The Day the Earth Stood Still, 1951, 92
minutes, USA, Director Robert Wise
When exploited to the 1951
film, The Day the Earth Stood Still, one of the most influential themes
is the very expectation of man. In the text, Jancovich describes how,
"...qualities such as emotion, feeling, intuition, interaction and
imagination - qualities that are usually defined as feminine and 'irrational' -
that are identified as distinctly 'human,'"(Jancovich, 326). Upon dissecting
this definition and comparing it to the 1950s, these are characteristics that were
more frequently associated to women, as opposed to men. Men tended to be
considered more rational and stern, whereas women were perceived as being more
intuitive and emotional. When considered as an entire race, though, emotions
(even if solemnly displayed) are a prevalent characteristic among the masses
and a complete lack therefor of leads to an inhuman society. In addition to
this depiction, there's not only a transition occurring between the sexes, but
also an identity given to the realm of science-fiction and beings from another
world. There's a push to essentially make the unknown so perfect, that there is
an extreme obedience to a higher power. This very obedience is carried
throughout the film, but one of the most pivotal moments is when Kattu informs
Helen that without him, Gort would annihilate everything in his path. From the
reference to Gort, as well as the society Kattu informs the town about, there’s
a push to show how tranquility can only be accomplished if one becomes obedient
to machine, and with by doing so, one must separate emotions from their being
and adapt to rationality.
Them!, 1954, 94 minutes, USA, Director Gordon Douglas
Upon being exposed to
the 1954 film, Them!, one of the most
alarming themes represented is the relationship between man and
government. Compared to other films of the same decade, there's a shift
that occurs, where the military is overpowered by the acknowledgement
and word of science. Biskind argues how, "the
test tube is mightier than the cross, and that once again, if it was
science (in this case nuclear testing) that had caused the problem,
science would solve it too," as well as the
role of the scientist as, "[reflecting] the new prestige
of science by placing scientists at the centre of world-shaking events,"
(Bliskind, 318). As the film progresses, it's apparent that the
military is at full compliance with each of Dr. Medford's decisions and
statements. There are two considerations at play with these statements:
(1) the aftermath of nuclear testing, and (2) the fact that the species
is recognizable. When considering the time period that the film was
released during, there was an extreme amount of unanswerable questions
surfacing about nuclear energy and waste. In a world of not knowing the
effects, a bystander effect is generated, where rather than directly
addressing and investigating the issues (or potential issues) at hand,
an expectation develops that someone else will tackle the problem if and
when it occurs. In the case of Them!, Dr. Medford is called upon
to be one of the very individuals who investigate and with his known
knowledge, is able to depict that the 'enemy' is really a mutation of a
species already recognized. With recognizing and acknowledging the
characteristics, strengths, and weaknesses of ants, there's a much
different approach taken to solving the problem at the end of the day,
in comparison to films such as The Thing. Rather than wondering
what can happen, there's a basis that has already been developed that is
applicable, allowing rationality to be stronger than proposals.
The Thing, 1951, 87 minutes, USA, Director Christian Nyby
When considering the 1951
film, The Thing, one cannot help but to analyze the role and
underlying themes that the alien unveils. From the text alone, Biskind mentions
how, “the Thing is a robot. Some films rendered the distinction between nature
and culture as one between animals and vegetables, where vegetables take on the
characteristics usually associated with machines,” (Biskind, 323). With a lack
of sympathy for this foreign being driven by its emotionless stature, the
audience is able to better connect and identify with the roles of the human race.
Of these roles, one of the more prominent is carried out by the character
Nikki. As one of the only women identified in the film, it can immediately be
observed how domesticated to man she is. Throughout the film, Nikki primarily
references elements of the kitchen when interacting with others; applicable
scenes are when she offers and serves coffee to the military men, as well as
when she lists off the methods for treating vegetables. As the film progresses,
we see for the first time in this class how this role is challenged by the very
same character when she ties Hendry’s hands. This scene correlates back to our
very own American society, where women were in this transitionary period of
being extracted from work in factories and replaced with the very men who had
returned from war. With this extraction, it was anticipated that these women
would return to their once recognized role of maintaining the household, both
as a mother and housekeeper. This also raises an eyebrow on a secondary concept
from the text, where Biskind mentions the developing fear in society of the,
“eruption of nature within culture and were therefore afraid of sex and
mistrusted women, particularly sexual women,” (Biskind, 322).
-
(in correspondence with Liquid Metal: The Science Fiction Film Reader edited and compiled by Sean Redmond)
one, The Russians Are Coming, Aren't They? Them! and The Thing by Peter Biskind
- "Them! has effectively established the legitimacy of state power ... it is the scientists who have pride of place ... the test tube is mightier than the cross, and that once again, if it was science (in this case nuclear testing) that had caused the problem, science would solve it too," (Biskind, 318).
- "'There are no enemies in science, only phenomena to be studied', he says, but he's wrong. There are no neutrals ... Carrington's behavior justifies the soldiers' mistrust of science, even turns them against the Bomb itself ... Carrington's real crime, that is to say, worse than consorting with the enemy, is setting his own authority against that of the military," (Biskind, 320).
- "...The Thing ultimately deals with the problem without calling in the federal government ... but what keeps this from being a right-wing execution is that although the men at the base do it themselves, they are still soldiers employed by the government, working ultimately in its interest. By this kind of sleight of hand, conservative films avoided having to make the either/or choice," (Bliskind, 321).
- "Some films rendered the distinction between nature and culture as one between animals and vegetables, where vegetables take on the characteristics usually associated with machines: they don't feel pain, have no emotions, and aren't retarded by moral scruples," (Biskind, 323).
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