History of science fiction films
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The history of science fiction films parallels that of the motion picture industry as a whole, although it took several decades before the genre was taken seriously. Since the 1960s, major science fiction films have succeeded in pulling in large audience shares, and films of this genre have become a regular staple of the film industry. Science fiction films have led the way in special effects technology, and have also been used as a vehicle for social commentary.
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[edit] Early films
Science fiction films appeared very early in the silent film era. The initial attempts were short films of typically 1 to 2 minutes in duration, shot in black and white, but sometimes with colour tinting. These shorts usually had a technological theme and were often intended to be humorous.
In 1902, Georges Méliès released Le Voyage dans la Lune, the best-known early science fiction film. Inspired by the novels of Jules Verne and H.G. Wells, it portrayed a journey to the Moon in a spacecraft launched by a powerful gun. This movie's space travel plot, its fantastic vision of a Moon inhabited by frightening aliens, and its innovative special effects, influenced future science fiction films.
In 1910, Mary Shelley's novel Frankenstein was adapted for the screen, in one of the earliest mergers of science fiction and horror. Although only 16 minutes long, the film produces a suitably dark mood and would be remade several times in the future. Another such horror movie, Dr. Jekyll and Mr. Hyde, was released in 1913.
A longer science fiction film (and one which introduced underwater filming) was 20,000 Leagues Under the Sea in 1916, based on the novel by Jules Verne.
[edit] 1920s
The 1920s saw a distinct difference between American and European science fiction. European film-makers tended to use the genre for prediction and social commentary, with films such as Metropolis (1926) and Frau im Mond (1929), both from Germany. The latter film also introduced, as a dramatic device, what became the real-life practice of counting down the time to a rocket launch. Aelita was an early entry from Russia. By contrast, Hollywood used it to create action, melodramatic plots, and gadgetry. This emphasis would blossom into the serials of the 1930s, and many European films would eventually follow this trend. Echoes of this style can still be seen in science fiction and action films today, as well as in the various James Bond movies.
[edit] 1930s
Movies during the 1930s provided an escape from the poverty of the Great Depression, and it was during this era that film-making experienced a golden age. Movies now possessed a sound-track, and the extreme physical expression of the silent era was replaced by dialogue. The films were focused on the actors, rather than the still-primitive special effects (an exception was the 1933 release of King Kong, including scenes of the giant ape battling biplanes atop the Empire State Building). Most science fiction films focused on human drama, instead of aliens, space travel, or disasters. The 1936 version of Lost Horizon was one of the first film entries in the 'Lost World' genre.
Influenced by Metropolis the 1930 release Just Imagine was the first feature length science fiction film by a US studio but the film was an expensive flop and no studio would produce a feature length science fiction film until the 1950s. The British made Things to Come (1936), also influenced by Metropolis, which was one of the most influential attempts at using special effects to evoke 'spectacle', but it too was a failure at the box office.
This decade also saw the rise of serial movies, most notably the various Flash Gordon films, as well as the quasi-science fiction Dick Tracy and others. These were low budget, often hastily-produced efforts employing soon-to-be-stock ideas such as the mad scientist, high-tech gadgets, and plots for world domination.
The decade also saw the release of several horror films with science fiction elements, such as The Invisible Man (1933) and new versions of Frankenstein and Dr. Jekyll and Mr. Hyde.
[edit] 1940s
With World War II dominating events during the 1940s, few science fiction films were released and several of those were mere vehicles for war propaganda. Among the few notable examples was Dr Cyclops (1940), an early colour film, and Fleischer Studio's animated Superman short subjects, which often incorporated science-fiction themes.
[edit] 1950s
During the 1950s the science fiction genre finally began to come into its own. The large increase in science fiction literature during this time was also reflected in the quantity of science fiction films being played. However, many of these movies were low-budget, "B" movies.
The atomic bomb caused a renewed interest in science, and in 1950, in the widely publicised Destination Moon, the American public got their first glimpse of space travel on a more sophisticated level than Flash Gordon's Trip to Mars. With a script co-written by Robert A. Heinlein and astronomical sets by renowned space artist Chesley Bonestell, the movie was a commercial and artistic success. It was followed by The Day the Earth Stood Still, directed by Robert Wise, and Howard Hawks' The Thing, with their contrasting views of first contact.
A notable producer of this period was George Pal who was responsible for Destination Moon, When Worlds Collide, The Time Machine, The War of the Worlds, and the pseudo-documentary of manned space exploration Conquest of Space. Conquest of Space had beautiful special effects, but lacked the intelligent script of Pal's earlier science fiction films, and flopped at the box office.
Beginning in this decade, Ray Harryhausen began to use stop-motion animation for both science fiction and fantasy films. His work appeared in such films as The Beast From 20,000 Fathoms (1953), Earth vs. the Flying Saucers (1956), and 20 Million Miles to Earth (1957). However, he never received an Academy Award nomination for his painstaking work.
