“I'm not interested in your little ideas. I'm interested in
something much larger. This habitat is dying. There is a political sickness
inside of it. A tumor that needs to be removed.”
To what
extent do contemporary sci-fi films such as ‘Elysium' comment on social class?
Through the years of science fiction (SF), the
genre has always sought to act as a medium for expressing the anxieties of
their contemporary audience. However, in recent years this genre "has
generally been quite poor (too much CGI in place of character development, too
many explosions in place of ideas)”[1].
This lack of finesse and articulation in the plots of modern science fiction
cinema, questions whether they still create the same effect as they did in
previous years. However, in modern SF films, such as Neil Blomkamp's 'Elysium'
science fiction can be seen as a vehicle to communicate and expose the
blemishes of modern day society. Blomkamp's long awaited film hit cinemas in
the summer of 2013. Its domestic box office sales were $93,050,117[2]
and worldwide, a total of $286,140,700[3].
The audience response were mixed with positives and negatives, positives being
the spectacular use of CGI and negatives being the lack of character and
setting development, but the resonating subject matter were the overhanging
subliminal messages within the film's narrative. Through the binary opposition
in the film, rich vs poor, it can be argued that Blomkamp’s ‘Elysium’ is an
allegory portraying the inequalities of social class in the 21st century. This
representation of social class in 2053 makes this provides personal
identification to all audiences as “social class is intertwined with every
fabric of everyday life.”[4]
In the 1950's, where science fiction was
considered to be at its pinnacle, Don Siegel's 'Invasion Of the Body Snatchers'
was and still is a prime example of how the SF genre can act as a social
commentary and raise social awareness. Although this film is classed a
"black and white B-picture", it was very effective in bringing to
life the fears that inhabited the public. The main reading of this
film "was the alien (read 'Communist') dehumanization and take-over of an
entire community" which was the prominent apprehension of America in
the 1950's. It is proclaimed that Siegel's 'Invasion of the Body Snatchers'
"takes pride of place in a chain of 1950s sci-fi classics of the
questioning, doubting, paranoid variety"[5].
Firstly, Blomkamp’s ‘Elysium’ is seen to be an
allegory for the social inequalities prominent in the 21st century. In the
opening scene, the same establishing shot used to display the carnage of Earth
was also used to flaunt the glamour of the space shuttle of Elysium. This is
interesting because it accentuates the contrast between the two settings. The
resounding contrast in colour between both places also establishes contrast
between lavish and decaying. On the ravaged earth there is the prominent use of
the colour brown. This choice of colour implies that there is famine thus
implying poverty. On the contrary, the space shuttle, Elysium, is in abundance
of crops with the dominant colours of blue and green. This use of primary
colours represents purity as well as a sense of wholesomeness. On earth, the
overcrowding is very evident as seen with the people living off the sides of
the skyscrapers further accentuating the sense of poverty. With the use of the
long shot, the buildings are made parallel with a decaying plant. This is done
through the buildings having rubble stemming from the sides coupled with the
use of colour black. Audiences are able to read that “‘Elysium’ really pushes
that we need to be careful of not overpopulating the Earth and that our
resources, due to the overwhelming population, are limited.”[6]
The slow pace editing allows the audience to bask and to internalise the
extremity of the contrast between the two settings. The use of positional
communication further outlines the contrast between earth and Elysium. Elysium
is placed above earth, looking down on earth thus creating heavenly and
religious connotations. It creates the sense that the space shuttle is like
heaven and is for people that are celestial and are holy. The fact that such a
heavy contrast created right from the offset of the film, it instantly creates
a binary opposition[7].
This therefore acts as an enigma code[8]
for audiences as questions are raised as how earth has got into such a state.
The establishing shot of the space station, makes it clear from the offset of
the film that this film belongs to the science fiction genre because the
futuristic feel as well as the very typical setting of space in the science
fiction genre.
Through this contrast, it exposes the inequalities of wealth. This is created through the massive contrast in wealth; being extreme poverty to excessive wealth. This inequality is ever prominent as “the gap between the rich and the poor keeps widening, [says] the Organisation for Economic Cooperation and Development”[9] Also, through the binary opposition[10] outlined by the two settings established in the opening scene, it draws likeness to Marx’s ideology that the world is set into two groups, “Ruling class, class that is ruled”[11].
Another excerpt in the film that expresses
social inequality is the final scene; when both the protagonist and his helper
infiltrate the space shuttle's main system room. The choice of the colour white
for all the appliances in the room shows how the space shuttle is for the pure
and the holy because the colour has implications of purity. Also, the use of
editing to create the slow motion of the Special Forces team trying to prevent
the coup, enhances the climax that is happening because it dramatizes the scene
thus making it more significant. This use of slow motion coupled with the opera
music playing in the back accentuates the climax because this use of parallel
sound makes the protagonist's sacrifice more moving and sentimental.
