Film 319 Final Paper

The Societal Benefit of Computer and Cyborg Technology
Dave Myszewski

The science fiction genre has always been a beacon looked to for technological innovation and capability. More often than not it is the goal of the filmmaker or writer to tell a story rather than predict the future (with the exception of Arthur C. Clarke), but regardless of how “out there” a story might be, society and technology continuously pulls from science fiction to help mold the future. Cellular phones, for example, first appeared in the original Star Trek series of the 1960’s. Wireless technology was at the time nothing more than a pipe dream, but in today’s society a person is lost without a mobile phone. A common recurring theme among many science fiction films is artificial intelligence, either through computer technology or the cyborg. 2001: A Space Odyssey (1968, Stanley Kubrick, Shepperton Studios, Shepperton, England) (1) and Blade Runner (Ridley Scott, The Ladd Company, Los Angeles, California) (2) provide a realistic view into the future of computer technology as a means to replace and simplify labor, but in the end threaten the superiority of the human.

2001: A Space Odyssey tells the story of an investigation into the mysterious discovery of a black monolith and its apparent focus on the Jupiter system. The shuttle crew, headed by Dave Bowman (Keir Dullea) and Frank Poole (Gary Lockwood), travel aboard the space shuttle Discovery to investigate the monolith and uncover its origin and intention. Aboard the Discovery is the super computer known as HAL-9000. Its job is to maintain the shuttle’s course and ensure the safety of the crew while maintaining the ship’s vitals. The HAL-9000 unit maintains a reputation of being the smartest computer currently in existence. HAL describes himself as being “fool proof and incapable of error.” He is demonstrably more intelligent than the crew, such as when he beats Frank Poole in a game of chess.

The film was made at a time when computer intelligence was vastly inferior to the technology of today; however, its vision of the future is surprisingly accurate. Since the 1980’s, computer technology and intelligence has been continuously and exponentially increasing. Computers have for many years been more intelligent than the human brain, and many people question the morals of such power. The film presents an over reliance on HAL to reach certain objectives and essentially provide life. Today, there are “smart houses” that rely on a central computer for vital support, such as plumbing and electricity. Such technology can definitely be useful when used in moderation; however, overreliance can lead to panic when said technology becomes unavailable. In 2001, as HAL begins to malfunction and tries to eradicate the crew, Dave Bowman must take it upon himself to disable HAL to ensure his own survival. Obviously, such a scenario is a more extreme than those of the real world, but it demonstrates a sense of over reliance on technology. It seems as if Stanley Kubrick and co-writer Arthur C. Clarke’s pessimistic vision of our technological future has followed the path of the film, but should we moderate our use of technology and reduce it to co-reliance instead of sole-reliance, technology could affect our lives in a positive way.

Blade Runner tells the story of Rick Deckard (Harrison Ford) and his attempt to eliminate a race of cyborg’s known as Replicants. Once used for labor purposes, Replicants try to fight their pre-programmed four year lifespan, and the once beneficial cyborgs become a threat to humans do to their superior strength and ability.

Like with 2001, Blade Runner presented the accurate representation of humans’ over-reliance on superior technology. Humans became arrogant in their intention to create a race of physically powerful and intelligent cyborgs to be used only for labor, and paid for it with their struggle to eradicate them. The film presents artificial intelligence as a burden on society. What was once a beneficial piece of technology has become the ultimate threat to humanity.

The context of Blade Runner is representative of a time obsessed with the exponential boom of computer technology. The 1980’s exploited this surge of new technology, and the film attempts to depict this exploitation by showing how it could be a detriment to society. Robots and cyborgs aren’t a new concept, but only in the past few years have scientists been constructing artificially intelligent cyborgs with shockingly realistic human features. It seems as if the world is moving ever closer to the world depicted within Blade Runner, that being a world in which humanoid cyborgs are used as a means to make human life easier. This can be examined most easily within the factory setting, as robotic armatures and machinery have taken over human labor. Like 2001, Blade Runner suggests that moderation is the key to successful cohabitation of humans and technology.

