SCIENCEFICTION

ACOLLECTIONOFCRITICALESSAYS

EditedbyMarkRose

Scanned & Proofed By MadMaxAU

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Contents
Introduction byMarkRose

1. Backgrounds
StartingPoints byKingsleyAmis ScienceFictionandLiterature byRobertConquest TheRootsofScienceFiction byRobertScholes

2. Theory
OnthePoeticsoftheScienceFictionGenre byDarkoSuvin TheTimeTravelStoryandRelatedMattersofSFStructuring byStanislawLem GenreCriticism: ScienceFictionandtheFantastic byEricS.Rabkin

3. Approaches
OnScienceFiction byC.S.Lewis TheImaginationofDisaster bySusanSontag

 HowtoPlayUtopia: SomeBriefNotesontheDistinctivenessofUtopianFiction byMichaelHolquist TheApocalypticImagination,ScienceFiction,andAmerican Literature byDavidKetterer ScienceFictionandtheFuture byJohnHuntington NotesontheEditorandContributors SelectedBibliography ****

TheImaginationofDisaster

bySusanSontag1
ThetypicalsciencefictionfilmhasaformaspredictableasaWestern,and ismadeupofelementswhich,toapracticedeye,areasclassicasthesaloon brawl,theblondeschoolteacherfromtheEast,andthegunduelonthedeserted mainstreet. Onemodelscenarioproceedsthroughfivephases. (1)Thearrivalofthething.(Emergenceofthemonsters,landingofthe alienspaceship,etc.)Thisisusuallywitnessedorsuspectedbyjustoneperson,a youngscientistonafieldtrip.Nobody,neitherhisneighborsnorhiscolleagues, willbelievehimforsometime.Theheroisnotmarried,buthasasympathetic thoughalsoincredulousgirlfriend. (2)Confirmationoftheherosreportbyahostofwitnessestoagreatactof destruction.(Iftheinvadersarebeingsfromanotherplanet,afruitlessattemptto parleywiththemandgetthemtoleavepeacefully.)Thelocalpoliceare summonedtodealwiththesituationandmassacred. (3)Inthecapitalofthecountry,conferencesbetweenscientistsandthe militarytakeplace,withtheherolecturingbeforeachart,map,orblackboard.A nationalemergencyisdeclared.Reportsoffurtherdestruction.Authoritiesfrom othercountriesarriveinblacklimousines.Allinternationaltensionsare suspendedinviewoftheplanetaryemergency.Thisstageoftenincludesarapid montageofnewsbroadcastsinvariouslanguages,ameetingattheUN,andmore conferencesbetweenthemilitaryandthescientists.Plansaremadefor destroyingtheenemy.
1

TheImaginationofDisasterbySusanSontag.FromAgainstInterpretationbySusanSontag(NewYork:Farrar, Straus&Giroux,1966),pp.20925.Copyright1961,1962,1963,1964,1965,1966bySusanSontag.Reprinted withthepermissionofFarrar,Straus&Giroux,Inc.

(4)Furtheratrocities.Atsomepointtheherosgirlfriendisingravedanger. Massivecounterattacksbyinternationalforces,withbrilliantdisplaysofrocketry, rays,andotheradvancedweapons,areallunsuccessful.Enormousmilitary casualties,usuallybyincineration.Citiesaredestroyedand/orevacuated.Thereis anobligatoryscenehereofpanickedcrowdsstampedingalongahighwayorabig bridge,beingwavedonbynumerouspolicemenwho,ifthefilmisJapanese,are immaculatelywhitegloved,preternaturallycalm,andcalloutindubbedEnglish, Keepmoving.Thereisnoneedtobealarmed. (5)Moreconferences,whosemotifis:Theymustbevulnerableto something.Throughouttheherohasbeenworkinginhislabtothisend.The finalstrategy,uponwhichallhopesdepend,isdrawnup;theultimateweapon oftenasuperpowerful,asyetuntested,nucleardeviceismounted.Countdown. Finalrepulseofthemonsterorinvaders.Mutualcongratulations,whilethehero andgirlfriendembracecheektocheekandscantheskiessturdily.Buthavewe seenthelastofthem? **** ThefilmIhavejustdescribedshouldbeinTechnicolorandonawidescreen. Anothertypicalscenario,whichfollows,issimplerandsuitedtoblackandwhite filmswithalowerbudget.Ithasfourphases. (1)Thehero(usually,butnotalways,ascientist)andhisgirlfriend,orhis wifeandtwochildren,aredisportingthemselvesinsomeinnocentultranormal middleclasssurroundingstheirhouseinasmalltown,oronvacation(camping, boating).Suddenly,someonestartsbehavingstrangely;orsomeinnocentformof vegetationbecomesmonstrouslyenlargedandambulatory.Ifacharacteris pictureddrivinganautomobile,somethinggruesomeloomsupinthemiddleof theroad.Ifitisnight,strangelightshurtleacrossthesky. (2)Afterfollowingthethingstracks,ordeterminingthatItisradioactive,or pokingaroundahugecraterinshort,conductingsomesortofcrude investigationtheherotriestowarnthelocalauthorities,withouteffect;nobody believesanythingisamiss.Theheroknowsbetter.Ifthethingistangible,the houseiselaboratelybarricaded.Iftheinvadingalienisaninvisibleparasite,a

