The Gateway

Mark Semke, Film 301
The film I chose at the outset of this journey of essays was Star Wars (Directed by George Lucas, 1977, United States, UK). For comparison of technology used in science fiction film versus the real world, one perhaps need go no further than the most famous of science fiction films. However, for argumentative purposes, I have found other comparisons in three other science fiction films that will illustrate the point that I am trying to make. Science Fiction is perhaps the gateway for people to understand what could possibly come to be in terms of technological and scientific advancement.
In the film Star Wars, there is a wide array of technological superiorities in contrast to what we currently possess in the real world. Such examples include hyper light speed space travel, laser weapons such as blasters and light sabers, extremely advanced artificial intelligence in the form of cyborgs, or droids, and a massive weapon of intergalactic mass destruction known as the Death Star. These are things that are not yet possible in our world, yet can be depicted on the screen via various special effects to make them “real”, in a sense. Technological advancements such as our own artificial intelligence and robots provide evidence that the technologies depicted in science fiction film are perhaps already in development or on the way. We have space travel, laser weapons, robots, and weapons of mass destruction. They are just in their infancy stages, but with applied research and advancements, perhaps someday what was once perceived as fantasy will ultimately become a reality. In the film 2001: A Space Odyssey (Directed by Stanley Kubrick, 1968, United Kingdom and US), an artificial intelligence is depicted in the form of HAL 9000.

Hal is a computer system that controls the ship in which the astronauts travel. He is control of most if not all of the ships functions, and is “incapable of error.” This supercomputer ultimately turns on the ship’s crew when it makes an error and starts to develop a sense of self-consciousness, so to speak. It discovers that the crew intends to shut it down and subsequently decides to eliminate them. Only through human bravery is HAL taken down and defeated.
HAL represents what is already a possibility in this real world, a form of artificial intelligence that we come to rely on and trust to not make mistakes and to be kind of infallible. Granted, HAL is much more advanced than what is currently possible. I think that there will eventually be technology of this kind available and prevalent in our lifetimes. HAL represents a kind of warning of the dangers that such technology could present. I think that this is always something that we realize, but perhaps do not take as seriously as we should. These artificial intelligences should be pursued with much care, so one day they do not come back to haunt us. “I have no hesitation in thinking that a machine can be just as intelligent and just as real as a person, in principle.”-Professor Rodney Brooks, Director, MIT Artificial Intelligence Lab. (1)

In the film The Matrix (Directed by the Wachowski Brothers, 1999, United States/Australia) , this previous point is illustrated to a much more extreme degree. In the film, the human race has been enslaved by computers and harvested into “batteries” of a sort. We are all hooked into the system, and are fed a virtual reality through a connection implanted in the back of our craniums.

This virtual world helps to keep us serene and oblivious, and only a few escape to try and take back our world from the machines.
This is taking the previous point and showing the ultimate consequences of a technological “takeover” of sorts and depicting it on the big screen for our entertainment. Although such a fate is pretty imaginative, I think that the film represents a kind of catalyst of what we should be careful and wary of. Obviously, the technology does not exist that can hook up our brains to computers and have our minds flooded with such vivid imagery that we can perceive it as reality. However, this is another example of a science fiction film providing a gateway to see what could possibly come to be on down the road if technological advancements continue to develop at the pace that they already are. Another example of science gone awry is presented in the film 28 Days Later (Directed by Danny Boyle, 2002, United Kingdom). Jim awakes one day to find the world that he knew totally devastated by a mass pandemic. The city he roams is vacated and desolate as a result of this.

We learn that there was a virus unleashed called the “Rage,” in which people become infected and turn into raging, psychotic zombies that just want to kill and feed.
I think, that if you take away the zombie element, that this is perhaps the closest to a possible reality as many science fiction films have ever reached. The notion of a virus developing that can spread like wildfire and kill billions of people is one that many scientists agree is a very realistic possibility. Such evidence as the recent Swine Flu (which, as of this writing, was much ado about nothing) shows that a virus can come out of nowhere and infect humans at an extremely frightening pace. “An especially severe influenza pandemic could lead to high levels of illness, death, social disruption, and economic loss. Everyday life would be disrupted because so many people in so many places become seriously ill at the same time.” (2) This is more and more a worrisome possibility for those in power, and needless to say, all of us that inhabit this planet. And, as depicted in the film, I am sure that in the development of anti-viruses and vaccines, there are chemicals in laboratories right now, which if not contained properly, could result in disaster. Of all of the examples that I have provided in this essay, I believe that this is the one that is always, and always will be, closest to reality of actually happening.
Craig W Anderson is quoted as saying that, in looking at 1970s science fiction, fictional text rest upon believable extrapolations of actual scientific theory and technologies. Successful films of the genre need to conform to some extent to the scientific images and information circulating at the time. (3) One must look backward and forward in seeking to provide insights about identity, one that asks what was and what if. (4) I think that these aforementioned thoughts illustrate what science fiction film can possibly act as: a gateway or looking glass into our own innovations. It provides a kind of entertaining yet (sometimes) thought provoking analysis of our world and technologies, and the future that both could possibly possess.

