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The Terror:Sci-Fi Equation

Alien

As I was making a list of my 50 favorite horror crossover films, it suddenly struck me how many films, classified by most as science fiction, have a large horror/terror component to them.  In fact, I had a difficult time not wanting to classify many of my favorite sci-fi movies as horror or at least horror crossovers.  Alien is the perfect example.  I have friends (really I do) who consider Alien strictly science fiction, but take a close look at the dark interiors, and the horrifying creature stalking the trapped crew – always just out of site.  The reveals (or peeks) of the creature are more like something out of a classic horror/slasher film.  And let’s not forget the first ever chest-burster debut!  In fact all the sci-fi elements play second fiddle to the monster/alien.  The movie starts out like a science fiction movie, but rapidly accelerates towards the horror side of the scale with every frame past the discovery of the crashed alien ship on the planet’s surface (a ship which I believe appears in the prequel, Prometheus).  But I digress.

 

Sub-genres or Categories

It is my contention that most if not all sci-fi flicks fall into 5 basic sub-genres/categories:

1. Adventure/Opera: Star Trek [2009], Space Cowboys [2000], Cowboys and Aliens [2011], Star Wars [1977]

2. Discovery/Exploration: Stargate [1994], First Men in the Moon [1964], Time Machine [1960,2002]

3. Psychological/Bizarre: Pandorum [2009], Event Horizon [1997], Virus [1999], Doctor Who [?]

4. Humor/Farce: The Hitchhiker’s Guide to the Galaxy [2005], Dark Star [1974], Galaxy Quest [1999], Spaceballs [1987]

5. Primarily Horror: Alien [1979], Invasion of the Body Snatchers [1978], I Am Legend [2007]

(Obviously, this list is not all-inclusive, and films exist that cover multiple categories, but it should give you a pretty good idea of my categories.)

 

So what is the terror:sci-fi equation?

As I examine the above examples of science fiction, I see that all but the humor/farce films have elements of horror.  (I would entertain the argument that even the humorous films have some element of horror or fear – though mocked or made melodrama.)  Whether it’s villains, aliens, or just surviving the hazards of space and mad science experiments, the danger and the terror is there.  So what is it about science fiction that makes us turn it into nightmares?  We could be creating images of a Utopian world in which aliens and/or science has conquered all evils, and all sentients live in peace and harmony…but lets face it, that’s boring!

It’s much more interesting to create Dystopia, man-made monsters, science experiments gone terribly wrong, and aliens that want to eat our face off.  Perhaps we secretly fear there is something intrinsically wrong with science.  Honestly, despite our public schools (or because of our public schools), most people have very little understanding of science – especially the hard sciences; the kind required to make space travel and human-like robots a reality.  We fear what we can’t understand.

We also fear the unknown (perhaps more than anything else), and if science teaches us anything, it is that there is a great deal we do not know – about “life, the universe and everything”*.  This ability of humans to examine our fears, put them under a microscope, indulge them, poke them with a 1,000 megawatt cattle prod, and even seek them out on a regular basis, is truly amazing.  Why do we do this to ourselves?  Is it the thrill?  Heck  yes!  Why else?  Apparently, since saber-tooth tigers went extinct, life just isn’t exciting enough for us so we invent ways to make it so.  One of those ways is by living vicariously through others – including characters in cave paintings, folk tales, books, movies and TV.  We just can’t get enough fear.  If we were in isolation and our brains were wired with a button to activate fear, we’d push that button rather than feel nothing.  I suspect many of us might even become addicted.  Perhaps we are already addicted.  So, in order to reach the intensity that makes our earthly existence bearable, and in lieu of wiring our brains, sci-fi fans amp it up with healthy doses of horror.

What does all this amount to?