doctororfriendiscalledin,whoishimselfratherquicklykilledortaken possessionofbythething. (3)Theadviceofwhoeverfurtherisconsultedprovesuseless.Meanwhile, Itcontinuestoclaimothervictimsinthetown,whichremainsimplausiblyisolated fromtherestoftheworld.Generalhelplessness. (4)Oneoftwopossibilities.Eithertheheropreparestodobattlealone, accidentallydiscoversthethingsonevulnerablepoint,anddestroysit.Or,he somehowmanagestogetoutoftownandsucceedsinlayinghiscasebefore competentauthorities.They,alongthelinesofthefirstscriptbutabridged, deployacomplextechnologywhich(afterinitialsetbacks)finallyprevailsagainst theinvaders. **** Anotherversionofthesecondscriptopenswiththescientistheroinhis laboratory,whichislocatedinthebasementoronthegroundsofhistasteful, prosperoushouse.Throughhisexperiments,heunwittinglycausesafrightful metamorphosisinsomeclassofplantsoranimalswhichturncarnivorousandgo onarampage.Orelse,hisexperimentshavecausedhimtobeinjured(sometimes irrevocably)orinvadedhimself.Perhapshehasbeenexperimentingwith radiation,orhasbuiltamachinetocommunicatewithbeingsfromotherplanets ortransporthimtootherplacesortimes. Anotherversionofthefirstscriptinvolvesthediscoveryofsome fundamentalalterationintheconditionsofexistenceofourplanet,brought aboutbynucleartesting,whichwillleadtotheextinctioninafewmonthsofall humanlife.Forexample:thetemperatureoftheearthisbecomingtoohighor toolowtosupportlife,ortheearthiscrackingintwo,oritisgraduallybeing blanketedbylethalfallout. Athirdscript,somewhatbutnotaltogetherdifferentfromthefirsttwo, concernsajourneythroughspacetothemoon,orsomeotherplanet.Whatthe spacevoyagersdiscovercommonlyisthatthealienterrainisinastateofdire emergency,itselfthreatenedbyextraplanetaryinvadersornearingextinction throughthepracticeofnuclearwarfare.Theterminaldramasofthefirstand

secondscriptsareplayedoutthere,towhichisaddedtheproblemofgetting awayfromthedoomedand/orhostileplanetandbacktoEarth. **** Iamaware,ofcourse,thattherearethousandsofsciencefictionnovels(their heydaywasthelate1940s),nottomentionthetranscriptionsofsciencefiction themeswhich,moreandmore,providetheprincipalsubjectmatterofcomic books.ButIproposetodiscusssciencefictionfilms(thepresentperiodbeganin 1950andcontinues,considerablyabated,tothisday)asanindependent subgenre,withoutreferencetoothermediaand,mostparticularly,without referencetothenovelsfromwhich,inmanycases,theywereadapted.For,while novelandfilmmaysharethesameplot,thefundamentaldifferencebetweenthe resourcesofthenovelandthefilmmakesthemquitedissimilar. Certainly,comparedwiththesciencefictionnovels,theirfilmcounterparts haveuniquestrengths,oneofwhichistheimmediaterepresentationofthe extraordinary:physicaldeformityandmutation,missileandrocketcombat, topplingskyscrapers.Themoviesare,naturally,weakjustwherethescience fictionnovels(someofthem)arestrongonscience.Butinplaceofanintellectual workout,theycansupplysomethingthenovelscanneverprovidesensuous elaboration.Inthefilmsitisbymeansofimagesandsounds,notwordsthathave tobetranslatedbytheimagination,thatonecanparticipateinthefantasyof livingthroughonesowndeathandmore,thedeathofcities,thedestructionof humanityitself. Sciencefictionfilmsarenotaboutscience.Theyareaboutdisaster,whichis oneoftheoldestsubjectsofart.Insciencefictionfilmsdisasterisrarelyviewed intensively;itisalwaysextensive.Itisamatterofquantityandingenuity.Ifyou will,itisaquestionofscale.Butthescale,particularlyinthewidescreen Technicolorfilms(ofwhichtheonesbytheJapanesedirectorInoshiroHondaand theAmericandirectorGeorgePalaretechnicallythemostconvincingandvisually themostexciting),doesraisethemattertoanotherlevel. Thus,thesciencefictionfilm(likethatofaverydifferentcontemporary genre,theHappening)isconcernedwiththeaestheticsofdestruction,withthe peculiarbeautiestobefoundinwreakinghavoc,makingamess.Anditisinthe