Additionally, slow motion is used at the end when Max slowly dies. This
intensifies the feeling of sorrow and emotion that the audience would feel
towards Max's death because the audience is left slowly watching Max's death.
Moments before Max sacrifices himself for the sake of equality, he looks out
the window to see Earth. This point of view shot of Max looking over the earth
is a conventional moment is science fiction film “when the narrative flow is
stalled to make way for visual spectacle”[12],
but also makes his sacrifice synonymous with the crucifixion of
Jesus. This is because Max died for the sake of the Earth, just like Jesus this
parallel further makes Max's sacrifice moving. The flash backs into the
beginning of the film, to when he was a child creates a sense that death is
near because it shows how he is looking over his life which therefore makes the
ending much more climatic as well as emotional.
By Max pioneering social equality, it defies
the pre notion of the ordinary person. "Ordinary people are now convinced
that there is no alternative to the morality of the acquisitive society; that
Britain's seemingly intractable economic problems are quite beyond human
control; that social inequalities are therefore unalterable."[13]
This positive resolution allows audiences to see that there is always hope for
change therefore providing the audience pleasure personal identification. This
links also links with the 21st century perception that “classes are indeed
being fundamentally remade.” [14]Therefore,
by Blomkamp challenging the status quo, it empowers the audience as they are
introduced to idea of change and equality. However, this shows how Blomkamp is
beginning to present more futuristic ideals, like the idea of equality. This
links to the science fiction genre as it aims to “is to pictorialize the
unfamiliar”.[15]
Dating back in the history of science fiction
film, the genre has always served as a vehicle in which the anxieties of the
era can be presented as, “genres may be defined as patterns, forms, styles,
structures that transcend individual films.”[16]
Don Siegel’s ‘Invasion of the body snatchers’ would be a prime example of this.
In this film, the audience sees that the town that is inhabited by protagonist
Miles, is acting very strange. People begin to make conclusions that their
family members are not acting the way they usually do. Miles considers some of
these accusations made deranged because “there is no difference you can
actually see. He looks, acts, sounds and remembers…” This would link to the era’s
“dangerous path of McCarthyism”[17].
McCarthyism is the practice of making unfair allegations without proper regard
for evidence which. In the 1950’s also known as the McCarthy era, thousands of
Americans were accused of being communists, the primary targets of suspicion
were government employees, entertainers, educators and union activists.
Moreover, these accusations being made amongst the family was also seen in
America in 50’s where the Red Scare was at its epitome, to the extent to where
people began to suspect family members of being spies.
Additionally, it would could be seen that the
"Invasion of the Body Snatchers goes beyond Cold War politics into an
anxiety more deeply rooted in human consciousness”[18].
These anxieties are seen in Siegel’s SF blockbuster when the people are swapped
with the pod people double. In the film, when the people are swapped, the pod
people act with no emotion and arguably lose their individuality and
eccentricity. This ties in with the stereotype of how America represented
communism in the 1950’s - making “all its citizens lockstep into a sameness of
purpose and behaviour.”[19]
This ‘red-scare’ was very prominent in America in the 50’s; many citizens in
America feared communism “could destroy American society from the inside as
well as from the outside”[20]
This would definitely present that the science fiction genre has served as a
medium in which society’s fears is represented.
Furthermore, Blomkamp’s ‘Elysium’ presents the
effects of capitalism and the exploitation of the working class. In an excerpt
of the film when Max goes to work assembling and repairing droids, the
conditions of his work place was far from ideal. The use of low-key lighting in
shows how he and his fellow colleagues are kept working in darkness which
highlights the poor working conditions workers from earth deal with. These life
threatening conditions are further seen when Max gets trapped in a radiation
chamber and then begins to suffer from radiation poisoning. After this event in
the film, Max’s
make-up changed drastically to being very pale and always perspiring. This
physical change of the protagonist becoming very sickly and weak, accentuates
these hazardous conditions hence making Marx’s theory of alienation[21]
very applicable.
The exploitation of workers is also very
prominent in the 21st century. In BBC’s Panorama, an episode called ‘Amazon:
The Truth Behind the Click’, it documents how amazon employees work from day to
day. Workers work with a scanning device which directs them to the item in the
warehouse and gives them a specific time limit to get that item. The BBC
reporter experiencing being an Amazon employee, says how the shifts are very
intense and are very physically tough, this also is synonymous with the other
employees. This documentary exemplifies how the discrimination of the working class
is very relevant even in the 21st century. In SF movie, plots tend to fall into
two categories, utopian and dystopian; in the future, society will either
become better or worse. “Because of controversy, most science fiction films
will fall into the dystopian film category rather than the Utopian category.”[22]
In ‘Elysium’, Blomkamp also chose to take the dystopian approach to his science
fiction blockbuster in order to expose the flaws in modern day society.
