Science fiction films are often speculative in nature, and often include key supporting elements of science and technology. However, as often as not the "science" in a Hollywood science fiction 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.[citation needed]
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.[citation needed] This transforms the movie genre into a science fantasy with a religious or quasi-religious philosophy serving as the driving motivation. The movie Forbidden Planet[citation needed] In the film this part of the primitive mind manifests itself as monstrous destructive force emanating from the freudian subconscious, or "Id". employs many common science fiction elements, but the film carries a profound message - that the evolution of a species toward technological perfection (in this case exemplified by the disappeared alien civilization called the "Krell") does not ensure the loss of primitive and dangerous urges.
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.[citation needed]
Not all science fiction themes are equally suitable for movies. In addition to science fiction horror, space opera is most common.[citation needed] Often enough, these films could just as well pass as westerns or World War II movies if the science fiction props were removed.[citation needed]dystopias, while utopias are rare.[citation needed] Common motifs also include voyages and expeditions to other planets, and
Imagery
Film theorist Vivian Sobchack argues that science fiction films differ from fantasy films in that while science fiction film seeks to achieve our belief in the images we are viewing, fantasy film instead attempts to suspend our disbelief. The science fiction film displays the unfamiliar and alien in the context of the familiar. 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 sf 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.[citation needed]
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.[citation needed]
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 film makers 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.
The role of the scientist has varied considerably in the science fiction film genre, depending on the public perception of science and advanced technology.[citation needed] Starting with Dr. Frankenstein, the mad scientist became a stock character who posed a dire threat to society and perhaps even civilization. Certain portrayals of the "mad scientist", such as Peter Sellers's performance in Dr. Strangelove, have become iconic to the genre.[citation needed] 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 U.S., the brilliant but rebellious scientist became a common theme, often serving a Cassandra-like role during an impending disaster.
Alien life forms
The concept of life, particularly intelligent life, having an extraterrestrial origin is a popular staple of science fiction films. Early films often used alien life forms as a threat or peril to the human race, where the invaders were frequently fictional representations of actual military or political threats on Earth. Later some aliens were represented as benign and even beneficial in nature in such films as Escape to Witch Mountain, E.T. the Extra-Terrestrial, and Close Encounters of the Third Kind. Aliens in contemporary films are still often depicted as hostile, however, such as those in the Alien series of films.
In order to provide subject matter to which audiences can relate, the large majority of intelligent alien races presented in films have an anthropomorphic nature, possessing human emotions and motivations. Often they will embody a particular human stereotype, such as the barbaric warriors, scientific intellectuals, or priests and clerics.[citation needed] They will frequently appear to be nearly human in physical appearance, and communicate in a common Earth tongue, with little trace of an accent. Very few films have tried to represent intelligent aliens as something utterly different from human kind (e.g. Solaris).[citation needed]
Disaster films
A frequent theme among science fiction 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:[citation needed]
- Alien invasion — hostile extraterrestrials arrive and seek to supplant humanity. They are either overwhelmingly powerful or very insidious. Typical examples include The War of the Worlds (1953 film) and Invasion of the Body Snatchers (1956 film).
- Environmental disaster — such as major climate change, or an asteroid or cometSoylent Green (1973) and Waterworld (1995). strike. Movies that have employed this theme include
- Man supplanted by technology — typically in the form of an all-powerful computer, advanced robots or cyborgs, or else genetically-modified humans or animals. Among the films in this category are The Terminator (1984) and The Matrix (1999).
- Nuclear war — usually in the form of a dystopic, post-holocaust tale of grim survival. Examples of such a storyline can be found in the movies Dr. Strangelove (1964), Planet of the Apes (1968), A Boy and His Dog (1975) and Mad Max (1979).
- Pandemic — a highly lethal disease, often one created by man, threatens or wipes out most of humanity in a massive plague. This topic has been treated in such films as The Andromeda Strain (1971), The Omega Man (1971), and Twelve Monkeys (1995).