Apocalyptic themes were popular in science fiction films during the Cold War era. The 1950s witnessed the emergence of the monster movie trend, driven by the anxieties and paranoia of the emerging cold war, beginning with Howard Hawks's The Thing and the success of The Beast From 20,000 Fathoms. Other major films in the science fiction/horror genre in this decade include Them!, Invasion of the Body Snatchers, and the coldly realistic On the Beach. In Britain there was a period of notable production in the '50s, with Hammer Films adaptations of Nigel Kneale's Quatermass series. The success of the television versions inspired the company to commission a series of film adaptations.
Several important movies, now considered classics, were released in the mid-1950s, notably This Island Earth, the first film to show interstellar travel, and Forbidden Planet (an inspiration for Gene Roddenberry's Star Trek).
The 1950s were also the dawn of the space age as humans began to venture into outer space, and a number of films from this period reflected a fear of the consequences. Among these were The Angry Red Planet (1959), First Man Into Space (1959), and It! The Terror from Beyond Space (1958). (This last film is also considered a precursor to the film Alien.) Another popular theme from this period was movies about flying saucers, reflecting the prevalence of UFO sightings. One of the best known of these was Earth vs. the Flying Saucers (see above).
In the later years of the 1950s, the major American studios limited themselves to adaptations of "classics" by Jules Verne and H. G. Wells that had fallen out of copyright. In addition to The War of the Worlds mentioned above, these included Twenty Thousand Leagues Under the Sea and Journey to the Center of the Earth.
[edit] 1960s
After the rush of science fiction films in the 1950s, there were relatively few in the 1960s, but these few transformed science fiction cinema.
One of the most significant movies of the 1960s was 2001: A Space Odyssey, directed by Stanley Kubrick and written by Kubrick and Arthur C. Clarke. 2001 is regarded as the seminal entry in the science-fiction genre as it influenced several later entries. Steven Spielberg, one of the genre's most well-known figures aptly called 2001, 'the big bang of science-fiction.'.
This movie was groundbreaking in the quality of its visual effects, in its realistic portrayal of space travel, and in the epic and transcendent scope of its story. Science fiction movies that followed this film would enjoy increasingly larger budgets and ever improving special effects. Clarke has told of screening earlier science-fiction films for Kubrick, and Kubrick pronouncing them all awful, without exception, even the revered Things to Come from 1936, with its screenplay by H. G. Wells. 2001 was the first science fiction art film and had a philosophical scope that earlier films had not attempted. Many critics called it an incomprehensible mess when it first appeared. Today, it is widely revered as one of the greatest films of all time, although science fiction fans who prefer more straightforward entertainment may still dismiss it as slow-moving and pretentious.
Several other important science fiction films were released in the 1960s. Planet of the Apes (1968) was extremely popular, spawning four sequels and a television series. Earlier in the 1960s, Fahrenheit 451 was a social commentary on freedom of speech and government restrictions. The extremely camp Barbarella was an homage to the sillier side of earlier science fiction. Finally, the science fiction film boldly went where no man had gone before when Raquel Welch ventured inside a human body in Fantastic Voyage.
H. G. Wells adaptations continued to be made, including films of The Time Machine and First Men in the Moon, but these seem like a continuation of the fifties.
While not strictly-speaking science fiction, some of the James Bond films included a variety of science fiction-like gadgetry.
[edit] 1970s
The era of manned trips to the Moon saw a resurgence of interest in the science fiction film in the 1970s. Star Wars and Close Encounters of the Third Kind, both released in 1977, contained a mystical element reminiscent of 2001: A Space Odyssey. The space discoveries of the 1970s created a growing sense of marvel about the universe that was reflected in these films.
However, the early 1970s also saw the continued theme of paranoia, with humanity under threat from ecological or technological adversaries of its own creation. Notable films of this period included Silent Running (ecology), the sequels to Planet of the Apes (man vs. evolution), Westworld (man vs. robot) and THX 1138 (man vs. the state), and Stanley Kubrick's A Clockwork Orange (man vs. brainwashing).
The conspiracy thriller film was a popular staple of this period, where the paranoia of plots by the national government or corporate entities had replaced the implied communist enemy of the 1950s. These films included such efforts as Alien, Capricorn One, Invasion of the Body Snatchers, The Day of the Dolphin, Soylent Green and Futureworld.
The slow-paced Solaris made by Andrei Tarkovsky and released in 1972 (and remade as a much shorter film by Steven Soderbergh in 2002) matches and in some assessments exceeds 2001 in its visuals and philosophic scope, while other critics find it plodding and pretentious.
The science fiction comedy had what may have been its finest hours in the 1970s, with Woody Allen's Sleeper and Dan O'Bannon's Dark Star.
In 1979 three notable science fiction films appeared. Star Trek: The Motion Picture brought the much loved television series to the big screen for the first time. Alien upped the ante on how scary a screen monster could be. And Time After Time pitted H. G. Wells against Jack the Ripper, with a screenplay by Nicholas Meyer, who would later go on to direct two of the instalments in the Star Trek film series.
