Themes, Imagery, and Visual Elements
Science fiction films are often speculative in nature, and often include key supporting elements of science and technology. However, as often as not the "science" in a Hollywood science fiction movie can be considered pseudo-science, relying primarily on atmosphere and quasi-scientific artistic fancy than facts and conventional scientific theory. The definition can also vary depending on the viewpoint of the observer.
Many science fiction films include elements of mysticism, occult, magic, or the supernatural, considered by some to be more properly elements of fantasy or the occult (or religious) film. This transforms the movie genre into a science fantasy with a religious or quasi-religious philosophy serving as the driving motivation. The movie Forbidden Planet employs many common science fiction elements, but the film carries a profound message - that the evolution of a species toward technological perfection (in this case exemplified by the disappeared alien civilization called the "Krell") does not ensure the loss of primitive and dangerous urges. In the film this part of the primitive mind manifests itself as monstrous destructive force emanating from the freudian subconscious, or "Id".
Some films blur the line between the genres, such as films where the protagonist gains the extraordinary powers of the superhero. These films usually employ a quasi-plausible reason for the hero gaining these powers.
Not all science fiction themes are equally suitable for movies. In addition to science fiction horror, space opera is most common. Often enough, these films could just as well pass as westerns or World War II films if the science fiction props were removed. Common motifs also include voyages and expeditions to other planets, and dystopias, while utopias are rare.
Read more about this topic: Science Fiction Film
Famous quotes containing the words visual and/or elements:
“The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism.... Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.”
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