Post on 08-Aug-2018
transcript
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
1/20
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
2/20
SCIENCEFICTIONA
COLLECTION
OF
CRITICAL
ESSAYS
EditedbyMarkRose
Scanned & Proofed By MadMaxAU
****
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
3/20
ContentsIntroduction
byMarkRose
1.BackgroundsStartingPoints
byKingsleyAmis
ScienceFictionandLiterature
byRobert
Conquest
TheRootsofScienceFiction
byRobertScholes
2.TheoryOnthePoeticsoftheScienceFictionGenre
byDarkoSuvin
TheTimeTravelStoryandRelatedMattersofSFStructuring
byStanislawLem
GenreCriticism:
ScienceFictionandtheFantastic
byEricS.Rabkin
3.Approaches
OnScienceFiction
byC.S.Lewis
TheImaginationofDisaster
bySusanSontag
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
4/20
HowtoPlayUtopia:
SomeBriefNotesontheDistinctivenessofUtopianFiction
byMichaelHolquist
TheApocalypticImagination,ScienceFiction,andAmerican
Literature
byDavidKetterer
ScienceFictionandtheFuture
byJohnHuntington
NotesontheEditorandContributors
SelectedBibliography
****
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
5/20
TheImaginationofDisasterby
Susan
Sontag
1
ThetypicalsciencefictionfilmhasaformaspredictableasaWestern,and
ismadeupofelementswhich,toapracticedeye,areasclassicasthesaloon
brawl,theblondeschoolteacherfromtheEast,andthegunduelonthedeserted
mainstreet.
Onemodelscenarioproceedsthroughfivephases.
(1)Thearrivalofthething.(Emergenceofthemonsters,landingofthe
alienspaceship,etc.)Thisisusuallywitnessedorsuspectedbyjustoneperson,a
youngscientistonafieldtrip.Nobody,neitherhisneighborsnorhiscolleagues,
willbelievehimforsometime.Theheroisnotmarried,buthasasympathetic
thoughalsoincredulousgirlfriend.
(2)Confirmationoftheherosreportbyahostofwitnessestoagreatactof
destruction.(Iftheinvadersarebeingsfromanotherplanet,afruitlessattemptto
parleywith
them
and
get
them
to
leave
peacefully.)
The
local
police
are
summonedtodealwiththesituationandmassacred.
(3)Inthecapitalofthecountry,conferencesbetweenscientistsandthe
militarytakeplace,withtheherolecturingbeforeachart,map,orblackboard.A
nationalemergencyisdeclared.Reportsoffurtherdestruction.Authoritiesfrom
othercountriesarriveinblacklimousines.Allinternationaltensionsare
suspendedinviewoftheplanetaryemergency.Thisstageoftenincludesarapid
montageofnewsbroadcastsinvariouslanguages,ameetingattheUN,andmore
conferencesbetween
the
military
and
the
scientists.
Plans
are
made
for
destroyingtheenemy.
1TheImaginationofDisasterbySusanSontag.FromAgainstInterpretationbySusanSontag(NewYork:Farrar,
Straus&Giroux,1966),pp.20925.Copyright1961,1962,1963,1964,1965,1966bySusanSontag.Reprinted
withthepermissionofFarrar,Straus&Giroux,Inc.
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
6/20
(4)Furtheratrocities.Atsomepointtheherosgirlfriendisingravedanger.
Massivecounterattacksbyinternationalforces,withbrilliantdisplaysofrocketry,
rays,andotheradvancedweapons,areallunsuccessful.Enormousmilitary
casualties,usuallybyincineration.Citiesaredestroyedand/orevacuated.Thereis
anobligatory
scene
here
of
panicked
crowds
stampeding
along
ahighway
or
abig
bridge,beingwavedonbynumerouspolicemenwho,ifthefilmisJapanese,are
immaculatelywhitegloved,preternaturallycalm,andcalloutindubbedEnglish,
Keepmoving.Thereisnoneedtobealarmed.
(5)Moreconferences,whosemotifis:Theymustbevulnerableto
something.Throughouttheherohasbeenworkinginhislabtothisend.The
finalstrategy,uponwhichallhopesdepend,isdrawnup;theultimateweapon
oftenasuperpowerful,asyetuntested,nucleardeviceismounted.Countdown.
Finalrepulse
of
the
monster
or
invaders.
Mutual
congratulations,
while
the
hero
andgirlfriendembracecheektocheekandscantheskiessturdily.Buthavewe
seenthelastofthem?
****
ThefilmIhavejustdescribedshouldbeinTechnicolorandonawidescreen.
Anothertypicalscenario,whichfollows,issimplerandsuitedtoblackandwhite
filmswithalowerbudget.Ithasfourphases.
(1)Thehero(usually,butnotalways,ascientist)andhisgirlfriend,orhis
wifeandtwochildren,aredisportingthemselvesinsomeinnocentultranormal
middleclasssurroundingstheirhouseinasmalltown,oronvacation(camping,
boating).Suddenly,someonestartsbehavingstrangely;orsomeinnocentformof
vegetationbecomesmonstrouslyenlargedandambulatory.Ifacharacteris
pictureddrivinganautomobile,somethinggruesomeloomsupinthemiddleof
theroad.Ifitisnight,strangelightshurtleacrossthesky.
