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,).