Many films depict cyborgs and artificial intelligence as being solely beneficial to society, such as Robby the Robot in the 1956 film Forbidden Planet, or the cyborg Bishop from Aliens, released in 1986. We see these silicon based creatures, or hybrids of machine and organism as suggested by author Donna Harraway (4), tend to humans’ needs and desires or aid when needed. 2001: A Space Odyssey and Blade Runner, however, took this concept to the extreme, and showed the audience that these once beneficial technologies have backfired.

An issue for debate is whether this sudden shift is a result of conscious intelligence or computer malfunction. HAL-9000, for example, “chose” to eliminate the crew because he saw them as a threat to the Jupiter mission. Earlier in the film, however, HAL exhibits an error in judgment when he wrongly detects a fault in the Discovery’s AE-35 antenna unit. This error, however, could have been used as a ruse to eliminate the crew. When applied to society, 2001 explains that we are over reliant on technology to run our lives. We sometimes forget that computer malfunction sometimes occurs, and when it does we are once again forced to fend for ourselves.

The opening sequence of Blade Runner explains that the Replicants attempted to overthrow humans’ through revolt, and some took it upon themselves to attempt to extend their four year life span. It seems more likely that the Replicants consciously chose to overthrow the humans, which is a result of human greed to create a cyborg species intelligent enough to rationally problem solve. At the end of the film, as Roy Batty engages in conflict with Deckard, we hear this intelligence. For example, we see his taste for karma as he breaks Deckard’s fingers as punishment for killing his close Replicant counterparts, and we also see compassion as he pulls Deckard up after hanging from the side of a building. Baty’s rationality, according to author Scott Bukatman, calls into question the boundary between human and replicant/cyborg (3). If the Replicant is intelligent enough to think rationally, at some point the boundary between computer and human intelligence is breached. As humans continue to build increasingly advanced and intelligent cyborgs we must be cautious of their intelligence. Should they one day understand their superiority we may end up facing the same consequences as explored in Blade Runner.

The films 2001: A Space Odyssey and Blade Runner both explore advancements in computer and artificial intelligence from a negative and cautionary standpoint due to humans’ tendency to exploit and over rely on such technology. These advancements can greatly benefit society, but as shown in 2001, computer malfunction can lead to disastrous consequences. Blade Runner has shown that human superiority can be challenged by cyborg and humanoid intelligence. Though they are negative in context and consequence, both films can be used as a template for how not to treat such powerful technology. These films explain that computer and cyborg technology can be a giant step in the ever advancement of human power and capability through technology if cautiously examined and used in moderation.

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) Haraway, Donna. “A Cyborg Manifesto: Science, Technology, and Socialist-
Feminism in the LateTwentieth Century.” The Feminist and Visual Culture Reader.
Ed. Amelia Jones. London and New York: Routledge, 2003. 475-497. (CR 180-202)

Visual Essay II

2001: Star Gate as a Commentary on Special Effects
By: Dave Myszewski

2001: A Space Odyssey (1968, Stanley Kubrick, Shepperton Studios, Shepperton, England) (1), in addition to its brilliant narrative, is known for its groundbreaking innovation and advancement into filmmaking and special effects technology. It was the first film to extensively utilize retroflective matting, or front screen projection, as a means to produce realistic backdrops and sceneries, and was widely used in cinema until the rise in green-screen technology in the 1990’s. Another innovation would be the camera treatment used to shoot “in-flight” spacecraft in which model ships were filmed in multiple shots while moving on tracks to simulate movement and environment. These techniques were used and built upon for George Lucas’ 1977 film, Star Wars. Perhaps 2001’s most memorable effects occur during the Star Gate sequence which utilized slit-scan photography to enhance the realism and believability of intense movement through time and space.