(2)After
following
the
things
tracks,
or
determining
that
It
is
radioactive,
or
pokingaroundahugecraterinshort,conductingsomesortofcrude
investigationtheherotriestowarnthelocalauthorities,withouteffect;nobody
believesanythingisamiss.Theheroknowsbetter.Ifthethingistangible,the
houseiselaboratelybarricaded.Iftheinvadingalienisaninvisibleparasite,a
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
7/20
doctororfriendiscalledin,whoishimselfratherquicklykilledortaken
possessionofbythething.
(3)Theadviceofwhoeverfurtherisconsultedprovesuseless.Meanwhile,
Itcontinues
to
claim
other
victims
in
the
town,
which
remains
implausibly
isolated
fromtherestoftheworld.Generalhelplessness.
(4)Oneoftwopossibilities.Eithertheheropreparestodobattlealone,
accidentallydiscoversthethingsonevulnerablepoint,anddestroysit.Or,he
somehowmanagestogetoutoftownandsucceedsinlayinghiscasebefore
competentauthorities.They,alongthelinesofthefirstscriptbutabridged,
deployacomplextechnologywhich(afterinitialsetbacks)finallyprevailsagainst
theinvaders.
****
Anotherversionofthesecondscriptopenswiththescientistheroinhis
laboratory,whichislocatedinthebasementoronthegroundsofhistasteful,
prosperoushouse.Throughhisexperiments,heunwittinglycausesafrightful
metamorphosisinsomeclassofplantsoranimalswhichturncarnivorousandgo
onarampage.Orelse,hisexperimentshavecausedhimtobeinjured(sometimes
irrevocably)orinvadedhimself.Perhapshehasbeenexperimentingwith
radiation,or
has
built
amachine
to
communicate
with
beings
from
other
planets
ortransporthimtootherplacesortimes.
Anotherversionofthefirstscriptinvolvesthediscoveryofsome
fundamentalalterationintheconditionsofexistenceofourplanet,brought
aboutbynucleartesting,whichwillleadtotheextinctioninafewmonthsofall
humanlife.Forexample:thetemperatureoftheearthisbecomingtoohighor
toolowtosupportlife,ortheearthiscrackingintwo,oritisgraduallybeing
blanketedbylethalfallout.
Athirdscript,somewhatbutnotaltogetherdifferentfromthefirsttwo,
concernsajourneythroughspacetothemoon,orsomeotherplanet.Whatthe
spacevoyagersdiscovercommonlyisthatthealienterrainisinastateofdire
emergency,itselfthreatenedbyextraplanetaryinvadersornearingextinction
throughthepracticeofnuclearwarfare.Theterminaldramasofthefirstand
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
8/20
secondscriptsareplayedoutthere,towhichisaddedtheproblemofgetting
awayfromthedoomedand/orhostileplanetandbacktoEarth.
****
Iamaware,ofcourse,thattherearethousandsofsciencefictionnovels(their
heydaywasthelate1940s),nottomentionthetranscriptionsofsciencefiction
themeswhich,moreandmore,providetheprincipalsubjectmatterofcomic
books.ButIproposetodiscusssciencefictionfilms(thepresentperiodbeganin
1950andcontinues,considerablyabated,tothisday)asanindependent
subgenre,withoutreferencetoothermediaand,mostparticularly,without
referencetothenovelsfromwhich,inmanycases,theywereadapted.For,while
novelandfilmmaysharethesameplot,thefundamentaldifferencebetweenthe
resourcesof
the
novel
and
the
film
makes
them
quite
dissimilar.
Certainly,comparedwiththesciencefictionnovels,theirfilmcounterparts
haveuniquestrengths,oneofwhichistheimmediaterepresentationofthe
extraordinary:physicaldeformityandmutation,missileandrocketcombat,
topplingskyscrapers.Themoviesare,naturally,weakjustwherethescience
fictionnovels(someofthem)arestrongonscience.Butinplaceofanintellectual
workout,theycansupplysomethingthenovelscanneverprovide sensuous
elaboration.Inthefilmsitisbymeansofimagesandsounds,notwordsthathave
tobe
translated
by
the
imagination,
that
one
can
participate
in
the
fantasy
of
livingthroughonesowndeathandmore,thedeathofcities,thedestructionof
humanityitself.
Sciencefictionfilmsarenotaboutscience.Theyareaboutdisaster,whichis
oneoftheoldestsubjectsofart.Insciencefictionfilmsdisasterisrarelyviewed
intensively;itisalwaysextensive.Itisamatterofquantityandingenuity.Ifyou
will,itisaquestionofscale.Butthescale,particularlyinthewidescreen
Technicolorfilms(ofwhichtheonesbytheJapanesedirectorInoshiroHondaand
theAmerican
director
George
Pal
are
technically
the
most
convincing
and
visually
themostexciting),doesraisethemattertoanotherlevel.
Thus,thesciencefictionfilm(likethatofaverydifferentcontemporary
genre,theHappening)isconcernedwiththeaestheticsofdestruction,withthe
peculiarbeautiestobefoundinwreakinghavoc,makingamess.Anditisinthe
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
9/20
imageryofdestructionthatthecoreofagoodsciencefictionfilmlies.Hence,the
disadvantageofthecheapfilminwhichthemonsterappearsortherocketlands
inasmalldulllookingtown.(Hollywoodbudgetneedsusuallydictatethatthe
townbeintheArizonaorCaliforniadesert.InTheThingFromAnotherWorld
[1951]the
rather
sleazy
and
confined
set
is
supposed
to
be
an
encampment
near
theNorthPole.)Still,goodblackandwhitesciencefictionfilmshavebeenmade.