imageryofdestructionthatthecoreofagoodsciencefictionfilmlies.Hence,the disadvantageofthecheapfilminwhichthemonsterappearsortherocketlands inasmalldulllookingtown.(Hollywoodbudgetneedsusuallydictatethatthe townbeintheArizonaorCaliforniadesert.InTheThingFromAnotherWorld [1951]therathersleazyandconfinedsetissupposedtobeanencampmentnear theNorthPole.)Still,goodblackandwhitesciencefictionfilmshavebeenmade. Butabiggerbudget,whichusuallymeansTechnicolor,allowsamuchgreaterplay backandforthamongseveralmodelenvironments.Thereisthepopulouscity. Thereisthelavishbutasceticinteriorofthespaceshipeithertheinvadersor oursrepletewithstreamlinedchromiumfixturesanddialsandmachineswhose complexityisindicatedbythenumberofcoloredlightstheyflashandstrange noisestheyemit.Thereisthelaboratorycrowdedwithformidableboxesand scientificapparatus.Thereisacomparativelyoldfashionedlookingconference room,wherethescientistsunfurlchartstoexplainthedesperatestateofthings tothemilitary.Andeachofthesestandardlocalesorbackgroundsissubjectto twomodalitiesintactanddestroyed.Wemay,ifwearelucky,betreatedtoa panoramaofmeltingtanks,flyingbodies,crashingwalls,awesomecratersand fissuresintheearth,plummetingspacecraft,colorfuldeadlyrays;andtoa symphonyofscreams,weirdelectronicsignals,thenoisiestmilitaryhardware going,andtheleadentonesofthelaconicdenizensofalienplanetsandtheir subjugatedearthlings. Certainoftheprimitivegratificationsofsciencefictionfilmsforinstance, thedepictionofurbandisasteronacolossallymagnifiedscalearesharedwith othertypesoffilms.Visuallythereislittledifferencebetweenmasshavocas representedintheoldhorrorandmonsterfilmsandwhatwefindinscience fictionfilms,except(again)scale.Intheoldmonsterfilms,themonsteralways headedforthegreatcity,wherehehadtodoafairbitoframpaging,hurling bussesoffbridges,crumplingtrainsinhisbarehands,topplingbuildings,andso forth.ThearchetypeisKingKong,inSchoedsacksgreatfilmof1933,running amok,firstintheAfricanvillage(tramplingbabies,abitoffootageexcisedfrom mostprints),theninNewYork.Thisisreallynodifferentinspiritfromthescene inInoshiroHondasRodan(1957)inwhichtwogiantreptileswithawingspanof 500feetandsupersonicspeedsbyflappingtheirwingswhipupacyclonethat blowsmostofTokyotosmithereens.OrthedestructionofhalfofJapanbythe giganticrobotwiththegreatincineratingraythatshootsforthfromhiseyes,at thebeginningofHondasTheMysterians(1959).Or,thedevastationbytherays

fromafleetofflyingsaucersofNewYork,Paris,andTokyo,inBattleinOuter Space(1960).Or,theinundationofNewYorkinWhenWorldsCollide(1951).Or, theendofLondonin1966depictedinGeorgePalsTheTimeMachine(i960). Neitherdothesesequencesdifferinaestheticintentionfromthedestruction scenesinthebigsword,sandal,andorgycolorspectacularssetinBiblicaland RomantimestheendofSodominAldrichsSodomandGomorrah,ofGazainDe MillesSamsonandDelilah,ofRhodesinTheColossusofRhodes,andofRomeina dozenNeromovies.GriffithbeganitwiththeBabylonsequenceinIntolerance, andtothisdaythereisnothinglikethethrillofwatchingallthoseexpensivesets cometumblingdown. Inotherrespectsaswell,thesciencefictionfilmsofthe1950stakeup familiarthemes.Thefamous1930smovieserialsandcomicsoftheadventuresof FlashGordonandBuckRogers,aswellasthemorerecentspateofcomicbook superheroeswithextraterrestrialorigins(themostfamousisSuperman,a foundlingfromtheplanetKrypton,currentlydescribedashavingbeenexploded byanuclearblast),sharemotifswithmorerecentsciencefictionmovies.But thereisanimportantdifference.Theoldsciencefictionfilms,andmostofthe comics,stillhaveanessentiallyinnocentrelationtodisaster.Mainlytheyoffer newversionsoftheoldestromanceofallofthestronginvulnerableherowitha mysteriouslineagecometodobattleonbehalfofgoodandagainstevil.Recent sciencefictionfilmshaveadecidedgrimness,bolsteredbytheirmuchgreater degreeofvisualcredibility,whichcontrastsstronglywiththeolderfilms.Modern historicalrealityhasgreatlyenlargedtheimaginationofdisaster,andthe protagonistsperhapsbytheverynatureofwhatisvisiteduponthemnolonger seemwhollyinnocent. Thelureofsuchgeneralizeddisasterasafantasyisthatitreleasesone fromnormalobligations.ThetrumpcardoftheendoftheworldmovieslikeThe DaytheEarthCaughtFire(1962)isthatgreatscenewithNewYorkorLondonor Tokyodiscoveredempty,itsentirepopulationannihilated.Or,asinTheWorld, TheFlesh,andTheDevil(1957),thewholemoviecanbedevotedtothefantasyof occupyingthedesertedmetropolisandstartingalloveragain,aworldRobinson Crusoe. Anotherkindofsatisfactionthesefilmssupplyisextrememoral simplificationthatistosay,amorallyacceptablefantasywhereonecangive

