Genre Analysis – Sci-Fi

Essay Version

Science Fiction. Outer space, aliens, the threat of the unknown: All familiar parts of a well-loved genre.

This idea of well-established tropes and ideologies fits with Colin McArthur’s theories on defining genre through certain iconic or easily recognisable aspects, usually visual, of the landscape the characters exist in within a group of films. For sci-fi, this could be the scrolling text seen in the Star Wars franchise, which has become such an easily recognisable feature of the genre that it’s been parodied and pastiched countless times. It could also be the ever-present nature of chrome and metallic tones (seen plentifully in films such as 2001: A Space Odyssey, or Ex Machina) or any number of other tropes, such as:

Genre Tropes of Sci-Fi

• Outer space as a location
• Lasers
• Aliens
• Spaceships
• Space battles
• Robots
• AI
• The future as a setting
• Chrome/Silver
• RGB colour schemes
• Slime

Another method in which you could define sci-fi could be through Schatz’ theory of conflict vs. consensus. Whilst I personally think this theory has very little stead in the concept of genre (there are far too many variations in plot and sub-genre to validate the idea that there could be merely two types of genre.), it could be argued that most sci-fi films would fall under the ‘conflict’ category, as most sci-fi films tend to involve the overarching themes of a battle or confrontation of some sorts rather than the idea of consensus. For example, the plot of Alien revolving around the fight between the crew of the USCSS Nostromo and the Xenomorph. Conversely, it could be argued that many sci-fi narratives, such as the iconic War of the Worlds, hold the themes of consensus through the idea of humanity -or a community- coming together to defeat a hostile force. Even still, this contains both conflict and consensus as central thematic points within the plot, therefore I feel Scatz’ theory does not necessarily come into play much in defining sci-fi, or any, genre.

Tom Ryall’s theory of genre coming from the relationship between filmmakers intentions, audience behaviour & the industry, I think is particularly evident in science fiction. For years, sci-fi has been used as a metaphor and tool for sociopolitical issues in darkly satirical ways, such as George Orwell’s (and director Michael Radford’s) 1984. 

This concept of where genre comes from within the confines of science fiction could be argued that by viewing our own issues as a society from a more metaphorical and fictitious 3rd party perspective could provide almost a ‘wake-up call’, or a way to force the spectator to address and actively think about issues within the real world, the concept of AI within sci-fi being a perfect example of this (2001: A Space Odyssey, Ex Machina, Bladerunner, etc). Despite this theory’s use, it could also be argued that multiple pre-existing genres share many of the same intentions from the director, posing the question of the need for newly created genres and sub-genres, like social sci-fi or anthropological sci-fi (much of which explores the aforementioned concept of AI.). Could we instead view these as two separate ways of defining genre? Societal and historical factors as well as the filmmaker’s intentions and other external variables.

Speaking of the melding and creation of newer genres, we arrive at Steve Neal’s theory on ideology, identity and society and their effects on genre. Neal argues that genre is not so much about the categorisation of films, as opposed to the melding and flexibility of genres, as previously mentioned. This would heavily support the concept of sub-genres and genre merging, an aspect highly prevalent in sci-fi films (sci-fi horror, sci-fi thriller, etc).

As far as the concepts of how ideologies, identity and society fit into the definition and classification of genres, we must examine the applications the narrative can have not simply to individuals, but to be understood widely.

• A set of ideals applicable to a certain group of people, particularly for epistemic(knowledge related), or sociopolitical reasons.

Rick Altman’s analysis of genre calls upon postmodernism and its roles within genre. Postmodernism includes the use of a more playful tone, intertextuality and the referencing of inspirations or other source materials (e.g. films, novels, people, etc). There is often also an element of self-awareness and reflexivity within postmodernist cinema, as well as a deliberate blending of genre. Postmodernist film is seen by many as the artist’s film, requiring previous knowledge of films and media referenced to understand and appreciate the content.

Perhaps the most prevalent modern example of somewhat postmodernist sci-fi could be the hit Netflix series Stranger Things, which constantly references media particularly from the 1980s, as well as the tabletop RPG game Dungeons and Dragons (The ‘demogorgon’ from Stranger Things shares the name of a monster from D&D, but pretty much no physical resemblance). D&D had great rapport with nerds and geeks of the 80s, as well as finding its way slightly more into the mainstream of today’s media, with shows like Critical Role gaining traction and fame, undoubtedly partially to do with the intertextuality of Stranger Things.

The danger with such referencing, as seen in the most recent series of Stranger Things is the possibility of falling into the romanticisation of certain harmful tropes from those eras. An example of this could be in the character of Hopper’s alcoholism and treatment of women, which harks back to earlier tropes in masculinity within the sci-fi and action genres alike, seen in films like Bladerunner. This has since been criticised by audiences for its potentially dangerous implications.

Finally, the last element of genre I will be touching upon is that of parody and pastiche, parody being a more light-hearted, but sometimes critical take on a genre (examples within sci-fi being things like Futurama (1999-2013), Spaceballs (1987), and Paul (2011)), with pastiche being more paying homage to in a referential sense. Since sci-fi has so many distinct tropes and such a wide, yet often stereotyped and targeted audience, it’s often seen as an easily parody-able area of cinema.