The Star Gate sequence in 2001 occurs as main protagonist Dave Bowman abandons the ship Discovery and ventures into the mysterious giant black monolith which orbits Jupiter. Though presented more abstract in the film, the companion novel explains that Bowman travels through a time warp which quickly leads him through alternate dimensions and alien worlds. Kubrick chose to represent this using fast moving abstract shapes and colors generated through slit-scan photography, which special effects supervisor Douglas Trumbull and his effects team generated. As author Patricia Mellencamp suggests in her analysis of the 1999 film The Matrix, technology in film can be seen as a "hybrid, mutable object-simultaneously old and new, physical and emphemeral, real and virtual, analog and digital" (3). This can be applied to the Star Gate sequence in so much as it appears to bridge the gap between the natural and the technological in the known universe.

The time consuming procedure is essentially a more complex version of leaving your still camera shutter open to track light or motion. It involves placing a transparency underneath a small screen onto which a small slit has been cut. One frame is exposed as the camera shutter is left open. Moving the transparency and the height of the camera provides the effect of motion, as shown in the Star Gate sequence.

For the audience, 2001 provides an accessible vision for the future through it’s technologies, as suggested by author John Belton as referred to by Scott Bukatman (2). Though the Star Gate sequence is a far departure from anything presented earlier in the film, the visuals are so mysterious and impressive that it is also believable. The quick and intense transition of light patterns generated by slit-scan photography could be interpreted as the narrative commenting on human arrogance and inferiority because we do not possess as much universal or technological knowledge as we think we might. At times the visuals appear to dance playfully around Bowman as he travels through the vortex, almost as if to say, “You’ve come this far, but you’ve got a long way to go.” It enhances the realism of the overall narrative by expanding the consciousness of Dave Bowman and thus the viewer. After being presented with over two hours of impressive and realistic special effects with limited narrative dialogue, the idea of the Star Gate sequence is much more palatable, and its intensity puts the viewer at its mercy.

2001 provides many awe inspiring and mysterious moments that captivate the viewer and drive the narrative, though the Star Gate sequence stands above the others. The film itself transcends traditional science fiction film do to its accessible narrative, and together with the special effects it serves as a timeless art piece that will continue to inspire viewers, filmmakers, and artists in continued history.

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

(2) Bukatman, Scott. “Zooming Out: The End of Offscreen Space.” The New American
Cinema. Ed. Jon Lewis. Durham and London: Duke University Press. 248- 272. (CR 233-245)

(3) Mellencamp, Pat. “The Zen of Masculinity – Rituals of Heroism in The Matrix. The
End of Cinema as We Know It: American Cinema in the Nineties. Ed. Jon Lewis. New York: New York University Press, 2001. 83-94. (CR 266-272)

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)

*Blog #3

*Posted here because of difficulties posting to the class blog...

Science-fiction films between the 1960’s and 80’s present an overall pessimistic view of the relationship between humanity and technology. They often support conservative ideals that present a world completely overrun by technology which degrades human existence. “THX 1138”, for example, presents a world in which human freedom and individuality are limited and controlled through chemical and technological influence. There exists a particular form of equality, not through respect and understanding, but through identification (number) and duty (mindless, repetitive jobs).

More liberal films, however, attempt to break from this control and present a more mutual relationship between humanity and technology. “2001: A Space Odyssey”, for example, is arguably one such film. Aboard the Discovery, the relationship between the HAL-9000 computer and the crew members Frank Poole and Dave Bowman is almost symbiotic. They each maintain their own duties which the other cannot partake, such as the crew making necessary repairs while HAL flies the ship and keeps the hibernating crew alive. As opposed to the more conservative films, it presents a cautiously optimistic view of humans and technology, saying that technology can be a very beneficial gift so long as it isn’t abused.

In “Blade Runner”, it is important that Deckard’s status remain undetermined because it presents an interesting and ironic view on human/technology interaction. Deckard has a job in which he excels, that is to weed out replicants, and should he be a replicant it would be very hypocritical. Remember, though, that the character Rachael did not know she was a replicant, which suggests that such knowledge is not always theirs to control. Roy Batty’s character, for example, knows of his status and that he will soon die. He despises humans because of their control and extended life, tries to extend his own at the expense of humans.