outlettocrueloratleastamoralfeelings.Inthisrespect,sciencefictionfilms partlyoverlapwithhorrorfilms.Thisistheundeniablepleasurewederivefrom lookingatfreaks,beingsexcludedfromthecategoryofthehuman.Thesenseof superiorityoverthefreakconjoinedinvaryingproportionswiththetitillationof fearandaversionmakesitpossibleformoralscruplestobelifted,forcrueltyto beenjoyed.Thesamethinghappensinsciencefictionfilms.Inthefigureofthe monsterfromouterspace,thefreakish,theugly,andthepredatoryallconverge andprovideafantasytargetforrighteousbellicositytodischargeitself,andfor theaestheticenjoymentofsufferinganddisaster.Sciencefictionfilmsareoneof thepurestformsofspectacle;thatis,wearerarelyinsideanyonesfeelings.(An exceptionisJackArnoldsTheIncredibleShrinkingMan[1957].)Wearemerely spectators;wewatch. Butinsciencefictionfilms,unlikehorrorfilms,thereisnotmuchhorror. Suspense,shocks,surprisesaremostlyabjuredinfavorofasteady,inexorable plot.Sciencefictionfilmsinviteadispassionate,aestheticviewofdestructionand violenceatechnologicalview.Things,objects,machineryplayamajorrolein thesefilms.Agreaterrangeofethicalvaluesisembodiedinthedecorofthese filmsthaninthepeople.Things,ratherthanthehelplesshumans,arethelocusof valuesbecauseweexperiencethem,ratherthanpeople,asthesourcesofpower. Accordingtosciencefictionfilms,manisnakedwithouthisartifacts.Theystand fordifferentvalues,theyarepotent,theyarewhatgetdestroyed,andtheyare theindispensabletoolsfortherepulseofthealieninvadersortherepairofthe damagedenvironment. **** Thesciencefictionfilmsarestronglymoralistic.Thestandardmessageistheone abouttheproper,orhumane,useofscience,versusthemad,obsessionaluseof science.Thismessagethesciencefictionfilmsshareincommonwiththeclassic horrorfilmsofthe1930s,likeFrankenstein,TheMummy,IslandofLostSouls,Dr. JekyllandMr.Hyde.(GeorgeFranjusbrilliantLesYeuxSansVisage[1959],called hereTheHorrorChamberofDoctorFaustus,isamorerecentexample.)Inthe horrorfilms,wehavethemadorobsessedormisguidedscientistwhopursueshis experimentsagainstgoodadvicetothecontrary,createsamonsterormonsters, andishimselfdestroyedoftenrecognizinghisfollyhimself,anddyinginthe successfulefforttodestroyhisowncreation.Onesciencefictionequivalentof

thisisthescientist,usuallyamemberofateam,whodefectstotheplanetary invadersbecausetheirscienceismoreadvancedthanours. ThisisthecaseinTheMysterians,and,truetoform,therenegadeseeshis errorintheend,andfromwithintheMysterianspaceshipdestroysitand himself.InThisIslandEarth(1955),theinhabitantsofthebeleagueredplanet Metalunaproposetoconquerearth,buttheirprojectisfoiledbyaMetalunan scientistnamedExeterwho,havinglivedonearthawhileandlearnedtolove Mozart,cannotabidesuchviciousness.Exeterplungeshisspaceshipintothe oceanafterreturningaglamorouspair(maleandfemale)ofAmericanphysicists toearth.Metalunadies.InTheFly(1958),thehero,engrossedinhisbasement laboratoryexperimentsonamattertransmittingmachine,useshimselfasa subject,exchangesheadandonearmwithahouseflywhichhadaccidentally gottenintothemachine,becomesamonster,andwithhislastshredofhuman willdestroyshislaboratoryandordershiswifetokillhim.Hisdiscovery,forthe goodofmankind,islost. Beingaclearlylabeledspeciesofintellectual,scientistsinsciencefiction filmsarealwaysliabletocrackuporgooffthedeepend.InConquestofSpace (1955),thescientistcommanderofaninternationalexpeditiontoMarssuddenly acquiresscruplesabouttheblasphemyinvolvedintheundertaking,andbegins readingtheBiblemidjourneyinsteadofattendingtohisduties.The commandersson,whoishisjuniorofficerandalwaysaddresseshisfatheras General,isforcedtokilltheoldmanwhenhetriestopreventtheshipfrom landingonMars.Inthisfilm,bothsidesoftheambivalencetowardscientistsare givenvoice.Generally,forascientificenterprisetobetreatedentirely sympatheticallyinthesefilms,itneedsthecertificateofutility.Science,viewed withoutambivalence,meansanefficaciousresponsetodanger.Disinterested intellectualcuriosityrarelyappearsinanyformotherthancaricature,asa maniacaldementiathatcutsoneofffromnormalhumanrelations.Butthis suspicionisusuallydirectedatthescientistratherthanhiswork.Thecreative scientistmaybecomeamartyrtohisowndiscovery,throughanaccidentorby pushingthingstoofar.Buttheimplicationremainsthatothermen,less imaginativeinshort,technicianscouldhaveadministeredthesamediscovery betterandmoresafely.Themostingrainedcontemporarymistrustoftheintellect isvisited,inthesemovies,uponthescientistasintellectual.

