the brilliant but rebellious scientist became a common theme, often serving a Cassandra-like role during an impending disaster.

Disaster films
A frequent theme among sci-fi films is that of impending or actual disaster on an epic scale. These often address a particular concern of the writer by serving as a vehicle of warning against a type of activity, including technological research. In the case of alien invasion films, the creatures can provide as a stand-in for a feared foreign power.

Disaster films typically fall into the following general categories:
• Alien invasion — hostile extraterrestrials arrive and seek to supplant humanity.
They are either overwhelmingly powerful or very insidious.
• Environmental disaster — such a major climate change, or an asteroid or comet
strike.
• Man supplanted by technology — typically in the form of an all-powerful computer,
advanced robots or cyborgs, or else genetically-modified humans or animals.
• Nuclear war — usually in the form of a dystopic, post-holocaust tale of grim
survival.
• Pandemic — a highly lethal disease, often one created by man, wipes out most of
humanity in a massive plague.

Time travel movies can also exploit the potential for disaster as a motivation for the plot, or they can be the root cause of a disaster by wiping out recorded history and creating a new future.

Mind and identity
The core mental aspects of what makes us human has been a staple of science fiction films, particularly since the 1980s. Blade Runner examined what made a organic-creation a human, while the RoboCop series saw a android mechanism fitted with the brain and reprogrammed mind of a human. The idea of brain transfer was not entirely new to science fiction film, as the concept of the "mad scientist" transferring the human mind to another body is as old as Frankenstein.

In the 1990s, Total Recall began a thread of films that explored the concept of reprogramming the human mind. This was reminiscient of the brainwashing fears of the 1950s that appeared in such films as A Clockwork Orange. The cyberpunk film Johnny Mnemonic used the reprogramming concept for a commercial purpose as the human became a data transfer vessel. Voluntary erasure of memory is further explored as themes of the films Paycheck and Eternal Sunshine of the Spotless Mind. In Dark City, human memory and the fabric of reality itself is reprogrammed wholesale. Serial Experiments Lain also explores the idea of reprogrammable reality and memory.

The idea that a human could be entirely represented as a program in a computer was a core element of the film Tron. This would be further explored in The Lawnmower Man, and the idea reversed in Virtuosity as a computer program sought to become a real person. In the Matrix series, the virtual reality world became a real world prison for humanity, managed by intelligent machines. In eXistenZ, the nature of reality and virtual reality become intermixed with no clear distinguishing boundary. Likewise The Cell intermixed dreams and virtual reality, creating a fantasy realm with no boundaries.

Time travel
The concept of time travel, or travelling backwards and forwards through time, has always been a popular staple of science fiction film, as well as in various sci-fi television series. This usually involves the use of some type of advanced technology, such as H. G. Wells' classic The Time Machine, or the Back to the Future trilogy. Other movies have employed Special Relativity to explain travel far into the future, including the Planet of the Apes series.

More conventional time travel movies use technology to bring the past to life in the present (or a present that lies in our future). The movie Iceman (1984) dealt with the reanimation of a frozen Neanderthal (smiliair to the 1950 Christopher Lee film Horror Express), a concept later spoofed in the comedy Encino Man (1992). The Jurassic Park series portrayed cloned life forms grown from DNA ingested by insects that were frozen in amber. The movie Freejack (1992) has victims of horrible deaths being pulled forward in time just a split-second before their demise, and then used for spare body parts.

A common theme in time travel movies is dealing with the paradoxical nature of travelling to the past. The movie 12 Monkeys (1995) has a self-fulfilling quality as the main character as a child witnesses the death of his future self. In Slaughterhouse-Five (1969) the main character jumps backwards and forwards across his life, and ultimately accepts the inevitability of his final fate.

The Back to the Future series goes one step further and explores the result of altering the past, while in Star Trek: First Contact (1996) the crew must rescue the Earth from having its past altered by time-travelling aliens. The Terminator series employs self-aware machines instead of aliens, which travel to the past in order to gain victory in a future war.

Film versus literature
When compared to literary works, such films are an expression of the genre that often rely less on the human imagination and more upon the visual uniqueness and fanciful imagery provided through special effects and the creativity of artists. The special effect has long been a staple of science fiction films, and, especially since the 1960s and 1970s, the audience has come to expect a high standard of visual rendition in the product. A substantial portion of the budget allocated to a sci-fi film can be spent on special effects, and not a few rely almost exclusively on these effects to draw an audience to the theater (rather than employing a substantial plot and engaging drama).