Visual Essay #1

"2001: A Culture Odyssey"
By: David Myszewski

2001: A Space Odyssey (1968, Stanley Kubrick, Shepperton Studios, Shepperton, England) is a legendary science-fiction film that often ranks among not only the top
Science-fiction films of all time, but in all of cinema. It very classic science fiction through it’s theme of artificial-intelligence and technology versus the human psyche, though it breaks through the barrier of cliché science fiction films of the era due to Kubrick’s filmmaking style.

We identify 2001 as science fiction due to several recurring themes, such as being set in space, themes of technology, and most notably the space ship. Author Vivian Sobchack would suggest that these themes sets science fiction apart from other genres. Science fiction is a broad yet general genre, being able to discuss many abstract themes yet still adhere to specific themes and ideals like humans and technology, extraterrestrial life, or space exploration.

Human and technology interaction is nothing new to science fiction, as explored in Fritz Lang’s Metropolis, released in 1927. 2001, however, explored this avenue in a slightly different way. The film presents a pessimistic commentary on man’s reliance on technology and artificial intelligence and the disastrous results that may result. In the film, we see the main ship, the Discovery, being manned by the HAL-9000 super computer on a trip to Jupiter. HAL himself describes the 9000 series of computers as “fool proof and incapable of error.” Author Cindy Hendershot would suggest that such a super computer presents a paranoid view of humanity in its relation to technology. Humans lack full control under the 9000 unit. As the film progresses, the protagonists Dave Bowman and Frank Poole are suspicious of HAL’s judgment and suspect error which eventually leads to his deactivation. With HAL gone, Bowman is then left helpless in the vast reaches of space. The film suggests humans need to work hand-in-hand with technology instead of sole reliance.

2001 strays from the cliché of science-fiction films largely due to Kubrick’s classic style and dedicated approach to realism. Science-fiction films have always tended to defy the laws of physics as much as possible, such as ships moving as fast as fighter-jets and sound which seems unaffected by the vacuum of space. Kubrick avoided these pitfalls through simple camera techniques, such as greatly extended slow moving shots, or allowing a ship to dock into a space station for over one minute. In one particular sequence the main protagonist, Dave Bowman, needs to re-enter the Discovery without his helmet, and he is thrust into the vacuum of space. Kubrick represents this with silence until Bowman flips the switch for the emergency hatch and the sound reemerges.

Unlike other film-to-movie adaptations, the film and novel of 2001 were developed side by side with the conjunction of Kubrick and acclaimed science-fiction author Arthur C. Clarke. Known for realism and scientific-relevance in his writing, Clarke provided Kubrick the necessary scientific research required to make the narrative as realistic as possible. There are some, though not many, literary differences between the film and novel. The classic “Jupiter and Beyond the Infinite” sequence, for example, is a greatly shortened version of the novel. Kubrick wanted to break the barrier of generic science-fiction and make a film relevant to culture and society of the time. Not lacking are other trademark Kubrick shots, such as close under-views of characters. Similar shots are also found in Kubrick’s A Clockwork Orange. The mise-en-scene of the film is addressed through a classic space setting and seclusion through the ship, the Discovery.

The 1960’s were the era of the space-race. America and Russia had their eyes on the moon, and 2001 was the true artistic response the world needed. 2001 added an element of realism unmatched by other films due to the immense scientific research that went into its production. The surface of the moon, for example, is something the world had seen until America’s Apollo missions, a year after 2001’s release. Kubrick and Clarke were able to recreate the lunar surface with startling accuracy. Their approach to zero-gravity was equally accurate, as shown in one of the opening sequences where the character Dr. Heywood Floyd’s pen floated away as he slept.
2001: A Space Odyssey is a film that attempted to apply science fiction to real life. It presents fantasy from a perspective of awe rather than cheap thrills.





Works Cited

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

Cindy Hendershot. “Paranoia and radiation anxiety in Invaders from Mars, It Came from Outer Space and Invasion of the Body Snatchers" Extrapolation 39.1 (1998 Poland 26-39).

Vivian Sobchack, “Images of Wonder: The Look of Science Fiction.” Screening Space: The American Science Fiction Film. 2nd Ed. (1997 New Brunswick: Rutgers University Press,).