Midterm Essay

Science-Fiction as a Challenge of Humanity
By: David Myszewski

Within Science-Fiction, there exists an ongoing theme of technology challenging humanity. Sexual identity through human reproduction are important elements brought to trial before the story’s protagonist, and the outcome of said trial could potentially lead to the uselessness of human potential. Among the massive throng of classic science-fiction, two important films which address these issues are 2001: A Space Odyssey (1968, Stanley Kubrick, Shepperton Studios, Shepperton, England) (1), and Blade Runner (Ridley Scott, The Ladd Company, Los Angeles, California) (2). Both films present technology and artificial-intelligence as above and beyond human capability and question the relevancy of human reproduction through paranoia, though they differ in their physical approach to the superiority and use of artificial intelligence.

2001: A Space Odyssey tells the story of a mission to Jupiter to investigate potential extra-terrestrial encounters involving a strange black monolith. The space ship Discovery is being run by a five man team as well as a super computer known as HAL-9000. HAL describes the 9000 series as “fool proof and incapable of error,” and his track record justifies his claim. The crew, however, eventually questions HAL’s judgment after a technical problem turns into a false alarm, though HAL states that such mistakes can only be attributed to “human error.” HAL makes a conscious effort to eliminate the crew by disabling life-support to the three crew members in hibernation, killing Frank Poole on an EVA, and preventing Dave Bowman from reentering The Discovery after trying to rescue Poole. Bowman overcomes HAL’s technological dementia and disables him.

The human is clearly defined as inferior due to HAL’s apparent intellectual perfection. His superiority is openly expressed through much of the film, such as HAL defeating Poole in a game of chess, further justifying his claim “fool proof and incapable of error,” or his open desire to eliminate the human crew. He presents the ultimate challenge for protagonists Frank Poole and Dave Bowman simply through his super-intelligence. HAL is audibly male; perhaps to subtly imply masculinity over the crew, though he is inherently asexual due to his lack of sexual reproduction. Presented is a reliance of humans on technology as an inferior species. HAL is demonstrably maternal to the humans, being able to provide and control life, a theory suggested by author Barbara Creed in her analysis of the spaceship computer within the Ridley Scott film Alien (4).

These themes of reliance and technological superiority stem from the cultural morality of the day. The late 1960’s was a turbulent time, largely because of conflicting ideals to events like the Vietnam War and the Civil Rights Movement. A dwindling sense of human identity and capability was called into question by pop culture. Increased pessimism resulted from the continued advancement of technology, calling into question the necessity of human intelligence. 2001 represented this pessimistic attitude by explaining that the continued over-reliance on technology will lead to a decrease in human potential and necessity. Kubrick suggested we should incorporate technology moderately into our lives.

Blade Runner provides a futuristic view of Los Angeles in which androids known as “replicants” for the purposes of labor. They are manufactured by the Tyrell Corporation, and are in almost all ways superior to humans, though they have a life span of only four years. After an off-planet revolt, replicants are declared illegal on Earth. Rick Deckard (Harrison Ford) is one of many Blade Runners whose job it is to seek out and eliminate the remaining replicants via series of psychological tests. Roy Batty, replicant and leading antagonist, is nearing expiration and goes to great lengths to try and extend his life. Deckard is challenged to the best of his abilities to stop Batty.

Even though replicants are vastly superior in ability, humans are still the dominating species on Earth. Mankind is challenged through the replicant revolt, and it seems as if humans understand their inferiority and respond out of fear through mass elimination. The replicants’ physical superiority is demonstrated numerous times throughout the film, such as Deckard fighting Roy Batty and Pris. It is clearly shown that he, as a human, cannot defend himself against a replicant without a firearm. The battle with Pris, for example, demonstrates that even a small female replicant can easily overpower a physically fit human male, overall threatening both humanity and masculinity. Roy Batty also threatens humanity through his desire to extend his own life. Other replicants would then follow, effectively threatening humans’ position as the dominant species.

Blade Runner also addresses the issue of human reproduction based on sexual identity. Author Scott Bukatman suggests, “The Human/Android division, then, is the narrative vehicle for the deeper and more urgent distinction to be made between Human and Inhuman” (3). As the film progresses, Deckard falls in love with Rachael, a model of replicant who believes she is human. He convinces of her of her true identity, and she eventually returns his love. Their relationship would be inherently sterile, and they must address their conflicting emotions because of Rachael’s inevitable fate. The possible threat to human reproduction stems from the onset of manufactured reproduction. Should human/replicant relationships exist, human reproduction would be greatly reduced, though replicants would continue to be produced.

The cultural context of Blade Runner’s release is slightly different than that of 2001, though thematically it continues with human inferiority to technology. The 1980’s saw the boom of rapidly advancing and affordable computer technology. Thus began the serious discussion of artificial-intelligence threatening humans. The film addresses genuine concern that the continued lightning-paced advancement of computer technology could potentially threaten the usefulness of the human mind. Over twenty-five years after the film’s release we can see now that such paranoia is justified through the startlingly intelligent computers and android technology emerging out of Japan as well as a slightly decreasing job market due to robotic “employees.”

2001: A Space Odyssey and Blade Runner are films which, though different in presentation, address the advancement of artificial-intelligence through paranoia due to the increased superiority of technology and the mental and physical inferiority of humans. 2001 addresses technology from an issue of moderation, limiting human’s interaction with technology to a required basis, not a sole reliance. Blade Runner forewarns the rapid advancement of technology to avoid limiting human advancement. Both films effectively demonstrate that humans are in control of technology and could use it successfully, but if abused it can yield disastrous results that challenge the essence of humanity.

Works Cited

(1) 2001: A Space Odyssey. Dir. Stanley Kubrick. Perf Keir Dullea, Gary Lockwood.
1968. DVD. Warner Brothers, 2007.

(2) Blade Runner. Dir. Ridle Scott. Perf Harrison Ford, Rutger Hauer, Sean Young.
1982. DVD. Warner Home Video, 2007.

(3) Bukatman, Scott. “Replicants and Alien Life.” Blade Runner. BFI Modern Classics
Series. Ed. Rob White. London: British Film Institute, 1997. 64-91. (CR 53-66)

(4) Creed, Barbara. “Alien and the Monstrous-Feminine.” Alien Zone: Cultural Theory
and Contemporary Science Fiction Cinema. Ed. Annette Kuhn. London and New York: Verso Press, 1990. 128-141. (CR 128-134)