Science Fiction Final Essay Genre refers to a category of texts which often share similar ideologies and follow a set of conventions which shape reader expectations. While traditionally viewed as static, with texts expected to conform unequivocally to a genre, generic forms have evolved and are now considered to be dynamic and fluid, continually being reinvented, as they are influenced by earlier texts and reshaped by context. The film 2001: A Space Odyssey (1968), directed by Stanley Kubrick, the short story The Ones Who Walk Away From Omelas (1973) by Ursula LeGuin, the novel Neuromancer (1984) by William Gibson and James Cameron’s film Avatar (2009) are exemplary of this concept as they move away from B-grade science fiction texts, while still exploring technological, moral and philosophical possibilities and the “impact of scientific advance upon human beings,” as articulated by Asimov. Reflecting the notion that genre is a “collective system of representations and beliefs” (Amossy), a significant issue explored in 2001 is the role of technology in the world, which represents an important preoccupation of science fiction. 2001 distinctly parallels the evolution of technology and its potential to cause destruction and catalyse the evolution of humankind, seen in the famous jumpcut scene when a bone, the first weapon, is transformed into a futuristic space satellite, a symbol of technological sophistication, as is the computer HAL. He also represents the danger presented by creating intelligent beings, and thereby usurping the role of God, although, ironically, he is initially the only being who is portrayed as having any emotion on the Discovery space station, as humans seem detached and uncommunicative, seen in the computer’s words, “I can feel it... I’m afraid,” that contrasts the banal discussions of the crew and exemplifies the perception that technology causes a loss in human communication. Despite these resemblances, genre can also function as “a barometer of the social and cultural concerns of audiences” (Lichter), reflected in Kubrick’s emphasis on space exploration against the backdrop of the Russo-American space race. Also implicit in 2001, is the influence of Cold War paranoia, which gripped much of the western world in the 1950s and 60s, evident in the scene where HAL lip-reads the astronauts, paralleling fears of espionage and surveillance leading to a loss of privacy. The significance of rapidly expanding scientific knowledge is also reflected in the scientific accuracy of the film, with 2001 being the first film to correctly depict space as being silent, breaking the traditional convention of verisimilitude, thereby establishing the value of the genre in terms of intellect and directly influencing later texts, reflecting the notion of genre as a “mutable intertext” (Britten). The Ones Who Walk Away from Omelas, by Ursula LeGuin, explores value systems which define the human race but moves away from utilising technology and instead, as Ketterer says, “extrapolating on what we know, comes up with a startling rationale that puts humanity in a radically new perspective." This use of philosophically oriented ‘soft’ science fiction is evident in LeGuin’s allegorical tale which utilises new wave tropes of examining inner spaces, as it employs extensive imagery to convey the “boundless and generous contentment” of the citizens Omelas. This is juxtaposed to the description of the child as “so thin there are no calves to its legs” to suggest that utopian society is shaped by negative treatment of one individual, demonstrating the value of science fiction as a means of exploring moral boundaries.