Themessagethatthescientistisonewhoreleasesforceswhich,ifnot controlledforgood,coulddestroymanhimselfseemsinnocuousenough.Oneof theoldestimagesofthescientistisShakespearesProspero,theoverdetached scholarforciblyretiredfromsocietytoadesertisland,onlypartlyincontrolofthe magicforcesinwhichhedabbles.Equallyclassicisthefigureofthescientistas satanist(DoctorFaustus,andstoriesofPoeandHawthorne).Scienceismagic,and manhasalwaysknownthatthereisblackmagicaswellaswhite.Butitisnot enoughtoremarkthatcontemporaryattitudesasreflectedinsciencefiction filmsremainambivalent,thatthescientististreatedasbothsatanistandsavior. Theproportionshavechanged,becauseofthenewcontextinwhichtheold admirationandfearofthescientistarelocated.Forhissphereofinfluenceisno longerlocal,himselforhisimmediatecommunity.Itisplanetary,cosmic. **** Onegetsthefeeling,particularlyintheJapanesefilmsbutnotonlythere,thata masstraumaexistsovertheuseofnuclearweaponsandthepossibilityoffuture nuclearwars.Mostofthesciencefictionfilmsbearwitnesstothistrauma,and,in away,attempttoexorciseit. Theaccidentalawakeningofthesuperdestructivemonsterwhohasslept intheearthsinceprehistoryis,often,anobviousmetaphorfortheBomb.But therearemanyexplicitreferencesaswell.InTheMysterians,aprobeshipfrom theplanetMysteroidhaslandedonearth,nearTokyo.Nuclearwarfarehaving beenpracticedonMysteroidforcenturies(theircivilizationismoreadvanced thanours),ninetypercentofthosenowbornontheplanethavetobedestroyed atbirth,becauseofdefectscausedbythehugeamountsofStrontium90intheir diet.TheMysterianshavecometoearthtomarryearthwomen,andpossiblyto takeoverourrelativelyuncontaminatedplanetInTheIncredibleShrinkingMan, theJohnDoeheroisthevictimofagustofradiationwhichblowsoverthewater, whileheisoutboatingwithhiswife;theradiationcauseshimtogrowsmallerand smaller,untilattheendofthemoviehestepsthroughthefinemeshofawindow screentobecometheinfinitelysmall.InRodan,ahordeofmonstrous carnivorousprehistoricinsects,andfinallyapairofgiantflyingreptiles(the prehistoricArcheopteryx),arehatchedfromdormanteggsinthedepthsofamine shaftbytheimpactofnucleartestexplosions,andgoontodestroyagoodpartof theworldbeforetheyarefelledbythemoltenlavaofavolcaniceruptionInthe

Englishfilm,TheDaytheEarthCaughtFire,twosimultaneoushydrogenbomb testsbytheUnitedStatesandRussiachangeby11degreesthetiltoftheearthon itsaxisandaltertheearthsorbitsothatitbeginstoapproachthesun. Radiationcasualtiesultimately,theconceptionofthewholeworldasa casualtyofnucleartestingandnuclearwarfareisthemostominousofallthe notionswithwhichsciencefictionfilmsdeal.Universesbecomeexpendable. Worldsbecomecontaminated,burntout,exhausted,obsolete.InRocketshipXM (1950)explorersfromtheearthlandonMars,wheretheylearnthatatomic warfarehasdestroyedMartiancivilization.InGeorgePalsTheWaroftheWorlds (1953),reddishspindlyalligatorskinnedcreaturesfromMarsinvadetheearth becausetheirplanetisbecomingtoocoldtobeinhabitable.InThisIslandEarth, alsoAmerican,theplanetMetaluna,whosepopulationhaslongagobeendriven undergroundbywarfare,isdyingunderthemissileattacksofanenemyplanet. Stocksofuranium,whichpowertheforcefieldshieldingMetaluna,havebeen usedup;andanunsuccessfulexpeditionissenttoearthtoenlistearthscientists todevisenewsourcesfornuclearpower.InJosephLoseysTheDamned(1961), nineicycoldradioactivechildrenarebeingrearedbyafanaticalscientistinadark caveontheEnglishcoasttobetheonlysurvivorsoftheinevitablenuclear Armageddon. **** Thereisavastamountofwishfulthinkinginsciencefictionfilms,someofit touching,someofitdepressing.Againandagain,onedetectsthehungerfora goodwar,whichposesnomoralproblems,admitsofnomoralqualifications. Theimageryofsciencefictionfilmswillsatisfythemostbellicoseaddictofwar films,foralotofthesatisfactionsofwarfilmspass,untransformed,intoscience fictionfilms.Examples:thedogfightsbetweenearthfighterrocketsandalien spacecraftintheBattleofOuterSpace(1959);theescalatingfirepowerinthe successiveassaultsupontheinvadersinTheMysterians,whichDanTalbot correctlydescribedasanonstopholocaust;thespectacularbombardmentofthe undergroundfortressofMetalunainThisIslandEarth. Yetatthesametimethebellicosityofsciencefictionfilmsisneatly channeledintotheyearningforpeace,orforatleastpeacefulcoexistence.Some scientistgenerallytakessententiousnoteofthefactthatittooktheplanetary