(1.)http://www.2001halslegacy.com/

(2) http://www.pandemicflu.gov/general/#impact

(3) Cornea, Christine, “Science Fiction Cinema”. Rutgers University Press, New Brunswick, New Jersey, 2007 (p. 77)

(4) Nelson, Alondra. “Future Texts.” Social Text 71, Vol. 20 (2002): P.111

Star Wars Technology and What Could Be...

Mark Semke, Film 301

Visual Essay #2

Star Wars (Directed by George Lucas, 1977, United States/UK), perhaps the most important and influential film in the history of Science Fiction cinema, presented a quantum leap in terms of special effects. The film initiated the creation of the most prolific special effects studio in the moviemaking business in the form of ILM, or Industrial Lights and Magic. Before Star Wars, special effects were in fact advancing and becoming more prevalent in not only science fiction, but other genres as well. But Star Wars brought to the table special effects that were not only dazzling and pleasing to the eye, but revolutionary. George Lucas and his team of technical wizards brought forth the advent of such special effect techniques as computer-generated imagery (albeit in its infancy stages), or 2D or 3D images generated by a computer. This included 3D images of the Death Star and other images throughout the film.

They also incorporated computer-controlled cameras, miniatures, models, as well as stop-motion animation. Perhaps the most memorable sequence of the film made use of these new techniques, the climactic battle between the Rebel Alliance and the Empire to destroy the Death Star.

The film’s special effects attempt to visualize human interaction with technology or technological possibilities based on current knowledge by the extensive use of space travel presented throughout the film. Such scenes as the Millennium Falcon rocketing into hyperspace and the assault on the Death Star show what could possibly come to be in terms of our own reality of space travel. Mankind has made much advancement in space travel, but not in any way to the degree that Star Wars visualizes. We can rocket into space in man-controlled spacecraft and explore nearby areas, but not to the degree of being able to travel at light speed or have assault/military weaponry such as the TIE fighters and the X-Wings. These spectacular effects makes one wonder how or if such technological advances will ever really become a reality. I have faith that mankind will one day achieve such advancements, but I don’t think that they are coming anytime soon.
When one envisions these new human/technological interactions presented by the special effects, it suggests that technology is something that is permanently a part of our everyday lives, whether we like it or not. Technology has come so far that there is really no turning back now, as many billions of dollars and endless hours of research and manpower have and will go into enhancing and furthering it. Movie special effects can create imagery that shows what could be, as well as demonstrates what man is capable of, and the potential that lies within us all.
This idea shows that such trivial matters such as special effects in Science Fiction film are perhaps indicative of the modification of out understanding of the “human”. The final results that the special effects wizards produce show the intelligence and creativity of the human, and the wondrous things that we can create. And perhaps, unbeknownst to us, these effects are creating a mirror or a looking glass into what could someday be a reality.

The Recreated Human

Mark Semke
Midterm Film 301

In both the film Star Wars and the film Robocop, there are various forms of humans and non humans present throughout. And both films have various scenarios presented that question the status of the humans and human reproduction. If such technology represented in the films ever became a reality, there is a distinct possibility that the current thinking and status regarding human reproduction will inevitably have to be explored and questioned.
In the film Star Wars (Directed by George Lucas, et al, 1977-2005, USA), humans are living in a universe in which interaction with robots, androids, and cyborgs are commonplace. This is a normal way of life in the universe. The film has these human “challengers” everywhere. You have two of the main characters of the film, C-3PO and R2D2. These “droids” are not human per se, but do possess very human qualities and what seems like actual human feelings and emotions. In the later prequels, there is a hybrid being named General Grievous that was once an organic alien being that was severely damaged in battle and was subsequently “repaired” with heavy armor and circuitry to become a functioning being once again. George Lucas has stated that Grievous was created for the prequel trilogy to kind of act as a precursor to the situation and circumstances that would befall the main hero/villain of the series, Anakin Skywalker/Darth Vader.