Director Blomkamp states, “Elysium may be set in the future, but it’s merely an
amplification of an age-old problem.”[23]
Moreover, the effects of capitalism are seen in
the scene where Max is beaten by a droid, which results in Max’s arm breaking.
In the Media Magazine they wrote that earth’s “impoverished inhabitants abuse
and herded by robotic police.”[24]
Verb choice ‘herded’ suggests that the people of earth are like sheep which has
connotations of submissiveness and inferiority.
The ‘robotic police’ are a convention of the science fiction genre. This
shows ‘Elysium employing the conventions of the science fiction genre like “advanced
technology, [and] robotics”.[25]
The fantasy of droids being police catches the audience “between that which
does and doesn't exist and which might be a logical extension of what exists.”[26]
This presents how SF film can provide the audience pleasure of escapism. And
how audiences encode and decode the films plot, characters and narrative
structure are through their personal cultural and social experiences. With Hall’s
model, it would definitely support that Elysium is a projection of 21st century
society as all the interpretations of the film is based around the problem
faced in society.
In addition, another reading of Blomkamp’s ‘Elysium’
is that it represents issues of immigration, poverty and overcrowding. In the
film, Secretary Delacourt, the head of Elysium’s defense, orders two ships
carrying people from earth down causing numerous casualties. These deaths are
parallel with the continuing death toll of migrants who try to escape poverty
in war crossing “from Africa in leaking overcrowded boats, to reach their own
version of ‘Elysium’.”[27]
This portrays “the myth that people who should be held responsible for the
nation’s multiple social and economic ills are those at the bottom of the
pecking order”[28]
because it is almost like, those trying to escape poverty are being denied
because they are seen as the problem and even the variable that will corrupt
this perfect environment, ‘Elysium’. This shows how the science fiction is representing
modern day society, and could even be regarded a “vehicle for ‘safely’ discussing
controversial topical issues”[29]
Intriguingly, the representation of women is
interesting in this film because there are two women that are represented in
two very different ways. The character ‘Fray’ is represented as a traditional woman (dominant
representation), commonly a “mother and housemaker”[30].
This is done through her occupation as a nurse in the film and through her
following the role as a carer, because she nurses her daughter suffering
leukaemia, and the protagonist Max when he is wounded. In contrast, the other
woman secretary Delacourt, is the head of defence in Elysium. This is
unconventional as women aren’t generally linked to war and battle. Also, her
character is ruthless and relentless as she shoots down two ships carrying
citizens from Earth causing forty-six casualties. Furthermore, she is the
character that organises a revolution. Her character defies the expectation of
women because she is so desensitised to death; that she will murder at any cost
for power. The construction of Secretary Delacourt would represent the increasing
level of equality that women are gaining and would inherit a role of women
particularly in science fiction where women “try have a life of their own, with
violence being a part of their daily life…whose femininity is just a weapon”[31].
The dichotomy that is created between Fray and Delacourt accentuates the
struggle in which women face, choosing to follow the stereotypical role, or
going against the prescription of society and being independent. Also, the
dichotomy could also “serve as prototypes for future women’s roles”[32].
However, as the film begins to resolve, secretary Delacourt is killed, but Fray
and her daughter survive. An interpretation of this could be that women that
defy the typical role of women are punished, and those women who adhere to the
traditional expectation are rewarded. Interestingly, this goes against modern
society because it can be contended that women are empowered to become more
independent and shouldn’t be confined to just the domestic sphere. This
therefore shows that Blomkamp’s ‘Elysium’ more than just comments on our modern
society, but serves to challenge and question the expectation placed on
women.
In contrast however, the representation of race is more one
dimensional as it follows common stereotypes. When Max seeks help to be
smuggled to Elysium, he approaches Julio, the pioneer in smuggling people from
earth to Elysium. Right from choice of name of the character, the audience will
realise that he is from hispanic descent. Furthering this, two of his helpers
who equip Max for is mission also embody the stereotype of the hispanic male.
This is done through the costume and the make up of the characters. The main
helper is seen covered in tattoos and people who have them are often associated
those that are uneducated and/or are involved in criminal behavior.
Additionally, this sense of crime and anti-establishment is created within this
sequence because the low-key lighting creates a sense of secrecy as well as
concealment; also, the graffiti on the walls would also support the
underground, anti-establishment reading. Moreover, the use of props would
suggest a sense of crime. The surgical tools that were used to attach the
exo-suit to Max were tools to deal with metal like, welding irons, drills and
metal cutters. The increased pace of editing when flashing the utensils
accentuates the danger and provokes a sense of tension and anxiety. The use of
dialogue further stresses the distrust of Julio’s helpers. When Max asks “will
it hurt?”, they respond in laughter. This gesture would definitely question the
helpers’ reliability and trustworthiness because this sarcastic and sadistic
laughter would evoke a sense of evil. This negative light that the hispanic
race is represented in would tie into Brathes theory of stereotyping. That
those in power create stereotypes of those who are in less power. This is seen
as the hispanic race in America as always seen to be the minority race hence
those that are in less power. This use of stereotyping could be interpreted as
just trying to “organise and simplify”[33]
and not actually enforcing any ideas upon the audience. However, it is
inevitable that this use of stereotyping tries to convince the audience to this
“certain representation”[34]
of the hispanic race; that they are all criminals and are people that aren't to
be trusted.