invasiontomakethewarringnationsoftheearthcometotheirsensesand suspendtheirownconflicts.Oneofthemainthemesofmanysciencefiction filmsthecoloronesusually,becausetheyhavethebudgetandresourcesto developthemilitaryspectacleisthisUNfantasy,afantasyofunitedwarfare.(The samewishfulUNthemecroppedupinarecentspectacularwhichisnotscience fiction,FiftyFiveDaysinPeking[1963].There,topicallyenough,theChinese,the Boxers,playtheroleofMartianinvaderswhounitetheearthmen,inthiscasethe UnitedStates,England,Russia,France,Germany,Italy,andJapan.)Agreat enoughdisastercancelsallenmitiesandcallsupontheutmostconcentrationof earthresources. Sciencetechnologyisconceivedofasthegreatunifier.Thusthescience fictionfilmsalsoprojectaUtopianfantasy.IntheclassicmodelsofUtopian thinkingPlatosRepublic,CampanellasCityoftheSun,MoresUtopia,Swifts landoftheHouyhnhnms,VoltairesEldoradosocietyhadworkedoutaperfect consensus.Inthesesocietiesreasonablenesshadachievedanunbreakable supremacyovertheemotions.Sincenodisagreementorsocialconflictwas intellectuallyplausible,nonewaspossible.AsinMelvillesTypee,theyallthink thesame.Theuniversalruleofreasonmeantuniversalagreement.Itis interesting,too,thatsocietiesinwhichreasonwaspicturedastotallyascendant werealsotraditionallypicturedashavinganasceticormateriallyfrugaland economicallysimplemodeoflife.ButintheUtopianworldcommunityprojected bysciencefictionfilms,totallypacifiedandruledbyscientificconsensus,the demandforsimplicityofmaterialexistencewouldbeabsurd. **** Yetalongsidethehopefulfantasyofmoralsimplificationandinternationalunity embodiedinthesciencefictionfilmslurkthedeepestanxietiesabout contemporaryexistence.IdontmeanonlytheveryrealtraumaoftheBombthat ithasbeenused,thatthereareenoughnowtokilleveryoneonearthmanytimes over,thatthosenewbombsmayverywellbeused.Besidesthesenewanxieties aboutphysicaldisaster,theprospectofuniversalmutilationandeven annihilation,thesciencefictionfilmsreflectpowerfulanxietiesaboutthe conditionoftheindividualpsyche.

Forsciencefictionfilmsmayalsobedescribedasapopularmythologyfor thecontemporarynegativeimaginationabouttheimpersonal.Theotherworld creaturesthatseektotakeusoverareanit,notathey.Theplanetary invadersareusuallyzombielike.Theirmovementsareeithercool,mechanical,or lumbering,blobby.Butitamountstothesamething.Iftheyarenonhumanin form,theyproceedwithanabsolutelyregular,unalterablemovement (unalterablesavebydestruction).Iftheyarehumaninformdressedinspace suits,etc.thentheyobeythemostrigidmilitarydiscipline,anddisplayno personalcharacteristicswhatsoever.Anditisthisregimeofemotionlessness,of impersonality,ofregimentation,whichtheywillimposeontheearthiftheyare successful.Nomorelove,nomorebeauty,nomorepain,boastsaconverted earthlinginTheInvasionoftheBodySnatchers(1956).Thehalfearthling,half alienchildreninTheChildrenoftheDamned(1960)areabsolutelyemotionless, moveasagroupandunderstandeachothersthoughts,andareallprodigious intellects.Theyarethewaveofthefuture,maninhisnextstageofdevelopment. Thesealieninvaderspracticeacrimewhichisworsethanmurder.Theydo notsimplykilltheperson.Theyobliteratehim.InTheWaroftheWorlds,theray whichissuesfromtherocketshipdisintegratesallpersonsandobjectsinitspath, leavingnotraceofthembutalightash.InHondasTheHMan(1959),the creepingblobmeltsallfleshwithwhichitcomesincontact.Iftheblob,which lookslikeahugehunkofredjelloandcancrawlacrossfloorsandupanddown walls,somuchastouchesyourbarefoot,allthatisleftofyouisaheapofclothes onthefloor.(Amorearticulated,sizemultiplyingblobisthevillainintheEnglish filmTheCreepingUnknown[1956].)Inanotherversionofthisfantasy,thebodyis preservedbutthepersonisentirelyreconstitutedastheautomatizedservantor agentofthealienpowers.Thisis,ofcourse,thevampirefantasyinnewdress. Thepersonisreallydead,buthedoesntknowit.Heisundead,hehasbecome anunperson.IthappenstoawholeCaliforniatowninTheInvasionoftheBody Snatchers,toseveralearthscientistsinThisIslandEarth,andtoassorted innocentsinItCameFromOuterSpace,AttackofthePuppetPeople(1958),and TheBrainEaters(1958).Asthevictimalwaysbacksawayfromthevampires horrifyingembrace,soinsciencefictionfilmsthepersonalwaysfightsbeing takenover;hewantstoretainhishumanity.Butoncethedeedhasbeendone, thevictimiseminentlysatisfiedwithhiscondition.Hehasnotbeenconverted fromhumanamiabilitytomonstrousanimalbloodlust(ametaphoric exaggerationofsexualdesire),asintheoldvampirefantasy.No,hehassimply