When Anakin falls victim to Emperor Palpatine’s seductions, he gives in and joins the dark side of the force, effectively becoming the #2 biggest tyrant and villain in the Star Wars Universe. But before he can really get a chance to embark on this journey, he encounters an obstacle in the form of his former master and teacher, Obi Wan Kenobi, who is sent to destroy Anakin before he can do any more damage to the already wounded society. Long story short, Obi Wan Kenobi defeats Anakin in a grueling lightsaber battle, and Anakin is severely wounded left for dead. Only at the last minute he is rescued by Palpatine and whisked away to a medical facility to undergo a transformation of epic proportions. With the help of (ironically) various medical droids and technology, Anakin is “recreated” and given new life through the addition of new prosthetic limbs, breathing technology, and life support systems in the form of a huge, menacing black suit.

He is now what sci fi aficionados would call a “cyborg”, a cybernetic organism, and is officially completely transformed into Darth Vader. As described by Kenobi in another chapter of the film series, he is “more machine now than man, twisted and evil.”

There is a similar scenario put forth in another film of the sci fi genre under the title of Robocop (Directed by Paul Verhoeven, 1987, USA). In this particular film, the character Alex J. Murphy is a Detroit police officer who is severely wounded in the line of duty and is subsequently “recreated” in the form of a superhuman cybernetic organism, with immense strength, accelerated thought processes, and a program in place to serve and protect the public and the common good.

Now the analysis that I present here is that such technology is readily available in its infancy stages here in the real world. There are already prosthetic limbs that people have been creating that are very technologically advanced. The scenario here is that if you would lose a limb in some kind of accident or to disease or whatnot, you can already have a pretty efficient “replacement” with the help of modern technology. Life support systems such as iron lungs are already available. And I am sure that these technologies are advancing to stages that are going to eventually blow our minds. Not to mention the notion that we will someday be able to “plug in” to a computer system and become “one” with it, so to speak.
The anxieties I believe that both of these films bring to the table are that if such advanced technologies were to become available and humans can be “recreated”, how does that affect the state of human reproduction? The questions that arise from this are numerous and baffling. If one were to become sick and/or wounded beyond the conventional means of modern medicine, could we just be whisked away to some lab and have machines turn us into a machine ourselves, effectively giving us the opportunity to live forever (given maintenance costs)? And if so, and all humans took advantage of these opportunities, would we not eventually all become cyborgs, incapable of actual natural human reproduction? How does a cyborg reproduce, if at all? I think that if that would happen the loss of our humanity would be a profound and tragic consequence. Both Star Wars and Robocop’s “recreated” humans initially function well and serve their respective purposes. Darth Vader goes on to become the sideman to the most powerful figure in the galaxy. But when Palpatine sends him on a mission to turn his son, Luke, over to the dark side or kill him, his human side of emotional conflict comes to the forefront. He is conflicted as to whether he should serve his purpose and master, or save his son and, unbeknownst to him, himself. Robocop, or Murphy, is conflicted with the memories of his wife and child, and the corrupt and devious Detroit police force and the OCP Corporation that controls it, and has to fight his pre-programmed “directives” to combat and eventually overcome these oppressors. “The trouble begins when Robocop’s “inner humanity” begins to surface.” (1)

If their respective cyborg states are in constant conflict, I think this is another anxiety represented in the film in regards to human reproduction. If we all eventually become cyborgs, would this not present a problem? If our underlying and dormant human emotions come to the forefront, the battle of human vs the recreated human would have to be waged. Could we return to our normal human states and eventually reproduce again? Future generations would probably have to face the questions of being able to become cyborgs to live forever, and decide to give up their humanity for everlasting “life.” “We require regeneration, not rebirth, and the possibilities for our reconstruction include the utopian dream of the hope of a monstrous world without gender.” (2)
I think that both films put forth interesting scenarios and scenes that make us question our humanity and the ability to reproduce. If the technologies represented ever became a reality, the human condition and instinct to reproduce would be effectively eliminated, creating a race of cybernetic organisms destined to serve their primary purposes and be in constant conflict with their repressed human emotions. Perhaps these scenarios make us think of the consequences of technology getting out of control, and these films also make us comprehend the dire outcomes that such situations would bring to light.


