Technologies and Futuristic Settings of Science Fiction - Essay Example

Topic #5 Despite the technologies and futuristic settings of science fiction, the focus is always on character and on what it is to be human. Discuss with reference to at least two of the set texts. Introduction Science fiction is necessarily situated in what some theorists have deemed a ‘novum’ -- that is, as Darko Suvin as cited in Brant (2010) has characterized, “a deliberately introduced change made to the world as experienced by author and reader, but a change based upon scientific or other logic.” As by its very definition science fiction is rooted within the confines of a genre, many critics have derided the genre as non-literary; however, upon examination it’s clear that the central concerns of science fiction are oftentimes directly in-line with the concerns of literary fiction. Further, rather than limiting the text, science fiction constructs have been argued to actually engender more insightful philosophical investigations. In a popular science fiction blog, writer Brad Templeton (2010) recently indicated, In mainstream literature, the cliché is that the purpose of literature is to “explore the human condition.” SF tends to expand that, to explore both the human condition and the nature of the technology and societies we create, as well as the universe itself… The best hard SF thus explores the total human condition. In this sense, the futuristic settings and slightly fantastical subject matter aid the text in constructing an investigation into the nature of humanity that otherwise couldn’t be as successfully broached in more traditional writing or film. While the nature of science fiction is broad to the extent that it can encompass most literary examinations, it seems that despite its genre characteristics the central concern of the science fiction text is the examination of the humanity of its characters. In Ridley Scott’s Blade Runner and the Wachowski brother’s The Matrix the nature of humanity is literally explored through the philosophical investigation of what it means to be human. In examining the philosophical quandaries posed by Blade Runner and The Matrix, this essay demonstrates that despite their technologies and futuristic settings, the central concern of these science fiction works is the investigation into humanity and what it means to be human. Blade Runner Blade Runner posits a future world wherein the Tyrell Corporation has constructed a robot so equal in intelligence to its creator that upon its revolt on a distant planet it had to be banned on earth. The film opens with an investigator questioning a man seemingly to discover whether he is a replicant; that is, one of the robotic beings that have been outlawed on earth. By Director Ridley Scott opening the film with this scene the question of the nature of humanity in this hypothetical world is situated as a central thematic concern of the text. Indeed, the investigator goes on to question the man – Leon Kowalski – by asking him if he would help a struggling tortoise in a desert. This line of questioning seeks to establish the ‘true’ humanity of the non-replicant individual in their moral and emotional empathy for human-kind. The next question is about Leon’s mother to which he responds by shooting the investigator dead. At this point in the film the Harrison Ford character is introduced, Rick Deckard, and it’s his job that he reluctantly accepts to track down the wayward replicants and retire them. When considering that the film’s central concern is the question of what it means to be human, Deckard can be seen as the literal investigator in to the replicants whereabouts, but also as the metaphorical investigator into their nature as beings in a post-modern world. When examining the humanity of the characters it’s necessary to consider the philosopher Descartes who once stated, ‘I think therefore I am,’ when attempting to formulate the answer to the ultimate question of how one is to determine if they truly exists. It’s reasonably safe to assume that the film is consciously influenced by the philosophy of Descartes, as a number of instances make direct reference to the philosophy. At one point when Sebastian, a loner who helps the escaped replicants, asks the replicants to do something superhuman, Pris responds, “We’re not computers Sebastian, we’re physical. I think therefore I am.” One might even consider the similarity of Deckard’s name to Descartes. Deckard soon encounters Rachel, a replicant so well-programmed that she doesn’t even realize she is a replicant. Another interesting feature of the film is that while the viewer suspects the Deckard is himself a replicant, this fact is never revealed. The situations of Rachel and Deckard are a testament to the impossibility of determining the true humanity of the individual through formulations as fantastically simple as one might initially suspect. The film posits that perhaps empathy and memories are essential human traits; indeed, the investigator asking Leon about his mother before Leon shoots him becomes a cyclical recurrence throughout the film, as Deckard continually replays the incident. This line of inquiry is complicated though by Deckard’s relationship with Rachel. In interviewing Rachel, he advances with a series of questions that test her memory, morality, and empathy for humanity, all of which she seemingly answers correct, as it’s only through the lie detector screen that Deckard is able to determine the truth. The film also plays with the concept of empathy, as it’s oftentimes the humans who appear to be the most uncaring. When speaking with Rachel Deckard brutally informs her that her memories are false and that she is a replicant. Later in the film the viewer is introduced to Rutger Hauer’s character, Roy Batty, the apparent leader of the replicants. Roy is consistently perhaps the most empathetic being in the film, as he demonstrates stark grief upon discovering the death of Leon Kowalski and Zhora. Perhaps the most outright display of empathetic concern occurs by Roy upon discovering the death of his love interest, Pris. Whether love is a central trait of humanity is best examined through the relationship between Rachel and Deckard. At one point in the film Deckard finds himself trapped by Leon who is about to shoot him, at this instant Rachel emerges and murders Leon. This act demonstrates her love for Deckard, and leads one to question if their mutual attraction doesn’t signify the underlining humanity of the supposed ‘replicant.’ The next scene finds them in Deckard’s apartment, and while the mise-en-scene is seemingly non-biased, upon closer inspection it’s clear that Ridley Scott is purposely directing the viewer’s attention towards acts that humanism the two individuals. Deckard is seen at the piano looking at pictures of his mother, as well as sheet music. It’s not clear what’s occurring in his head, but one might suspect that he takes comfort in these objects as they are indicative of his true human nature – his birth, and his ability to understand the human condition as evidenced in music. The film intercuts these shots, with shots of Rachel as she undoes her hair, letting it now brush her shoulders and flow; while the effect is subtle, by freeing Rachel from her meticulous demeanor it gives the viewer a new impression of her as altogether human. They ultimately embrace and shed tears in highly poignant and humanistic moment of their accepted existence. While the film remains highly ambiguous and subtle in not distinctly offering the viewer philosophical closure, it does explore a number of conclusions. After convincing Sebastian to help them, Roy and Pris visit their maker. They discover that they are more human than originally assumed as their death is not something that was programmed into their system, but a necessary component of their existence. In discovering this Roy chooses to murder his maker. While it’s difficult to determine his exact purpose, it seems that by immolating the creator he is attempting to overcome his own inhumanity. Later, Deckard and Roy engage in a climactic confrontation, wherein at one instance Deckard faces imminent death and is saved by Roy. A few moments later the viewer discovers that Roy’s expiration is occurring, and Roy utters his finals words, “You have no idea what I have seen…All these things will be lost – like tears and rain…time to die.” While this is a vague line, one can extrapolate it to mean that humanity isn’t in what we are composed of, but in our experiences -- what we do while we are alive. After uttering these lines, a dove flies towards the sky, a possible symbolic indicator for the release of Roy’s soul. The Matrix The Matrix is similar to Blade Runner in many regards; however its underlining exploration of the human condition differs in significant ways. Both films meld film noir mise-en-scene with established science fiction genre conventions to produce a wholly post-modern text. The film also demonstrate a similar thematic concern with Cartesian philosophy; where Blade Runner explored the question of existence as it relates to the essence of being human, the Matrix takes Descartes’ concern with dreams, in investigating the fabric of our very reality. The Matrix also explores Descartes’ concept of Dualism. Descartes questioned the dual nature of the body and the mind, positing that there must be some unknown entity that connects the two as our thoughts control our physical movements. We see this philosophical investigation into the human condition at the middle of the film when Neo learns that if you die within the Matrix you die within reality, “The body cannot live without the mind.” Whereas Blade Runner was content with significantly exploring a few philosophical quandaries, the Matrix offers an almost encyclopedic investigation into philosophy and the human condition. One might consider David Kyle (Herman 2006, p. 12) who stated that science fiction, “Science fiction implies an investigative process. Scientists deal with theories and possibilities while imagining new relationships between variables or situations.” In this understanding, science fiction isn’t merely a genre convention that incorporates technology and futuristic settings, but an actual investigative process into the nature of reality. The viewer is first introduced to Thomas Anderson as a message informing him that a knock is about to be heard on his door. To Anderson’s great surprise, the knock occurs a moment later and he answers the door to discover a group of his friends looking to buy a bootlegged computer chip. The visitors notice Anderson’s demeanor to which he responds, “You ever have that feeling where you’re not sure if you’re awake or still dreaming?” The line establishes one of the central themes of the film, namely, illusion vs. reality. The opening scenes also establish another important theme that recurs throughout the film; that is, the theme of free will vs. determinism. Thomas Anderson’s actions are understood in advance by a then unknowable force. The knock on the door is predicted, and then Trinity approaches Anderson at the club and relays to him that she knows why he is there. Later at his office, the investigators come to take Anderson into custody and Morpheus tries to omnisciently direct him on the proper escape. While the viewer learns that these occur because Anderson exists in the Matrix they establish the metaphysical reality of the film as one largely based on a deterministic force. Even after Anderson, or Neo, learns the true reality of his situation fate continues to play a central role in the film’s ontology, as Morpheus instructs Neo that the Oracle has prophesized that Neo is the chosen one. The film is also resplendent in references to this theme: Morpheus asks Neo, “Do you believe in fate?” A number of instances throughout the film, when Neo is near death, the central characters question the fated prediction and are unanimously proved wrong. As in Blade Runner, the Matrix explores the transcendent ability of love. While both posit that love is a central concern of the human condition, The Matrix makes an arguably more overt use of the concept than Blade Runner’s explorations in the Deckard-Rachel romance. In The Matrix love is explored through the budding relationship of Neo and Trinity. The majority of the film presents their relationship in typical Hollywood fashion, when Neo dies within the Matrix the concept is given a science fiction slant as it’s only through the love of Trinity for Neo that he is able to transcend the reality of his death and successfully confront the agents. Even in the throes of 2199 and post-modern science fiction is the basic idea, as old as Sleeping Beauty, that love conquers all. As Neo awakens from his near-death experience he is imbued with the ability to no longer be constricted by the Matrix framework. He can now stop bullets in mid-air and no longer has to run from the agents, but can take them on directly. In direct opposition to Blade Runner where humans enslaved the replicants, Neo has broken free from the shackles of his own slavery at the hands of the machines, and in a new evolutionary twist has transcended the bounds of the Matrix and reasserted the dominance of humankind. Conclusion In conclusion, it’s clear that while the science fiction text is situated within futuristic settings with advanced technologies, the central thematic concerns are always with the character and the human condition. In Blade Runner this is evident as Ridley Scott questions what is essentially human, whereas The Matrix explores the question in terms of the essence of reality. In both instances, the viewer is asked to go beyond simple genre appreciations and question their very existence and place in the world. It should be ultimately clear that quality science fiction isn’t that which uses futurism to advance the plot and hold the viewers attention, but that it uses these conventions to explore concepts, particularly character and the human condition in ways that traditional literary explorations are incapable of accomplishing. References Brandt, Jens ‘What defines Human?’ Jan. 2010 http://br-insight.com/2000/07/16/what-defines-human/ Herman, William. (2006) ‘Humanistic Themes in Science Fiction an Interview with David Kyle’ The Humanistic Psychologist, 34(3), 263-280 2006, Lawrence Erlbaum Associates, Inc. Templeton, Brad ‘What is Hard Science Fiction?’ Jan. 2010 http://ideas.4brad.com/what-hard-science-fiction Read More