becomefarmoreefficienttheverymodeloftechnocraticman,purgedof emotions,volitionless,tranquil,obedienttoallorders.(Thedarksecretbehind humannatureusedtobetheupsurgeoftheanimalasinKingKong.Thethreatto man,hisavailabilitytodehumanization,layinhisownanimality.Nowthedanger isunderstoodasresidinginmansabilitytobeturnedintoamachine.) Therule,ofcourse,isthatthishorribleandirremediableformofmurder canstrikeanyoneinthefilmexceptthehero.Theheroandhisfamily,while greatlythreatened,alwaysescapethisfateandbytheendofthefilmtheinvaders havebeenrepulsedordestroyed.Iknowofonlyoneexception,TheDayThat MarsInvadedEarth(1963),inwhichafterallthestandardstrugglesthescientist hero,hiswife,andtheirtwochildrenaretakenoverbythealieninvadersand thatsthat.(Thelastminutesofthefilmshowthembeingincineratedbythe Martiansraysandtheirashsilhouettesflusheddowntheiremptyswimming pool,whiletheirsimulacradriveoffinthefamilycar.)Anothervariantbutupbeat switchontheruleoccursinTheCreationoftheHumanoids(1964),wherethe herodiscoversattheendofthefilmthathe,too,hasbeenturnedintoametal robot,completewithhighlyefficientandvirtuallyindestructiblemechanical insides,althoughhedidntknowitanddetectednodifferenceinhimself.He learns,however,thathewillshortlybeupgradedintoahumanoidhavingallthe propertiesofarealman. Ofallthestandardmotifsofsciencefictionfilms,thisthemeof dehumanizationisperhapsthemostfascinating.For,asIhaveindicated,itis scarcelyablackandwhitesituation,asintheoldvampirefilms.Theattitudeof thesciencefictionfilmstowarddepersonalizationismixed.Ontheonehand,they deploreitastheultimatehorror.Ontheotherhand,certaincharacteristicsofthe dehumanizedinvaders,modulatedanddisguisedsuchastheascendancyof reasonoverfeelings,theidealizationofteamworkandtheconsensuscreating activitiesofscience,amarkeddegreeofmoralsimplificationarepreciselytraitsof thesaviorscientist.Itisinterestingthatwhenthescientistinthesefilmsis treatednegatively,itisusuallydonethroughtheportrayalofanindividual scientistwhoholesupinhislaboratoryandneglectshisfianceorhislovingwife andchildren,obsessedbyhisdaringanddangerousexperiments.Thescientistas aloyalmemberofateam,andthereforeconsiderablylessindividualized,is treatedquiterespectfully.

Thereisabsolutelynosocialcriticism,ofeventhemostimplicitkind,in sciencefictionfilms.Nocriticism,forexample,oftheconditionsofoursociety whichcreatetheimpersonalityanddehumanizationwhichsciencefiction fantasiesdisplaceontotheinfluenceofanalienIt.Also,thenotionofscienceasa socialactivity,interlockingwithsocialandpoliticalinterests,isunacknowledged. Scienceissimplyeitheradventure(forgoodorevil)oratechnicalresponseto danger.And,typically,whenthefearofscienceisparamountwhenscienceis conceivedofasblackmagicratherthanwhitetheevilhasnoattributionbeyond thatoftheperversewillofanindividualscientist.Insciencefictionfilmsthe antithesisofblackmagicandwhiteisdrawnasasplitbetweentechnology,which isbeneficent,andtheerrantindividualwillofaloneintellectual. Thus,sciencefictionfilmscanbelookedatasthematicallycentralallegory, repletewithstandardmodernattitudes.Thethemeofdepersonalization(being takenover)whichIhavebeentalkingaboutisanewallegoryreflectingtheage oldawarenessofmanthat,sane,heisalwaysperilouslyclosetoinsanityand unreason.Butthereissomethingmoreherethanjustarecent,popularimage whichexpressesmansperennial,butlargelyunconscious,anxietyabouthis sanity.Theimagederivesmostofitspowerfromasupplementaryandhistorical anxiety,alsonotexperiencedconsciouslybymostpeople,aboutthe depersonalizingconditionsofmodernurbanlife.Similarly,itisnotenoughtonote thatsciencefictionallegoriesareoneofthenewmythsaboutthatis,oneofthe waysofaccommodatingtoandnegatingtheperennialhumananxietyabout death.(Mythsofheavenandhell,andofghosts,hadthesamefunction.)For, again,thereisahistoricallyspecifiabletwistwhichintensifiestheanxiety.Imean, thetraumasufferedbyeveryoneinthemiddleofthe20thcenturywhenit becameclearthat,fromnowontotheendofhumanhistory,everypersonwould spendhisindividuallifeunderthethreatnotonlyofindividualdeath,whichis certain,butofsomethingalmostinsupportablepsychologicallycollective incinerationandextinctionwhichcouldcomeatanytime,virtuallywithout warning. Fromapsychologicalpointofview,theimaginationofdisasterdoesnot greatlydifferfromoneperiodinhistorytoanother.Butfromapoliticalandmoral pointofview,itdoes.Theexpectationoftheapocalypsemaybetheoccasionfor aradicaldisaffiliationfromsociety,aswhenthousandsofEasternEuropeanJews inthe17thcentury,hearingthatSabbataiZevihadbeenproclaimedtheMessiah