Butabiggerbudget,whichusuallymeansTechnicolor,allowsamuchgreaterplay
backandforthamongseveralmodelenvironments.Thereisthepopulouscity.
Thereisthelavishbutasceticinteriorofthespaceshipeithertheinvadersor
oursrepletewithstreamlinedchromiumfixturesanddialsandmachineswhose
complexityisindicatedbythenumberofcoloredlightstheyflashandstrange
noisestheyemit.Thereisthelaboratorycrowdedwithformidableboxesand
scientificapparatus.Thereisacomparativelyoldfashionedlookingconference
room,where
the
scientists
unfurl
charts
to
explain
the
desperate
state
of
things
tothemilitary.Andeachofthesestandardlocalesorbackgroundsissubjectto
twomodalitiesintactanddestroyed.Wemay,ifwearelucky,betreatedtoa
panoramaofmeltingtanks,flyingbodies,crashingwalls,awesomecratersand
fissuresintheearth,plummetingspacecraft,colorfuldeadlyrays;andtoa
symphonyofscreams,weirdelectronicsignals,thenoisiestmilitaryhardware
going,andtheleadentonesofthelaconicdenizensofalienplanetsandtheir
subjugatedearthlings.
Certainof
the
primitive
gratifications
of
science
fiction
films
for
instance,
thedepictionofurbandisasteronacolossallymagnifiedscalearesharedwith
othertypesoffilms.Visuallythereislittledifferencebetweenmasshavocas
representedintheoldhorrorandmonsterfilmsandwhatwefindinscience
fictionfilms,except(again)scale.Intheoldmonsterfilms,themonsteralways
headedforthegreatcity,wherehehadtodoafairbitoframpaging,hurling
bussesoffbridges,crumplingtrainsinhisbarehands,topplingbuildings,andso
forth.ThearchetypeisKingKong,inSchoedsacksgreatfilmof1933,running
amok,firstintheAfricanvillage(tramplingbabies,abitoffootageexcisedfrom
mostprints),
then
in
New
York.
This
is
really
no
different
in
spirit
from
the
scene
inInoshiroHondasRodan(1957)inwhichtwogiantreptileswithawingspanof
500feetandsupersonicspeedsbyflappingtheirwingswhipupacyclonethat
blowsmostofTokyotosmithereens.OrthedestructionofhalfofJapanbythe
giganticrobotwiththegreatincineratingraythatshootsforthfromhiseyes,at
thebeginningofHondasTheMysterians(1959).Or,thedevastationbytherays
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
10/20
fromafleetofflyingsaucersofNewYork,Paris,andTokyo,inBattleinOuter
Space(1960).Or,theinundationofNewYorkinWhenWorldsCollide(1951).Or,
theendofLondonin1966depictedinGeorgePalsTheTimeMachine(i960).
Neitherdothesesequencesdifferinaestheticintentionfromthedestruction
scenesin
the
big
sword,
sandal,
and
orgy
color
spectaculars
set
in
Biblical
and
RomantimestheendofSodominAldrichsSodomandGomorrah,ofGazainDe
MillesSamsonandDelilah,ofRhodesinTheColossusofRhodes,andofRomeina
dozenNeromovies.GriffithbeganitwiththeBabylonsequenceinIntolerance,
andtothisdaythereisnothinglikethethrillofwatchingallthoseexpensivesets
cometumblingdown.
Inotherrespectsaswell,thesciencefictionfilmsofthe1950stakeup
familiarthemes.Thefamous1930smovieserialsandcomicsoftheadventuresof
FlashGordon
and
Buck
Rogers,
as
well
as
the
more
recent
spate
of
comic
book
superheroeswithextraterrestrialorigins(themostfamousisSuperman,a
foundlingfromtheplanetKrypton,currentlydescribedashavingbeenexploded
byanuclearblast),sharemotifswithmorerecentsciencefictionmovies.But
thereisanimportantdifference.Theoldsciencefictionfilms,andmostofthe
comics,stillhaveanessentiallyinnocentrelationtodisaster.Mainlytheyoffer
newversionsoftheoldestromanceofallofthestronginvulnerableherowitha
mysteriouslineagecometodobattleonbehalfofgoodandagainstevil.Recent
sciencefictionfilmshaveadecidedgrimness,bolsteredbytheirmuchgreater
degreeof
visual
credibility,
which
contrasts
strongly
with
the
older
films.
Modern
historicalrealityhasgreatlyenlargedtheimaginationofdisaster,andthe
protagonistsperhapsbytheverynatureofwhatisvisiteduponthemnolonger
seemwhollyinnocent.
Thelureofsuchgeneralizeddisasterasafantasyisthatitreleasesone
fromnormalobligations.ThetrumpcardoftheendoftheworldmovieslikeThe
DaytheEarthCaughtFire(1962)isthatgreatscenewithNewYorkorLondonor
Tokyodiscoveredempty,itsentirepopulationannihilated.Or,asinTheWorld,
TheFlesh,
and
The
Devil
(1957),
the
whole
movie
can
be
devoted
to
the
fantasy
of
occupyingthedesertedmetropolisandstartingalloveragain,aworldRobinson
Crusoe.
