The science fiction film genre has long served as a useful vehicle for "safely" discussing controversial topical issues and often providing thoughtful social commentary on potential unforeseen future issues. 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. Most controversial issues in science fiction films tend to fall into two general story lines, Utopian or dystopian. Either a society will become better or worse in the future. Because of controversy, most science fiction films will fall into the dystopian film category rather than the Utopian category.
The type of commentary and controversy presented in a science fiction film often illustrated the particular concerns of the period in which they were produced. Early science fiction 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 (i.e Soylent Green).
The monster movies of the 1950s—like Godzilla (1954)—served as stand-ins for fears of nuclear war, communism and views on the cold war.[citation needed] 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 riposte to the militaristic types that had dominated earlier films.[citation needed] Stanley Kubrick's A Clockwork Orange presented a horrific vision of youth culture, portraying a youth gang engaged in rape and murder, along with disturbing scenes of forced psychological conditioning serving to comment on societal responses to crime.
Logan's Run depicted a futuristic swingers utopia that practiced euthanasia as a form of population control and The Stepford Wives anticipated 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.
Contemporary science fiction films continue to explore social and political issues. One recent example would be 2002's Minority Report, debuting in the months after the terrorist attacks of September 11, 2001 and focused on the issues of police powers, privacy and civil liberties in the near-future United States.
More recently, the headlines surrounding events such as the Iraq War, international terrorism, the avian influenza scare, and U.S. anti-immigration laws have found their way into the consciousness of contemporary filmmakers. The 2006 film V for Vendetta drew inspiration from controversial issues such as The Patriot Act and the War on Terror, while the futuristic science fiction thriller Children of Men (also 2006) commented on diverse social issues such as xenophobia, propaganda, and cognitive dissonance.
Future Noir
Lancaster University professor Jamaluddin Bin Aziz argues that as science fiction has evolved and expanded, it has fused with other film genres such as gothic thrillers and film noir. When science fiction integrates film noir elements, Bin Aziz calls the resulting hybrid form "future noir," a form which "... encapsulates a postmodern encounter with generic persistence, creating a mixture of irony, pessimism, prediction, extrapolation, bleakness and nostalgia." Future noir films such as Blade Runner, Twelve Monkeys, Dark City, and Children of Men use a protagonistNeuromancer", yet still with the "...shadow of Philip Marlowe..." who is "...increasingly dubious, alienated and fragmented", at once "dark and playful like the characters in Gibson’s
Future noir films that are set in a post-apocalyptic world "...restructure and re-represent society in a parody of the atmospheric world usually found in noir’s construction of a city — dark, bleak and beguiled." Future noir films often intermingle elements of the gothic thriller genre, such as Minority Report, which makes references to occult practices, and Alien, with its tagline ‘In space, no one can hear you scream’, and a space vessel, Nostromo, “that hark[s] back to images of the haunted house in the gothic horror tradition.” Bin Aziz states that films such as James Cameron’s The Terminator are a sub-genre of ‘techno noir’ that create "...an atmospheric feast of noir darkness and a double-edged world that is not what it seems."[7]