What do science fiction films tell us about their own times?by Alex Christofi / May 31, 2013 / Leave a comment
A year or two ago I had a brief affair with early film. In a marked and productive change from watching YouTube videos containing words like “fail” and “vs,” I started to look up silent films. I was amazed by Buster Keaton’s famous train scene in The General, which is not only a virtuosic performance but, with its dangerous stunts, could have been his last. As I clicked back through history, I discovered that the train was already cemented in film tradition at that early stage: one of the first pieces of footage ever shown to the public showed a train—that great Victorian symbol of the future—approaching from the distance. The first audiences screamed as the image rushed past the camera, unable to separate film from reality.
Soon, people were quite used to the apparitions projected by the likes of the Lumière brothers, depicting workers leaving a factory, and other similar scenes of which the best that can be said is that they were true to life. Cinema had already promised something better, a vicarious thrill, a way of putting the spectator in the apparent path of a train without the risk, of visiting extremes without leaving your seat.
And so, even in its inception, cinema was a departure from reality, a proving ground for the imagination akin to dreaming. George Méliès’s famous Voyage Dans La Lune imagined a spaceship landing on the moon (or rather, in his eye), while HG Wells’s visual, proto-cinematic writing explored the same issues of temporal and spatial contraction that were being ironed out in this new medium. Science fiction (SF) and film were born in the same moment, and you can’t tell the story of one without the other.
Projecting Tomorrow: Science Fiction and Popular Cinema (IB Tauris, £14.99), the new book by James Chapman and Nicholas Gill, takes pointedly against the “fashionable cult of Deleuze,” and opts for a historical reading of some of the key SF films. The authors reject “voguish trends in cultural theory,” arguing that the imagined future of each film sheds light on the anxieties of the times in which they were created. This may be a truism, but it is still a fascinating lens through which to look at 12 of the…