Anotherkindofsatisfactionthesefilmssupplyisextrememoral
simplificationthatistosay,amorallyacceptablefantasywhereonecangive
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
11/20
outlettocrueloratleastamoralfeelings.Inthisrespect,sciencefictionfilms
partlyoverlapwithhorrorfilms.Thisistheundeniablepleasurewederivefrom
lookingatfreaks,beingsexcludedfromthecategoryofthehuman.Thesenseof
superiorityoverthefreakconjoinedinvaryingproportionswiththetitillationof
fearand
aversion
makes
it
possible
for
moral
scruples
to
be
lifted,
for
cruelty
to
beenjoyed.Thesamethinghappensinsciencefictionfilms.Inthefigureofthe
monsterfromouterspace,thefreakish,theugly,andthepredatoryallconverge
andprovideafantasytargetforrighteousbellicositytodischargeitself,andfor
theaestheticenjoymentofsufferinganddisaster.Sciencefictionfilmsareoneof
thepurestformsofspectacle;thatis,wearerarelyinsideanyonesfeelings.(An
exceptionisJackArnoldsTheIncredibleShrinkingMan[1957].)Wearemerely
spectators;wewatch.
Butin
science
fiction
films,
unlike
horror
films,
there
is
not
much
horror.
Suspense,shocks,surprisesaremostlyabjuredinfavorofasteady,inexorable
plot.Sciencefictionfilmsinviteadispassionate,aestheticviewofdestructionand
violenceatechnologicalview.Things,objects,machineryplayamajorrolein
thesefilms.Agreaterrangeofethicalvaluesisembodiedinthedecorofthese
filmsthaninthepeople.Things,ratherthanthehelplesshumans,arethelocusof
valuesbecauseweexperiencethem,ratherthanpeople,asthesourcesofpower.
Accordingtosciencefictionfilms,manisnakedwithouthisartifacts.Theystand
fordifferentvalues,theyarepotent,theyarewhatgetdestroyed,andtheyare
theindispensable
tools
for
the
repulse
of
the
alien
invaders
or
the
repair
of
the
damagedenvironment.
****
Thesciencefictionfilmsarestronglymoralistic.Thestandardmessageistheone
abouttheproper,orhumane,useofscience,versusthemad,obsessionaluseof
science.Thismessagethesciencefictionfilmsshareincommonwiththeclassic
horrorfilmsofthe1930s,likeFrankenstein,TheMummy,IslandofLostSouls,Dr.
Jekylland
Mr.
Hyde.
(George
Franjus
brilliant
Les
Yeux
Sans
Visage
[1959],
called
hereTheHorrorChamberofDoctorFaustus,isamorerecentexample.)Inthe
horrorfilms,wehavethemadorobsessedormisguidedscientistwhopursueshis
experimentsagainstgoodadvicetothecontrary,createsamonsterormonsters,
andishimselfdestroyedoftenrecognizinghisfollyhimself,anddyinginthe
successfulefforttodestroyhisowncreation.Onesciencefictionequivalentof
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
12/20
thisisthescientist,usuallyamemberofateam,whodefectstotheplanetary
invadersbecausetheirscienceismoreadvancedthanours.
ThisisthecaseinTheMysterians,and,truetoform,therenegadeseeshis
errorin
the
end,
and
from
within
the
Mysterian
space
ship
destroys
it
and
himself.InThisIslandEarth(1955),theinhabitantsofthebeleagueredplanet
Metalunaproposetoconquerearth,buttheirprojectisfoiledbyaMetalunan
scientistnamedExeterwho,havinglivedonearthawhileandlearnedtolove
Mozart,cannotabidesuchviciousness.Exeterplungeshisspaceshipintothe
oceanafterreturningaglamorouspair(maleandfemale)ofAmericanphysicists
toearth.Metalunadies.InTheFly(1958),thehero,engrossedinhisbasement
laboratoryexperimentsonamattertransmittingmachine,useshimselfasa
subject,exchangesheadandonearmwithahouseflywhichhadaccidentally
gotteninto
the
machine,
becomes
amonster,
and
with
his
last
shred
of
human
willdestroyshislaboratoryandordershiswifetokillhim.Hisdiscovery,forthe
goodofmankind,islost.
Beingaclearlylabeledspeciesofintellectual,scientistsinsciencefiction
filmsarealwaysliabletocrackuporgooffthedeepend.InConquestofSpace
(1955),thescientistcommanderofaninternationalexpeditiontoMarssuddenly
acquiresscruplesabouttheblasphemyinvolvedintheundertaking,andbegins
readingtheBiblemidjourneyinsteadofattendingtohisduties.The
commandersson,
who
is
his
junior
officer
and
always
addresses
his
father
as
General,isforcedtokilltheoldmanwhenhetriestopreventtheshipfrom
landingonMars.Inthisfilm,bothsidesoftheambivalencetowardscientistsare
givenvoice.Generally,forascientificenterprisetobetreatedentirely
sympatheticallyinthesefilms,itneedsthecertificateofutility.Science,viewed
withoutambivalence,meansanefficaciousresponsetodanger.Disinterested
intellectualcuriosityrarelyappearsinanyformotherthancaricature,asa
maniacaldementiathatcutsoneofffromnormalhumanrelations.Butthis
suspicionisusuallydirectedatthescientistratherthanhiswork.Thecreative
scientistmay
become
amartyr
to
his
own
discovery,
through
an
accident
or
by
pushingthingstoofar.Buttheimplicationremainsthatothermen,less
imaginativeinshort,technicianscouldhaveadministeredthesamediscovery
betterandmoresafely.Themostingrainedcontemporarymistrustoftheintellect
isvisited,inthesemovies,uponthescientistasintellectual.