andthattheendoftheworldwasimminent,gaveuptheirhomesandbusinesses andbeganthetrektoPalestine.Butpeopletakethenewsoftheirdoomin diverseways.Itisreportedthatin1945thepopulaceofBerlinreceivedwithout greatagitationthenewsthatHitlerhaddecidedtokillthemall,beforetheAllies arrived,becausetheyhadnotbeenworthyenoughtowinthewar.Weare,alas, moreinthepositionoftheBerlinersof1945thanoftheJewsof17thcentury EasternEurope;andourresponseisclosertotheirs,too.WhatIamsuggestingis thattheimageryofdisasterinsciencefictionisabovealltheemblemofan inadequateresponse.Idontmeantobeardownonthefilmsforthis.They themselvesareonlyasampling,strippedofsophistication,oftheinadequacyof mostpeoplesresponsetotheunassimilableterrorsthatinfecttheir consciousness.Theinterestofthefilms,asidefromtheirconsiderableamountof cinematiccharm,consistsinthisintersectionbetweenanaiveandlargely debasedcommercialartproductandthemostprofounddilemmasofthe contemporarysituation. **** Oursisindeedanageofextremity.Forweliveundercontinualthreatoftwo equallyfearful,butseeminglyopposed,destinies:unremittingbanalityand inconceivableterror.Itisfantasy,servedoutinlargerationsbythepopulararts, whichallowsmostpeopletocopewiththesetwinspecters.Foronejobthat fantasycandoistoliftusoutoftheunbearablyhumdrumandtodistractusfrom terrorsrealoranticipatedbyanescapeintoexotic,dangeroussituationswhich havelastminutehappyendings.Butanotherofthethingsthatfantasycandois tonormalizewhatispsychologicallyunbearable,therebyinuringustoit.Inone case,fantasybeautifiestheworld.Intheother,itneutralizesit. Thefantasyinsciencefictionfilmsdoesbothjobs.Thefilmsreflectworld wideanxieties,andtheyservetoallaythem.Theyinculcateastrangeapathy concerningtheprocessesofradiation,contamination,anddestructionwhichIfor onefindhauntinganddepressing.Thenaivelevelofthefilmsneatlytempersthe senseofotherness,ofalienness,withthegrosslyfamiliar.Inparticular,the dialogueofmostsciencefictionfilms,whichisofamonumentalbutoften touchingbanality,makesthemwonderfully,unintentionallyfunny.Lineslike Comequickly,theresamonsterinmybathtub.Wemustdosomethingabout this.Wait,Professor.Theressomeoneonthetelephone.Butthats

incredible,andtheoldAmericanstandby,Ihopeitworks!arehilariousinthe contextofpicturesqueanddeafeningholocaust.Yetthefilmsalsocontain somethingthatispainfulandindeadlyearnest. Thereisasenseinwhichallthesemoviesareincomplicitywiththe abhorrent.Theyneutralizeit,asIhavesaid.Itisnomore,perhaps,thantheway allartdrawsitsaudienceintoacircleofcomplicitywiththethingrepresented. Butinthesefilmswehavetodowiththingswhichare(quiteliterally) unthinkable.Here,thinkingabouttheunthinkablenotinthewayofHerman Kahn,asasubjectforcalculation,butasasubjectforfantasybecomes,however inadvertently,itselfasomewhatquestionableactfromamoralpointofview.The filmsperpetuateclichsaboutidentity,volition,power,knowledge,happiness, socialconsensus,guilt,responsibilitywhichare,tosaytheleast,notserviceablein ourpresentextremity.Butcollectivenightmarescannotbebanishedby demonstratingthattheyare,intellectuallyandmorally,fallacious.Thisnightmare theonereflected,invariousregisters,inthesciencefictionfilmsistoocloseto ourreality. <<Contents>> ****