Science fiction literature often relies upon story development, reader knowledge, and the portrayal of elements that are not readily displayed in the film medium. In contrast, science fiction films usually must depend on action and suspense to entertain the audience, thus favoring battle scenes and threatening creatures over the more subtle plot elements of a drama, for example. There are, of course, exceptions to this trend, and some of the most critically-acclaimed sci-fi movies have relied primarily on a well-developed story and unusual ideas, instead of physical conflict and peril. Nevertheless, few science fiction books have been made into movies, and even fewer successfully.

Science fiction as social commentary
This film genre has long served as a vehicle for thinly-disguised and often thoughtful social commentary. Presentation of issues that are difficult or disturbing for an audience can be made more acceptable when they are explored in a future setting or on a different, earth-like world. The altered context can allow for deeper examination and reflection of the ideas presented, with the perspective of a viewer watching remote events.

The type of commentary presented in a science fiction film often an illustrated the particular concerns of the period in which they were produced. Early sci-fi films expressed fears about automation replacing workers and the dehumanization of society through science and technology. Later films explored the fears of environmental catastrophe or technology-created disasters, and how they would impact society and individuals.

The monster movies of the 1950s served as stand-ins for fears of nuclear war, communism and views on the cold war. In the 1970s, science fiction films also became an effective way of satirizing contemporary social mores with Silent Running and Dark Star presenting hippies in space as a reposte to the militaristic types that had dominated earlier films, A Clockwork Orange presenting a horrific vision of youth culture, Logan's Run depicting a futuristic swingers society and The Stepford Wives anticipating a reaction to the women's liberation movement.

Enemy Mine demonstrated that the foes we have come to hate are often just like us, even if they appear alien. Movies like 2001, Jurassic Park, Blade Runner, and Tron examined the dangers of advanced technology, while RoboCop, 1984, and the Star Wars films illustrate the dangers of extreme political control. Both Planet of the Apes and Stepford Wives commented on the politics and culture of contemporary society.

Influence of classic sci-fi authors
Jules Verne was the first major science fiction author to be adapted for the screen with Melies Voyage Dans La Lune of 1902 and 20,000 Leagues Under the Sea of 1907 but these only use Verne's basic scenarios as a framework for fantastic visuals. By the time Verne's work fell out of copyright in 1950 the adaptations were treated as period pieces. His works have been treated in a number of film releases since then, including 20,000 Leagues Under the Sea in 1954, From the Earth to the Moon in 1958, and Journey to the Center of the Earth in 1959.

H. G. Wells has had better success with The Invisible Man, Things to Come and The Island of Doctor Moreau all being adapted during his lifetime with good results while War of the Worlds was updated in 1953 and another update has been released in 2005. The Time Machine has had two film versions (1961 and 2002) while Sleeper in part is a pastiche of Wells' 'The Sleeper Awakes'.

With the drop off in interest in science fiction films in 1940s and 1950s few of the 'golden age' sci-fi authors made it to the screen. A novella by John W. Campbell provided the basis for The Thing From Another World. Robert A. Heinlein contributed to the screenplay for Destination Moon (1950), but it was not until The Puppet Masters (1994) and Starship Troopers (1997) that one of his major works was adapted and L. Ron Hubbard had to wait to 2000 for the disastrous flop Battlefield Earth. Isaac Asimov can rightly be cited as an influence on the Star Wars and Star Trek films but it was not until 2004 that a version of I, Robot made it to film.

The most successful adaptation of a sci-fi author was Arthur C. Clarke with 2001 and its sequel. Reflecting the times, two earlier science fiction works by Ray Bradbury were adapted for cinema in the 1960s with Fahrenheit 451 and the Illustrated Man. Kurt Vonnegut's Slaughter-house Five was filmed in 1971 and Breakfast of Champions was filmed in 1998.

More recently Phillip K. Dick has become the most influential of sci-fi authors on science fiction film. His work manages to evoke the paranoia that has been a central feature of the genre without invoking alien influences. Films based on Dick's works include Blade Runner (1982), Total Recall (1990), Minority Report (2002), and Paycheck (2003). These film versions are often only loose adaptations of the original story, being converted into an action-adventure film in the process.