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
13/20
Themessagethatthescientistisonewhoreleasesforceswhich,ifnot
controlledforgood,coulddestroymanhimselfseemsinnocuousenough.Oneof
theoldestimagesofthescientistisShakespearesProspero,theoverdetached
scholarforciblyretiredfromsocietytoadesertisland,onlypartlyincontrolofthe
magicforces
in
which
he
dabbles.
Equally
classic
is
the
figure
of
the
scientist
as
satanist(DoctorFaustus,andstoriesofPoeandHawthorne).Scienceismagic,and
manhasalwaysknownthatthereisblackmagicaswellaswhite.Butitisnot
enoughtoremarkthatcontemporaryattitudes asreflectedinsciencefiction
filmsremainambivalent,thatthescientististreatedasbothsatanistandsavior.
Theproportionshavechanged,becauseofthenewcontextinwhichtheold
admirationandfearofthescientistarelocated.Forhissphereofinfluenceisno
longerlocal,himselforhisimmediatecommunity.Itisplanetary,cosmic.
****
Onegetsthefeeling,particularlyintheJapanesefilmsbutnotonlythere,thata
masstraumaexistsovertheuseofnuclearweaponsandthepossibilityoffuture
nuclearwars.Mostofthesciencefictionfilmsbearwitnesstothistrauma,and,in
away,attempttoexorciseit.
Theaccidentalawakeningofthesuperdestructivemonsterwhohasslept
intheearthsinceprehistoryis,often,anobviousmetaphorfortheBomb.But
thereare
many
explicit
references
as
well.
In
The
Mysterians,
aprobe
ship
from
theplanetMysteroidhaslandedonearth,nearTokyo.Nuclearwarfarehaving
beenpracticedonMysteroidforcenturies(theircivilizationismoreadvanced
thanours),ninetypercentofthosenowbornontheplanethavetobedestroyed
atbirth,becauseofdefectscausedbythehugeamountsofStrontium90intheir
diet.TheMysterianshavecometoearthtomarryearthwomen,andpossiblyto
takeoverourrelativelyuncontaminatedplanetInTheIncredibleShrinkingMan,
theJohnDoeheroisthevictimofagustofradiationwhichblowsoverthewater,
whileheisoutboatingwithhiswife;theradiationcauseshimtogrowsmallerand
smaller,until
at
the
end
of
the
movie
he
steps
through
the
fine
mesh
of
awindow
screentobecometheinfinitelysmall.InRodan,ahordeofmonstrous
carnivorousprehistoricinsects,andfinallyapairofgiantflyingreptiles(the
prehistoricArcheopteryx),arehatchedfromdormanteggsinthedepthsofamine
shaftbytheimpactofnucleartestexplosions,andgoontodestroyagoodpartof
theworldbeforetheyarefelledbythemoltenlavaofavolcaniceruptionInthe
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
14/20
Englishfilm,TheDaytheEarthCaughtFire,twosimultaneoushydrogenbomb
testsbytheUnitedStatesandRussiachangeby11degreesthetiltoftheearthon
itsaxisandaltertheearthsorbitsothatitbeginstoapproachthesun.
Radiationcasualties
ultimately,
the
conception
of
the
whole
world
as
acasualtyofnucleartestingandnuclearwarfareisthemostominousofallthe
notionswithwhichsciencefictionfilmsdeal.Universesbecomeexpendable.
Worldsbecomecontaminated,burntout,exhausted,obsolete.InRocketshipXM
(1950)explorersfromtheearthlandonMars,wheretheylearnthatatomic
warfarehasdestroyedMartiancivilization.InGeorgePalsTheWaroftheWorlds
(1953),reddishspindlyalligatorskinnedcreaturesfromMarsinvadetheearth
becausetheirplanetisbecomingtoocoldtobeinhabitable.InThisIslandEarth,
alsoAmerican,theplanetMetaluna,whosepopulationhaslongagobeendriven
undergroundby
warfare,
is
dying
under
the
missile
attacks
of
an
enemy
planet.
Stocksofuranium,whichpowertheforcefieldshieldingMetaluna,havebeen
usedup;andanunsuccessfulexpeditionissenttoearthtoenlistearthscientists
todevisenewsourcesfornuclearpower.InJosephLoseysTheDamned(1961),
nineicycoldradioactivechildrenarebeingrearedbyafanaticalscientistinadark
caveontheEnglishcoasttobetheonlysurvivorsoftheinevitablenuclear
Armageddon.
****
Thereisavastamountofwishfulthinkinginsciencefictionfilms,someofit
touching,someofitdepressing.Againandagain,onedetectsthehungerfora
goodwar,whichposesnomoralproblems,admitsofnomoralqualifications.