© the school for excellence 2013 free online resources at www.tsfx.com.au
The resulting ethical dilemma, the choice between idealism and pragmatism, faced by Omelas’ residents is presented in an ambiguous way by LeGuin, reflecting the nature of science fiction as a discourse on “a spiritual state of balance and the resolution of tensions” (Malmgrem ), also seen in 2001, through the ‘Star Child’. This is seen in the use of a sympathetic narrator who describes the child as the source of all compassion as its “existence and their knowledge of its existence” enable them to “perceive the terrible justice of reality and to accept it” which reflects the rationalisation of corporate exploitation of third world countries, a key concern of the 1970s. However, those who walk away from Omelas “towards the mountains... into the darkness,” are also, in a sense, as morally iniquitous as those who are reconciled to the child’s existence, as not only do they walk away without endeavouring to change the system, the act of leaving itself constitutes an attempt to assuage their guilt. Through portraying both alternatives as intrinsically flawed, LeGuin thus makes a powerful statement about the influence of personal change as the key factor in the development of a better world and reflecting the importance of science fiction as a critique of human values. Reflecting the notion that genre is a system of categorisation, science fiction texts follow a set of conventions, often utilising defamiliarisation to contemplate possibilities in human experience. This is seen in Gibson’s creation of cyberspace, “a consensual hallucination” which unfolds a new social and psychological dimension where one can function “beyond ego, beyond personality and beyond awareness.” Gibson’s exploration of America in the 1980s, reflects concerns of the ramifications of these advancements in artificial intelligence and the fragmentation of the American identity in the context of rapid globalisation. The resulting “punk phenomenon” heralded the advent of the cyberpunk sub-genre, reflecting the notion of genre as a “barometer of social and cultural concerns of audiences” (Lichter). The concept of fluid identity is represented in Neuromancer through the “simstim”, a device that enables Case to experience Molly’s senses, which leads to the devaluation of the body as “meat” to be transcended, reaffirming Rucker’s notion that cyberpunk is valued for its articulation of “new thought forms emerging from the computer revolution.” The concern of cyber punk with the “way in which technology shapes consciousness and behaviour” (Sponsler), rather than the traditional focus of technology itself, is represented in Neuromancer, revealing the dynamic nature of genre. It embodies the transgression of boundaries between human and machine, in a genre valued for its focus on evolution, also seen in 2001. Ironically, while the human characters define themselves only within the framework of technology, seen when Molly says “Anybody any good at what they do, that’s what they are right? You gotta jack, I gotta tussle,” the artificial intelligences Wintermute and Neuromancer transcend their limitations, indicating mechanical evolution and the subversion of human supremacy, a convention of science fiction. Gibson’s description of Wintermute as having “the compulsion to free itself, to unite with Neuromancer,” imbues artificial intelligence with a sense of autonomy and agency, which are lacking in the humans who are, ironically, unable to truly overcome their “wiring”. However, while these texts largely subvert the science fiction genre, Avatar indicates a return to traditional narratives from early 1940s ‘pulp’ science fiction, demonstrating the value of science fiction as a marketing category. Like Herbert’s Dune, a central concern of the film is the impact of corporate greed on the natural environment, which is explored through the creation of an alternate universe, demonstrating Suvin’s view that “an imaginative framework alternative to the author's empirical environment" is a necessary pre-requisite of science fiction. Cameron’s portrayal of the Pandoran biosphere as the lifeblood of Na’vi spirituality, seen in the nerve tassels which enable them to engage with the environment, is comparable to Gibson’s image of cyberspace as Case’s
© the school for excellence 2013 free online resources at www.tsfx.com.au
addiction, demonstrating the shifting values of science fiction, despite “family resemblances” (Neale) of texts from the same genre. It is the destruction of this spiritual connection which is the primary objective of the military-backed corporate company that wishes to obtain rare minerals, seen when Colonel Quaritch explains, “When we destroy their deity, we will blast a crater in their racial memory so deep, that they won't come back,” the metaphor clearly indicating the emphasis of science fiction on spirituality. By positioning viewers to question the interests of the ‘authority’, Avatar also reflects countercultural elements, extrapolating on public censure of the ongoing U.S occupation of Iraq which is seen when Sully describes the military campaign tactics as “shock and awe”, a term used to describe the ‘War on Terror.’ By using this as an allegory for the dispossession of indigenous cultures, Avatar demonstrates the notion of genre as “historically relative, and therefore historically specific” (Neale). Ironically, Cameron also demonstrates neo-colonial attitudes through his perpetration of the ‘White Messiah’ fable and the romanticised ‘orientalism ‘, seen in the portrayal of the Na’vi as “noble savages”, reflecting the melding of the science fiction and western genres. It is, however, the technical virtuosity of Avatar, achieved through the use of three-dimensional technology, which distinguishes it from texts such as Insert Text Here and offsets the typical science fiction fantasy narrative, demonstrating the way in which the genre is valued in terms of visual scope. As seen in the three texts, while the science fiction genre maintains its relevance through the use of recognisable tropes, by exploring possibilities in human experience in new cultural and physical settings, it also remains dynamic reflecting the changing nature of genre over time due to differing contextual concerns.