Monster films
While monster films do not usually depict danger on a global or epic scale, science fiction film also has a long tradition of movies featuring monster attacks. These differ from similar films in the horror or fantasy genres because science fiction films typically rely on a scientific (or at least pseudo-scientific) rationale for the monster's existence, rather than a supernatural or magical reason. Often, the science fiction film monster is created, awakened, or "evolves" because of the machinations of a mad scientist, a nuclear accident, or a scientific experiment gone awry. Typical examples include The Beast from 20,000 Fathoms (1953), the Godzilla series of films.
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 an organic-creation a human, while the RoboCop series saw an android mechanism fitted with the brain and reprogrammed mind of a human to create a cyborg. 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.
Films such as Total Recall have popularized a thread of films that explore the concept of reprogramming the human mind. The theme of brainwashing in several films of the sixties and seventies including A Clockwork Orange and The Manchurian Candidate coincided with secret real-life government experimentation during Project MKULTRA. Voluntary erasure of memory is further explored as themes of the films Paycheck and Eternal Sunshine of the Spotless Mind. The anime series 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 film version of The Lawnmower Man, and the idea reversed in Virtuosity as computer programs sought to become real persons. 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.
Robots
Robots have been a part of science fiction since the Czech playwright Karel Čapek coined the word in 1921. In early films, robots were usually played by a human actor in a boxy metal suit, as in The Phantom Empire, although the female robot in Metropolis is an exception. The first depiction of a sophisticated robot in a US film was in The Day the Earth Stood Still. Over the last several decades, robots in films have been depicted as having increasingly advanced capabilities, including artificial intelligence.[citation needed] In films, robots are often depicted as humanoid-looking machines that walk stiffly and speak with a flat affect.[citation needed]
Robots in films are often sentient and sometimes sentimental, and they have filled a range of roles in science fiction films. Robots have been supporting characters, such as Robby the Robot in Forbidden Planet, sidekicks (e.g., C-3PO and R2-D2 from Star Wars), and extras, visible in the background to create a futuristic setting. As well, robots have been formidable movie villains or monsters (e.g., the robot Box in the 1976 film Logan's Run. In some cases, robots have even been the leading characters in science fiction films; in the 1982 film Blade Runner, many of the characters are bioengineered android "replicants".
One popular theme in science fiction film is whether robots will someday replace humans, a question raised in the film adaptation of Isaac Asimov's I, Robot, or whether intelligent robots could develop a conscience and a motivation to take over or destroy the human race (as depicted in The Terminator).
Time travel
The concept of time travel—travelling backwards and forwards through time—has always been a popular staple of science fiction film and science fiction television series. Time travel usually involves the use of some type of advanced technology, such as H. G. Wells' classic The Time Machine, or the commercially successful 1980s-era Back to the Future trilogy. Other movies, such as the Planet of the Apes series, explained their depictions of time travel by drawing on physics concepts such as the Special relativity phenomenon of time dilation (which could occur if a spaceship was travelling near the speed of light). Some films show time travel not being attained from advanced technology, but rather from an inner source or personal power, such as the 2000s-era films Donnie Darko and The Butterfly Effect.
More conventional time travel movies use technology to bring the past to life in the present, or in a present that lies in our future. The movie Iceman (1984) told the story of the reanimation of a frozen Neanderthal. The movie Freejack (1992) shows time travel used to pull victims of horrible deaths forward in time a split-second before their demise, and then use their bodies for spare parts.
A common theme in time travel movies is the paradoxical nature of travelling through time. In the French New Wave film La Jetée (1962), director Chris Marker depicts the self-fulfilling aspect of a person being able to see their future by showing a child who witnesses the death of his future self. La Jetée was the inspiration for Twelve Monkeys, (1995) director Terry Gilliam's film about time travel, memory, and madness. 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 cyborgs.