Theimageryofsciencefictionfilmswillsatisfythemostbellicoseaddictofwar
films,foralotofthesatisfactionsofwarfilmspass,untransformed,intoscience
fictionfilms.Examples:thedogfightsbetweenearthfighterrocketsandalien
spacecraftintheBattleofOuterSpace(1959);theescalatingfirepowerinthe
successiveassaultsupontheinvadersinTheMysterians,whichDanTalbot
correctlydescribed
as
anon
stop
holocaust;
the
spectacular
bombardment
of
the
undergroundfortressofMetalunainThisIslandEarth.
Yetatthesametimethebellicosityofsciencefictionfilmsisneatly
channeledintotheyearningforpeace,orforatleastpeacefulcoexistence.Some
scientistgenerallytakessententiousnoteofthefactthatittooktheplanetary
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
15/20
invasiontomakethewarringnationsoftheearthcometotheirsensesand
suspendtheirownconflicts.Oneofthemainthemesofmanysciencefiction
filmsthecoloronesusually,becausetheyhavethebudgetandresourcesto
developthemilitaryspectacleisthisUNfantasy,afantasyofunitedwarfare.(The
samewishful
UN
theme
cropped
up
in
arecent
spectacular
which
is
not
science
fiction,FiftyFiveDaysinPeking[1963].There,topicallyenough,theChinese,the
Boxers,playtheroleofMartianinvaderswhounitetheearthmen,inthiscasethe
UnitedStates,England,Russia,France,Germany,Italy,andJapan.)Agreat
enoughdisastercancelsallenmitiesandcallsupontheutmostconcentrationof
earthresources.
Sciencetechnologyisconceivedofasthegreatunifier.Thusthescience
fictionfilmsalsoprojectaUtopianfantasy.IntheclassicmodelsofUtopian
thinkingPlatos
Republic,
Campanellas
City
of
the
Sun,
Mores
Utopia,
Swifts
landoftheHouyhnhnms,VoltairesEldoradosocietyhadworkedoutaperfect
consensus.Inthesesocietiesreasonablenesshadachievedanunbreakable
supremacyovertheemotions.Sincenodisagreementorsocialconflictwas
intellectuallyplausible,nonewaspossible.AsinMelvillesTypee,theyallthink
thesame.Theuniversalruleofreasonmeantuniversalagreement.Itis
interesting,too,thatsocietiesinwhichreasonwaspicturedastotallyascendant
werealsotraditionallypicturedashavinganasceticormateriallyfrugaland
economicallysimplemodeoflife.ButintheUtopianworldcommunityprojected
byscience
fiction
films,
totally
pacified
and
ruled
by
scientific
consensus,
the
demandforsimplicityofmaterialexistencewouldbeabsurd.
****
Yetalongsidethehopefulfantasyofmoralsimplificationandinternationalunity
embodiedinthesciencefictionfilmslurkthedeepestanxietiesabout
contemporaryexistence.IdontmeanonlytheveryrealtraumaoftheBombthat
ithasbeenused,thatthereareenoughnowtokilleveryoneonearthmanytimes
over,that
those
new
bombs
may
very
well
be
used.
Besides
these
new
anxieties
aboutphysicaldisaster,theprospectofuniversalmutilationandeven
annihilation,thesciencefictionfilmsreflectpowerfulanxietiesaboutthe
conditionoftheindividualpsyche.
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
16/20
Forsciencefictionfilmsmayalsobedescribedasapopularmythologyfor
thecontemporarynegativeimaginationabouttheimpersonal.Theotherworld
creaturesthatseektotakeusoverareanit,notathey.Theplanetary
invadersareusuallyzombielike.Theirmovementsareeithercool,mechanical,or
lumbering,blobby.
But
it
amounts
to
the
same
thing.
If
they
are
non
human
in
form,theyproceedwithanabsolutelyregular,unalterablemovement
(unalterablesavebydestruction).Iftheyarehumaninformdressedinspace
suits,etc.thentheyobeythemostrigidmilitarydiscipline,anddisplayno
personalcharacteristicswhatsoever.Anditisthisregimeofemotionlessness,of
impersonality,ofregimentation,whichtheywillimposeontheearthiftheyare
successful.Nomorelove,nomorebeauty,nomorepain,boastsaconverted
earthlinginTheInvasionoftheBodySnatchers(1956).Thehalfearthling,half
alienchildreninTheChildrenoftheDamned(1960)areabsolutelyemotionless,
moveas
agroup
and
understand
each
others
thoughts,
and
are
all
prodigious
intellects.Theyarethewaveofthefuture,maninhisnextstageofdevelopment.
Thesealieninvaderspracticeacrimewhichisworsethanmurder.Theydo
notsimplykilltheperson.Theyobliteratehim.InTheWaroftheWorlds,theray
whichissuesfromtherocketshipdisintegratesallpersonsandobjectsinitspath,
leavingnotraceofthembutalightash.InHondasTheHMan(1959),the
creepingblobmeltsallfleshwithwhichitcomesincontact.Iftheblob,which
lookslikeahugehunkofredjelloandcancrawlacrossfloorsandupanddown
walls,so
much
as
touches
your
bare
foot,
all
that
is
left
of
you
is
aheap
of
clothes
onthefloor.(Amorearticulated,sizemultiplyingblobisthevillainintheEnglish
filmTheCreepingUnknown[1956].)Inanotherversionofthisfantasy,thebodyis
preservedbutthepersonisentirelyreconstitutedastheautomatizedservantor
agentofthealienpowers.Thisis,ofcourse,thevampirefantasyinnewdress.