In conclusion, the factor which differentiates
the science fiction genre from other genres is its ability to answer “questions as, "What if?" or "If this
goes on”.[35] By Blomkamp constructing the future in which the middle and
lower classes are heavily oppressed and exploited, it would draw parallels with
the issues of modern day society. This therefore portrays how the modern
science fiction genre is still employed as a vehicle which exposes the
blemishes in society.
word count: 2661
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Cornea, C. (2007). Science fiction cinema: Between
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And how they get away with it.
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perplexed. London: Continuum.
Marshall, G. (1989). Social class in
modern Britain. London: Unwin Hyman.
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Media Magazine Issue 50 (Sci-fi fans and the
power of the tweet)
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Routledge.
Noonan, B. (2005). Women
scientists in fifties science fiction films. Jefferson, NC: McFarland &.
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WEBSITES
Defining "Science Fiction"What is science
fiction... and why study it? (n.d.). Retrieved March 09, 2016, from http://www.sfcenter.ku.edu/SF-Defined.htm
Gap between rich and poor 'keeps growing' - BBC
News. (n.d.). Retrieved January 10, 2016, from http://www.bbc.com/news/business-32824770
Invasion of the Body Snatchers (1956), review.
(n.d.). Retrieved January 11, 2016, from http://www.telegraph.co.uk/culture/film/filmreviews/11198302/invasion-of-the-body-snatchers-film-review-tim-robey.html
Retrieved December 20, 2015, from https://en.wikipedia.org/wiki/Science_fiction_film#Genre_as_commentary_on_social_issus
Retrieved January 10, 2015, from
http://www.theguardian.com/film/2013/aug/17/elysium-neill-bloomkamp-interview
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from http://www.theguardian.com/books/2013/may/16/karl-marx-ideas-resonate-today
Retrieved January 10, 2016, from http://www.theguardian.com/film/2014/oct/27/invasion-of-the-bodysnatchers-1956
Turner Classic Movies - TCM.com. (n.d.).
Retrieved December 17, 2015, from http://www.tcm.com/tcmdb/title/79341/Invasion-of-the-Body-Snatchers/articles.html
The Role of Stereotypes - Media Criticism.
(n.d.). Retrieved January 4, 2016, from http://media.litmuse.net/essays/the-role-of-stereotypes
Turner Classic Movies - TCM.com. (n.d.).
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Works Consulted
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Bould, M. (2012). Science fiction. London:
Routledge.Bukatman, S. (1993). Terminal identity: The virtual subject in postmodern science fiction.
Durham: Duke University Press.
Johnston, K. M. (2011). Science fiction film: A critical introduction. Oxford: Berg Publishers.
Pomerance, M. (2006). Cinema and modernity. New Brunswick, NJ: Rutgers University Press.
Sardar, Z., & Cubitt, S. (2002). Aliens R us: The other in science fiction cinema. London: Pluto Press
WEBSITES
History of science fiction films - Wikipedia, the free encyclopedia. (n.d.)Retrieved December 2,2015, fromhttps://en.wikipedia.org/wiki/History_of_science_fiction_films
VIDEOS
Elysium 2013 opening scene
https://www.youtube.com/watch?v=jJ_q6zj8oxg&feature=youtu.be
Elysium hacking ending scene
https://www.youtube.com/watch?v=30BTQ6B4Y6M&feature=youtu.be
Panorama - Amazon: The Truth Behind the Click
https://www.youtube.com/watch?v=CXWJ4GfQ22E
Invasion of the Body Snatchers (1956) - The pods open
https://www.youtube.com/watch?v=WLsjlmrQ6Mw
[17] Turner Classic Movies - TCM.com. http://www.tcm.com/tcmdb/title/79341/Invasion-of-the-Body-Snatchers/articles.html
[18] Turner Classic Movies http://www.tcm.com/tcmdb/title/79341/Invasion-of-the-Body-Snatchers/articles.html
[19]Turner Classic Movies http://www.tcm.com/tcmdb/title/79341/Invasion-of-the-Body-Snatchers/articles.html
[33] The Role of Stereotypes - Media
Criticism. http://media.litmuse.net/essays/the-role-of-stereotypes
[34] The Role of Stereotypes - Media
Criticism. http://media.litmuse.net/essays/the-role-of-stereotypes