The possibilities presented by science fiction are interesting, but not so much so that we’re willing to pay to sit in a dark theatre without the thrill of adrenaline.  The more real the fear the better we like it.  I believe this fear transforms us, giving us the power to move beyond the barrier of the screen and live on the other side, if only for a little while.  And life on the other side of the screen is full of deliciously terrifying possibilities (sans button).

On a personal note: I can’t wait to see what horror Ridley Scott has cooked up in Prometheus!  I’m pushing my button right now, just to make sure my fear is in good shape.

* “Life, the universe, and everything,” is a quote from Douglas Adams’ The Hitchhiker’s Guide to the Galaxy series.

Please, don’t be afraid to comment with your thoughts or pet-fears!

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What Can Be Said About Theme?

Metropolis - Maria

Metropolis 1927 - Explores Social and Political Themes

Theme in literature is perhaps one of the hardest things to define.

We (meaning me and possibly you) hem and haw and verbally fence around the topic of theme.  We think we know what it means, and yet it is perhaps the last thing we can identify about any story.

Sometimes it is only after we have read or written the entire story that we begin to pick up the thread of a theme. And generally this only happens after we’ve been prodded by someone (like a high school English teacher) or some article we’ve read.  Years might pass before we recognize the theme or glimpse a new one. And why, when theme is perhaps the most important (most lasting) thing we can get out of reading? Theme may be the most important thing we give our readers when we write, even when we think we’re “just entertaining” them.  Theme is the thing that will keep them scratching their heads and thinking or talking about our story long after they thought they were through with it.

Theme, like setting, mood, character, style, and plot, is an integral element of all fiction writing.

So why is it we have such a hard time identifying theme? Perhaps it is that themes represent our deepest thoughts about the human condition and it takes deep contemplation to fully grasp them as presented through the indispensable medium of story telling.  Perhaps it’s because theme is not presented directly but hidden beneath the surface, implied through all the elements of the story as a whole, and only by digesting the entire work do we get their “true meaning”.

If all the story components (plot, character, setting, etc.) are the meal, then theme is the indigestion, or if you prefer to think of it in a more positive light, theme is the feeling of being well and properly fed (perhaps with a little aperitif and/or an after dinner sherry).  After you’re done, you contemplate what it was you ate, wondering what that exotic spice was that the cook used.  It doesn’t matter if the meal sits well with you, you’re stuck with that feeling – at least for a few minutes.  Not all themes will leave a good taste in your mouth, nor should they.

So what constitutes a story’s theme – its true meaning?  Actually, let’s veer away from the word “meaning” as it implies there is a lesson or conclusion that must be drawn. (Besides, we wouldn’t need the term “theme” if we were talking about “meaning”.)  The story’s theme might only be raised to pose a question for reflection, to force into the light some darkly imagined aspect of human existence.  That said, themes generally come across as an expression of the author’s outlook.  I suppose we could call theme the author’s “central idea”, but is this the plot?  No.  Is it a moral to be learned?  Not really.

Perhaps we can get a better handle on what theme is by defining what it is not.  Theme is not the plot or the subject of a story.  It is not a message or moral to be drawn from the story.  It is not a commentary (at least not explicitly).  Theme is not a motif.  These are separate literary aspects all their own, which often contribute to expression of the theme, but theme runs deeper than these surface elements.

So what can be said about theme?

Theme has a cumulative effect on the reader after absorbing all the experiences of the characters in our story and witnessing what those experiences do to the characters (especially the protagonist).  And yet theme does not represent an expected or required change in attitude or thinking of the reader.  That would be a conclusion or moral.  Theme is not the resultant effect, but the cause.  The purpose of the theme is only that the reader be made to see some aspect of the human experience through the author’s lens - the author’s unique perspective.  The theme is more of a nudge.  The rest is up to the reader.  So what do I say about theme?…

Theme is an exploration, led by the author, into the ancient cave of common ideas about who we (humans) are and what our purpose is in the universe.

 

I invite you to leave your comments and thoughts on theme.  Don’t worry, you’re not being graded.

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