© the school for excellence 2013 free online resources at www.tsfx.com.au
6 steps to atar success Step 1: Get Ahead
Step 4: Exposure
It has been well documented that those students who address materials in advance of school find it much easier to grasp concepts in the classroom. They also save significant time on their homework and study, and achieve higher test and examination scores. Our “Head Start Lectures” are designed to provide students with the best possible head start in a highly effective, time efficient and relatively painless manner! During the course of these programs, we will work through materials to an A+ standard, introduce students to potential examination questions and deliver vital tips regarding assessments and Year 11 & 12 survival skills.
In order to perform well in the exams, students need to work through as many examination style questions as possible, as well as master the potential tricks and traps that could appear in the exams. Every student who attends a TSFX program receives a large collection of unique examination style questions per subject, to ensure they are optimally prepared for their examinations.
Step 2: Extend & Keep Learned Knowledge Alive Rather than ignoring materials after they have been assessed at school, and then wasting huge amounts of time re-learning the same materials in the stressful weeks leading up to the exams, keep learned knowledge alive with well structured, strategically timed reviews. Our “Master Classes” are highly specialised weekly tuition programs which review and then extend on the knowledge taught at schools, and guarantee to significantly improve Year 11 & 12 scores. These powerful courses are designed to ensure that students reach their full potential, be that a two grade improvement or the elite A and A+ scores! (Note: Our average ATAR score in 2012 was 95.40!).
www.
.com.au
Step 3: Review and Refine
Step 5: Effective Study Skills & Exam Strategies Significant time and effort is placed into study and learning, yet the majority of students do not obtain the results that reflect their commitment and potential. Learn how to achieve those higher ATAR scores (and cut down on stress and study time) with our unique & exclusive study skills and exam strategy lectures. These lectures are FREE OF CHARGE to students, however, we do require that students make a $10 donation to charity on the day.
Step 6: Knowledge is Power
Our “Exam Revision Lectures” are well renowned for providing the most in-depth preparation for the mid-year, trial and final examinations. During the course of these lectures, we will review and then extend on the knowledge taught at school, expose students to vital hints and exam tricks, and clarify classical errors that cost students valuable marks in the exams. Every student also receives a thorough set of A+ notes that will save hundreds of hours in study time!
Join edgeonline for FREE access to a huge collection of A+ essays and projects, weekly study/exam tips, free study skills/ exam strategy lectures, trial exams, critical updates and much, much more! To secure your FREE edgeonline membership (and to be kept informed of TSFX programs), please call TSFX or register online at www.tsfx.com.au/resources.
what are students saying about tsfx? er. “Excellent lectur s te No . ng gi ga En g, in are amaz well worth it.”
“TSFX has re ally boosted m y confidence in class and now I’m re enjoying sc ally hool. ”
tic, “TSFX is fantas wI ho ow kn t I don’ e ad would have m 12 ar Ye it through .” without them
“The 600 km travelled and money spent was most definitely worth it. I’d do it again any day.”
” I can truly say that these lectures ha ve definitely made a huge difference to my grades.”
the school for excellence tsfx vic: a: level 1, 477 collins st, melbourne, vic, 3000 p: 03 9663 3311 f: 03 9663 3939 e:
[email protected] w: www.tsfx.com.au tsfx nsw: a: p.o.box r1407, royal exchange, sydney, nsw, 1225 p: 1300 364 179 f: 1300 364 065 e:
[email protected] w: www.tsfx.com.au
