Science Fiction is one of the great modern genres of literature. Mind you, I’m not just a fanboy; I have some lit snob credentials—I have my MFA and love Woolf and Faulkner and Bakhtin and have actually read Ulysses. So when I say that Science Fiction is one of the great modern genres of literature, I do so from a lit snob background, not just a hatred of Jar Jar Binx.
Affirming and Challenging Stories
You can divide movies into two camps—affirming and challenging. Most of contemporary film is “affirming.” Forest Gump. Slumdog Millionaire. Benjamin Button. Juno. Brokeback Mountain. Ray. Seabiscuit. Chicago. A Beautiful Mind. Gladiator. Erin Brockovitch. Crouching Tiger. Lord of the Rings. I loved many of these movies and all were well made, but in the end they serve to reaffirm both the viewer’s faith in the nobleness and perseverance of people and, by extension, the nobleness of the viewer. “If I were in the main character’s shoes,” the viewer says, “I hope I would be as brave in the face of (a surprise pregnancy/ industrial polluters / a horde of orcs).” None of these movies challenge your beliefs or make you struggle with difficult choices.
Some movies are challenging, of course. Munich was challenging, drawing the viewer into the uncomfortable place where they own the commission of murders and the guilt. Remains of the Day leaves the viewer with unresolved loneliness and alienation. There are others, but movies that challenge the viewers to examine something within them are the minority.
Affirming and Challenging Stories about Race
The issue of race is the primary issue of the 20th and 21st century. But when Hollywood approaches movies about race, and does what it always does (produce affirming movies), it enters dangerous ground, especially when the main character is white, as they disproportionately are.
As is normal for affirming movies, these movies serve to reaffirm the viewer’s faith in the nobleness and perseverance of people. This means that the basic design of the Hollywood movie will dictate that white folk can still feel pretty good about themselves. Sure there are those racists over there, but the central white character is in there fighting the good fight. Sound familiar? The Blind Side. Dangerous Minds. Freedom Writers. Finding Forrester. Radio. Glory Road. There’s racism out there, but don’t worry white people, we’ll give you somebody with whom to identify who, though slightly naïve, is good at heart and can save those black kids.
Of course, many of these films are based on true stories, but there’s no accident that these are the true stories being told and not those other true stories–unsettling, challenging true stories that don’t always have a happy ending or redemptive white characters. Hollywood’s basic story needs triumph and redemption—so in films about race this translates into a way for whites to triumph over racism.
There are exceptions. Crash was unsettling. The racists in this movie were not two dimensional villains—they were the protagonists. Nobody is without major flaws (except the locksmith) and I was so absorbed in the movie that I had to turn the movie off and pull myself together when Matt Dillon frisked Thandie Newton.
While affirming movies about race have (usually) white protagonists battling obviously racist antagonists, challenging movies (challenging for white viewers, anyway) have white protagonists who are confronted with the racism within.
Affirming movies avoid more complicated issues—
- racism built into the systems of things, embedded in apparently neutral standards (how benefits like road repairs and school funding are allocated, how people in power try to hold on to their power, how army recruiting is done) or
- otherwise good people who speak the rhetoric of diversity and believe they aren’t racist, but still do or support or ignore racist things.
Why Science Fiction is Great
If you haven’t seen District 9, please don’t read any farther.
People who aren’t interested in Science Fiction might think its greatest contribution is advancing the development of special effects. But its true strength, known only to SF insiders, is being able to tell stories too provocative for mainstream movies.
Tackling Issues
Just like mainstream drama, there are affirming Science Fiction stories—Terminator, Star Wars, Predator, Alien. But when SF dives into an issue, it can go as far or farther than main stream drama.
For example, Soylent Green can discuss climate change, overpopulation and cannibalism, Road Warrior finite resources, Minority Report the morality of pre-emptive strikes, Gattaca genetic profiling, Clockwork Orange free will and the lack of it while mainstream movies steer clear of these topics.
Tackling Race
Often when discussions about black and white relations are brought up, people stop listening. They have already built up walls. The people most likely to watch Crash or Do The Right Thing are people already interested in the topic—the people who most need to be immersed in a discussion about race are the least likely to watch a movie about it.
But a science fiction movie, like District 9 or Blade Runner, can confront issues of race by making it not a story about white people and black people (or Hispanic people or Native Americans etc), but about white people and aliens. It is still a story about the “other,” but by making the other a fantasy, those walls against any discussion about race do not immediately go up. By hiding a discussion of race in an action flick, you can lure in people who might not sign up for a lecture on race by Cornell West.
It is no mistake that the first discussions about prejudice on TV (when the censors were tetchy about airing those sorts of political discussions) came on Star Trek, where the racists could be two alien races, while the humans had optimistically conquered racism on their own planet. It is no mistake that the first black / white kiss on television also happened on Star Trek. Mainstream dramas were too afraid to touch the subjects.
District 9: Treatment of the Other
How many mainstream movies could dramatize the most vile racist acts and still keep the protagonist even mildly sympathetic? Shoving the “other” into a reservation, mocking them, beating them, taking advantage of them, killing them, aborting their children? There’s no way that the protagonist of a mainstream movie could do this. Welcome to District 9.
The very process of “dehumanizing the other” is redundant when the other isn’t human. But when the patterns of racism and oppression are so similar to actual history, even a viewer not familair with Derrick Bell can recognize how terrible it would be if humans did these things to each other and then say, “Wait a minute…we do do these things.”
The hallmark of a movie that challenges the viewer is that the protagonist is complicated—both sympathetic and hated, identifiable and pathetic. Matt Dillon in Crash, Anthony Hopkins in Remains of the Day, the murderers of Munich wracked with guilt. Wikus in District 9.
Even at the end, when what happens to Wikus happens, I am not sure if he recognizes and regrets his own racism or is just trying to reverse the incident. If he did get what he wanted, I can’t be sure he wouldn’t just go back to his old job if he could. And the viewer is challenged to confront the part in her or himself that is like Wikus—fallible, racist, human.