[edit] 1980s
Following the huge success of Star Wars, science fiction became bankable and each major studio rushed into production their available projects. As a direct result, Star Trek was reborn as a movie franchise that continued through the 1980s and 1990s. Ridley Scott's Alien was significant in establishing a visual styling of the future that became dominant in science fiction film through its sequels and Scott's Blade Runner; far from presenting a sleek, ordered universe, these films presented the future as dark, dirty and chaotic.
Thanks to the Star Wars and Star Trek franchises, escapism became the dominant form of science fiction film through the 1980s. The big budget adaptations of Frank Herbert's Dune and Arthur C. Clarke's sequel to 2001, 2010, were box office duds that dissuaded producers from investing in science fiction literary properties. The strongest contributors to the genre during the second half of the decade were James Cameron and Paul Verhoeven with The Terminator and RoboCop entries.
Steven Spielberg's E.T. The Extraterrestrial became one of the most successful films of the 1980s. An influential film release was Scanners (1981), a film that would be imitated several times over the next two decades.
From 1980, the distinction between science fiction, fantasy, and superhero films blurred, thanks in large part to the influence of Star Wars. From 1980 on, every year saw at least one major science fiction or fantasy film, which critics disparraged and were ignored on Oscar night, except in the technical categories.
The 1980s and later saw the growth of animation as a medium for science fiction films. This was particularly successful in Japan where the anime industry produced Akira (1988) and Ghost in the Shell (1995). Serious animation has not yet proven commercially successful in the U.S. and Western-made animated science fiction films such as Light Years (1988), The Iron Giant (1999) and Titan A.E. (2000) did not draw a significant viewing audience. However, anime has gradually gained a cult following and from mid-1990s its popularity has been steadily expanding worldwide.
[edit] 1990s
The emergence of the world wide web and the cyberpunk genre during the 1990s spawned several internet-themed movies. Both The Lawnmower Man (1992) and Virtuosity (1995) dealt with threats to the network from a human-computer interface. Johnny Mnemonic (1995) and Total Recall (1990) had the memories of their main actors modified by a similar interface, and The Matrix (1999) created a machine-run virtual prison for humanity. The internet also provided a ready medium for movie fandom, who could more directly support (or criticize) such media franchise film series as Star Trek and Star Wars.
Disaster movies remained popular, with themes updated to reflect recent influences. Both Armageddon (1998) and Deep Impact (1999) used the threat of a massive impact with the earth. Independence Day (1996 in film) recycled the 1950s alien invasion movie, with rapacious, all-consuming aliens. Advances in genetic science were also featured in the Jurassic Park (1993) and the slow-paced Gattaca (1997).
As the decade progressed, computers played an increasingly important role in both the addition of special effects and the production of films. Large render farms made of many computers in a cluster were used to detail the images based on three-dimensional models. As the software developed in sophistication it was used to produce more complicated effects such as wave movement, explosions, and even fur-covered aliens. The improvements in special effects allowed the original Star Wars trilogy to be re-released in 1997 with many enhancements.
As in the 1980s, in every year of the 1990s one or more major science fiction or fantasy films were produced.
[edit] 2000s
Oddly, in the first decade of the 21st Century, SF films seemed to turn away from space travel, and fantasy predominated. This may be due to the box office failure of Star Trek: Nemesis. Except for Star Trek and Star Wars films, the only films set off Earth that appeared in the first half of the 2000s were Serenity and the poorly received Mission to Mars and Red Planet. On the other hand, fantasy and superhero films abounded, as did earthbound SF such as the Matrix Reloaded and Revolutions.
Science-Fiction has returned to being a tool for political commentary in recent times with films like A.I.: Artificial Intelligence and Minority Report with the former questioning the increasing materialism of today's world and the latter questioning the political situations surrounding the world post 9/11. Unique entries into the genre were also released around this time with the first science fiction romance Eternal Sunshine of the Spotless Mind.
By the middle of the decade, the theater audience had begun to decline and this was reflected in the numbers attending the science fiction movie releases of this period. Sophisticated home theater systems came close to matching the cinema experience, and avoided the expense and inconvenience. Film studios had begun placing product advertisements prior to the start of movies in theatres, seeking another means to enhance their bottom line, and alienating a segment of the theater-going audience. Making up for the losses in cinema revenue, were sales and rentals of the high-quality DVD releases, many of which included previously cut scenes and extra material.
[edit] References
- John Baxter, Science Fiction in the Cinema, A S Barnes & Co, 1969, ISBN 0-498-07416-1.
- Welch Everman, Cult Science Fiction Films, Citadel Press, 1995, ISBN 0-8065-1602-X.
- Peter Guttmacher, Legendary Sci-Fi Movies, 1997, ISBN 1-56799-490-3.
- Phil Hardy, The Overlook Film Encyclopedia, Science Fiction. William Morrow and Company, New York, 1995, ISBN 0-87951-626-7.
- Gregg Rickman, The Science Fiction Film Reader, 2004, ISBN 0-87910-994-7.
- Vivian Sobchack, Screening Space: The American Science Fiction Film. New Brunswick: Rutgers University Press, 1998, ISBN 0-8135-2492-X.