(1) Cornea, Christine. Science Fiction Cinema New Brunswick, New Jersey, 2007 p. 127
(2) Haraway, Donna A Cyborg Manifesto, Course Reader p. 195

The Force Unleashed: The Impact of Star Wars on Science Fiction

Not too long ago in a galaxy not so far away a new science fiction film entitled Star Wars (Dir. George Lucas, 5/25/77, United States/UK) was unleashed on the unsuspecting public and the ramifications cannot be understated. The film's impact on the genre of science fiction and culture in general is something to behold and, upon closer examination, is something that is quite remarkable. Science Fiction film is a peculiar genre of film. It can be defined in a number of ways, depending on the source. In generic terms, science fiction tends to explore and depict science concepts that aren't always accepted in the mainstream scientific community, such as extraterrestrial beings, alien worlds, and time travel. The genre uses these "fantastic" ideas to display and express social commentary, comment on political issues, and explore the human condition. Star Wars can be identified as science fiction easily. Just pop in the DVD and start watching. In fact, one could say that the film is the very definition of science fiction. Upon the conclusion of the opening credits, the camera pans down upon the starlit background to reveal an alien planet, and the viewer is immediately hit with a spectacular image of a small freighter ship hurrying to escape the clutches of an absolutely immense, gargantuan space ship. The ship “glides. And glides. And glides…throws our learned sense of scale into the scrap heap. (1). This opening sequence of Star Wars is noted for being a highly influential moment for many in that in the time of the film's release, 1977, nobody had ever really seen special effects of this scale and clarity. The realism was astounding to some, and science fiction, not to mention the entire film industry, would ever be the same.

George Lucas, an already established director at the time, set out to create a science fiction world on film that had never really been seen before. His first film, THX 1138 (1971, United States) explored the concept of a dystopian futuristic society. This film helped to create a new world of science fiction that he would later use to further the concept and imagery that would be used to create Star Wars. Lucas wanted to establish new and innovative special effects techniques that he could apply to the finished product of Star Wars. His filmmaking experience of the creation of THX 1138 helped to establish this. He created a new film special effects division, Industrial Light and Magic. They ultimately created imagery such as the Millennium Falcon exploding out of the Mos Isley spaceport that both dazzled the eye as well as the mind. Such imagery and special effects are commonplace today, but were unprecedented during the time period that Star Wars first came out. Other film releases of the period, such as Alien (Dir. Ridley Scott, 1979, United States) and Close Encounters of the Third Kind (Steven Spielberg, 1978, United States) immediately made use of these special effect techniques to further the visual imagery of the Science Fiction film realm.

Star Wars was produced and financed through 20th Century Fox in 1976. The United States was in an economic downturn at the time, and was faced with such difficult tasks as dealing with a large unemployment rate. Other events during this historical period in the nation's history were also of a more downtrodden nature. We were just recovering from a loss of trust in our government with the Watergate scandal as well as the "loss" of the Vietnam War, both of which events occurred shortly before the beginning of production of Star Wars. Whether or not these events influenced the writing of the film is not really known, but I think it had some effect in the formation of the evil "Galactic Empire" and the overall story of the Rebels fighting the oppressive government. I think that the film's mise-en-scene and narrative reflect the countries woes at the time. “The Blockbuster represents a response…with political, economic, and technological changes that began to occur in the late 1970’s and early 1980’s.” (2) The gritty nature of the planet Tatooine's Cantina Bar is an example of a society full of dirt and grime, with questionable characters and "scoundrels" frequenting the place. The cold, industrial nature of the Death Star is also reflective of a government hell bent on oppression and destruction in the search of ultimate control and power. This is personified by the light saber duel between Obi-Wan Kenobi and Darth Vader. This battle between good and evil is one that is iconic in both the Star Wars Universe as well as the world of film.

Overall, the impact of Star Wars cannot be understated in the world of science fiction film. The film not only provided an escape with its thrilling narrative to a society that was in hard times, but also influenced a plethora of filmmakers to look at science fiction under a different light.

Works Cited
(1) Bukatman, Scott. Zooming Out: The End of Offscreen Space. Film 301 Course Reader Page 233.
(2) Corena, Christine. Science Fiction Cinema: Between Fantasy and Reality. Page 113. New Brunsiwck, New Jersey, 2007.

Book Reference
Cook, David A. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam. University of California Press, 2002

Film Reference
Star Wars. Dir. George Lucas. Perf. Mark Hamill, Harrison Ford, Carrie Fisher and Alec Guiness. 1977. DVD. 20th Century Fox, 2005.

Website Reference
“How George Lucas Created a Cultural Force”
http://www2.canada.com/ottawacitizen/news/story.html?id=c782db39-0f36-4ad1-bdf2-27a115ecb422