Thepersonisreallydead,buthedoesntknowit.Heisundead,hehasbecome
anunperson.IthappenstoawholeCaliforniatowninTheInvasionoftheBody
Snatchers,toseveralearthscientistsinThisIslandEarth,andtoassorted
innocentsinItCameFromOuterSpace,AttackofthePuppetPeople(1958),and
TheBrain
Eaters
(1958).
As
the
victim
always
backs
away
from
the
vampires
horrifyingembrace,soinsciencefictionfilmsthepersonalwaysfightsbeing
takenover;hewantstoretainhishumanity.Butoncethedeedhasbeendone,
thevictimiseminentlysatisfiedwithhiscondition.Hehasnotbeenconverted
fromhumanamiabilitytomonstrousanimalbloodlust(ametaphoric
exaggerationofsexualdesire),asintheoldvampirefantasy.No,hehassimply
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
17/20
becomefarmoreefficienttheverymodeloftechnocraticman,purgedof
emotions,volitionless,tranquil,obedienttoallorders.(Thedarksecretbehind
humannatureusedtobetheupsurgeoftheanimalasinKingKong.Thethreatto
man,hisavailabilitytodehumanization,layinhisownanimality.Nowthedanger
isunderstood
as
residing
in
mans
ability
to
be
turned
into
amachine.)
Therule,ofcourse,isthatthishorribleandirremediableformofmurder
canstrikeanyoneinthefilmexceptthehero.Theheroandhisfamily,while
greatlythreatened,alwaysescapethisfateandbytheendofthefilmtheinvaders
havebeenrepulsedordestroyed.Iknowofonlyoneexception,TheDayThat
MarsInvadedEarth(1963),inwhichafterallthestandardstrugglesthescientist
hero,hiswife,andtheirtwochildrenaretakenoverbythealieninvadersand
thatsthat.(Thelastminutesofthefilmshowthembeingincineratedbythe
Martiansrays
and
their
ash
silhouettes
flushed
down
their
empty
swimming
pool,whiletheirsimulacradriveoffinthefamilycar.)Anothervariantbutupbeat
switchontheruleoccursinTheCreationoftheHumanoids(1964),wherethe
herodiscoversattheendofthefilmthathe,too,hasbeenturnedintoametal
robot,completewithhighlyefficientandvirtuallyindestructiblemechanical
insides,althoughhedidntknowitanddetectednodifferenceinhimself.He
learns,however,thathewillshortlybeupgradedintoahumanoidhavingallthe
propertiesofarealman.
Ofall
the
standard
motifs
of
science
fiction
films,
this
theme
of
dehumanizationisperhapsthemostfascinating.For,asIhaveindicated,itis
scarcelyablackandwhitesituation,asintheoldvampirefilms.Theattitudeof
thesciencefictionfilmstowarddepersonalizationismixed.Ontheonehand,they
deploreitastheultimatehorror.Ontheotherhand,certaincharacteristicsofthe
dehumanizedinvaders,modulatedanddisguisedsuchastheascendancyof
reasonoverfeelings,theidealizationofteamworkandtheconsensuscreating
activitiesofscience,amarkeddegreeofmoralsimplificationarepreciselytraitsof
thesaviorscientist.Itisinterestingthatwhenthescientistinthesefilmsis
treatednegatively,
it
is
usually
done
through
the
portrayal
of
an
individual
scientistwhoholesupinhislaboratoryandneglectshisfianceorhislovingwife
andchildren,obsessedbyhisdaringanddangerousexperiments.Thescientistas
aloyalmemberofateam,andthereforeconsiderablylessindividualized,is
treatedquiterespectfully.
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
18/20
Thereisabsolutelynosocialcriticism,ofeventhemostimplicitkind,in
sciencefictionfilms.Nocriticism,forexample,oftheconditionsofoursociety
whichcreatetheimpersonalityanddehumanizationwhichsciencefiction
fantasiesdisplaceontotheinfluenceofanalienIt.Also,thenotionofscienceasa
socialactivity,
interlocking
with
social
and
political
interests,
is
unacknowledged.
Scienceissimplyeitheradventure(forgoodorevil)oratechnicalresponseto
danger.And,typically,whenthefearofscienceisparamountwhenscienceis
conceivedofasblackmagicratherthanwhitetheevilhasnoattributionbeyond
thatoftheperversewillofanindividualscientist.Insciencefictionfilmsthe
antithesisofblackmagicandwhiteisdrawnasasplitbetweentechnology,which
isbeneficent,andtheerrantindividualwillofaloneintellectual.
Thus,sciencefictionfilmscanbelookedatasthematicallycentralallegory,
repletewith
standard
modern
attitudes.
The
theme
of
depersonalization
(being
takenover)whichIhavebeentalkingaboutisanewallegoryreflectingtheage
oldawarenessofmanthat,sane,heisalwaysperilouslyclosetoinsanityand
unreason.Butthereissomethingmoreherethanjustarecent,popularimage
whichexpressesmansperennial,butlargelyunconscious,anxietyabouthis
sanity.Theimagederivesmostofitspowerfromasupplementaryandhistorical
anxiety,alsonotexperiencedconsciouslybymostpeople,aboutthe
depersonalizingconditionsofmodernurbanlife.Similarly,itisnotenoughtonote
thatsciencefictionallegoriesareoneofthenewmythsaboutthatis,oneofthe
waysof
accommodating
to
and
negating
the
perennial
human
anxiety
about
death.(Mythsofheavenandhell,andofghosts,hadthesamefunction.)For,
again,thereisahistoricallyspecifiabletwistwhichintensifiestheanxiety.Imean,
thetraumasufferedbyeveryoneinthemiddleofthe20thcenturywhenit
becameclearthat,fromnowontotheendofhumanhistory,everypersonwould
spendhisindividuallifeunderthethreatnotonlyofindividualdeath,whichis
certain,butofsomethingalmostinsupportablepsychologicallycollective
incinerationandextinctionwhichcouldcomeatanytime,virtuallywithout
warning.
Fromapsychologicalpointofview,theimaginationofdisasterdoesnot
greatlydifferfromoneperiodinhistorytoanother.Butfromapoliticalandmoral
pointofview,itdoes.Theexpectationoftheapocalypsemaybetheoccasionfor
aradicaldisaffiliationfromsociety,aswhenthousandsofEasternEuropeanJews
inthe17thcentury,hearingthatSabbataiZevihadbeenproclaimedtheMessiah
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
19/20
andthattheendoftheworldwasimminent,gaveuptheirhomesandbusinesses
andbeganthetrektoPalestine.Butpeopletakethenewsoftheirdoomin
diverseways.Itisreportedthatin1945thepopulaceofBerlinreceivedwithout
greatagitationthenewsthatHitlerhaddecidedtokillthemall,beforetheAllies
arrived,because
they
had
not
been
worthy
enough
to
win
the
war.
We
are,
alas,
moreinthepositionoftheBerlinersof1945thanoftheJewsof17thcentury
EasternEurope;andourresponseisclosertotheirs,too.WhatIamsuggestingis
thattheimageryofdisasterinsciencefictionisabovealltheemblemofan
inadequateresponse.Idontmeantobeardownonthefilmsforthis.They
themselvesareonlyasampling,strippedofsophistication,oftheinadequacyof
mostpeoplesresponsetotheunassimilableterrorsthatinfecttheir
consciousness.Theinterestofthefilms,asidefromtheirconsiderableamountof
cinematiccharm,consistsinthisintersectionbetweenanaiveandlargely
debasedcommercial
art
product
and
the
most
profound
dilemmas
of
the
contemporarysituation.
****
Oursisindeedanageofextremity.Forweliveundercontinualthreatoftwo
equallyfearful,butseeminglyopposed,destinies:unremittingbanalityand
inconceivableterror.Itisfantasy,servedoutinlargerationsbythepopulararts,
whichallowsmostpeopletocopewiththesetwinspecters.Foronejobthat
fantasycan
do
is
to
lift
us
out
of
the
unbearably
humdrum
and
to
distract
us
from
terrorsrealoranticipatedbyanescapeintoexotic,dangeroussituationswhich
havelastminutehappyendings.Butanotherofthethingsthatfantasycandois
tonormalizewhatispsychologicallyunbearable,therebyinuringustoit.Inone
case,fantasybeautifiestheworld.Intheother,itneutralizesit.
Thefantasyinsciencefictionfilmsdoesbothjobs.Thefilmsreflectworld
wideanxieties,andtheyservetoallaythem.Theyinculcateastrangeapathy
concerningtheprocessesofradiation,contamination,anddestructionwhichIfor
onefind
haunting
and
depressing.
The
naive
level
of
the
films
neatly
tempers
the
senseofotherness,ofalienness,withthegrosslyfamiliar.Inparticular,the
dialogueofmostsciencefictionfilms,whichisofamonumentalbutoften
touchingbanality,makesthemwonderfully,unintentionallyfunny.Lineslike
Comequickly,theresamonsterinmybathtub.Wemustdosomethingabout
this.Wait,Professor.Theressomeoneonthetelephone.Butthats
8/22/2019 Sontag Susan 1966 1967 the Imagination of Disaster
20/20
incredible,andtheoldAmericanstandby,Ihopeitworks!arehilariousinthe
contextofpicturesqueanddeafeningholocaust.Yetthefilmsalsocontain
somethingthatispainfulandindeadlyearnest.
Thereis
asense
in
which
all
these
movies
are
in
complicity
with
the
abhorrent.Theyneutralizeit,asIhavesaid.Itisnomore,perhaps,thantheway
allartdrawsitsaudienceintoacircleofcomplicitywiththethingrepresented.
Butinthesefilmswehavetodowiththingswhichare(quiteliterally)
unthinkable.Here,thinkingabouttheunthinkablenotinthewayofHerman
Kahn,asasubjectforcalculation,butasasubjectforfantasybecomes,however
inadvertently,itselfasomewhatquestionableactfromamoralpointofview.The
filmsperpetuateclichsaboutidentity,volition,power,knowledge,happiness,
socialconsensus,guilt,responsibilitywhichare,tosaytheleast,notserviceablein
ourpresent
extremity.
But
collective
nightmares
cannot
be
banished
by
demonstratingthattheyare,intellectuallyandmorally,fallacious.Thisnightmare
theonereflected,invariousregisters,inthesciencefictionfilmsistoocloseto
ourreality.
****