As I
mentioned in Part I last week, after my anthology was released late last year
from McFarland & Company (James Bond and Popular Culture: Essays on the
Influence of the Fictional Superspy, 2014),
I spent the next few months weighing several ideas and completing cursory
research on my shortlist of ideas that I felt had the most promise for a second
book. By the beginning of this year, there was one idea that sifted to the top
of my list and that was space horror, in part because I was preparing a
presentation on a comic book series, Caliban, by Garth Ennis (Avatar Press), which was a space
horror story about the human crew aboard the Caliban and the events that unfold
after their ship literally crashed into an alien spacecraft. I presented that
paper at Wondercon in early April. Afterwards, I spent another month preparing
my pitch.
I pitched my
proposal for a collection of essays exploring space horror in films last month.
By that time, I had probably watched about 20 – 25 films. Some films I had seen
before such as Alien (1979), Event
Horizon (1997) and Pitch Black (2000),
but there were some I had not seen before, such as Pandorum (2009), Planet of the Vampires (1965) and The Last Days on Mars (2013). From my viewings, I noticed certain
recurring settings, alien manifestations and interactions, and tropes that were
repeated often enough that they are worth mentioning.
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| Event Horizon |
SPACE
HORROR SETTING
I found four
central settings or mise-en-scenes that became visible from my research and the
settings were used either separately or in combination with each other. The
labels I use are based on scientific (astronomy) terms and are bolded below.
The first setting takes place entirely or almost exclusively in outer space on
a spacecraft or on a space station. Examples would include Event Horizon and Dracula 3000 (2004) because in both of these films, the action
takes place entirely on a spacecraft(s). To me, these are ‘pure outer space’
space horror films. The second setting for a space horror story takes place on
a planet or moon outside of our solar system. This setting is categorized as Extrasolar
and would include Alien and Pandorum. The third setting refers to a story set within our
solar system, but not on Earth. These would be known as Extraterrestrial
and would include Apollo 18 (2011) and Europa
Report (2013) for example. The last setting
refers to stories set on Earth and are known as Terrestrial. They
are often called “invasion films” and would include Invasion of the Body
Snatchers (1956) and The Blob (1958).
As mentioned
at the start of this section, I found there was crossover between each film’s
setting such as Alien, which took place
on a planet outside of our solar system (Extrasolar) briefly, but was for the
most of the film, set on a spacecraft. What was interesting is that a majority
of the earliest identified space horror films that started appearing in the
1950s - The Thing from Another World
(1951), The Day the Earth Stood Still (1951), Invasion of the Body Snatchers, The Blob,
and believe it or not, Ed Wood’s Plan 9 from Outer Space (1959) – were terrestrial. However, over the
intervening decades since these movies premiered, space horror films have
diversified from its roots, expanding to all four settings.
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| The Blob |
SPACE
HORROR NEMESIS
Every good
story has an antagonist. Of space horror films I have watched, most often the
nemesis is an alien life form and will usually represent one of three broad
categories. The first type of alien is a physical entity unto itself and does
not need to inhabit a host. Examples include the alien hunter in the Predator franchise, the alien creatures or bioraptors in Pitch
Black, and the watery tentacle creature in Europa
Report.
The second type of alien uses a human as a host, physically
or psychologically, and morphs the host so that it is readily apparent to
others and at other times, the change is subtle enough to fool the people
around them. These aliens are typically some sort of organism or parasite that
penetrates the host in a violent way. Doom (2005),
The Last Days on Mars (2013) and The
Thing (1982) are good examples here. A
psychological ‘parasite’ is more difficult to uncover. Solaris (1972) and Sunshine (2007) had apparitions that took up physical space
and multiple people could see and interact with them. In each film, individuals
were changed psychologically.
The last type of alien transcends the physical plane and is
considered paranormal, usually appearing as apparitions or occasionally seeming
to take up physical space. In Event Horizon,
each crewmember of the Lewis and Clark experience apparitions of individuals from their pasts that only they
can see. In the case of Dr. William Weir (Sam Neill), he becomes possessed by
the spirit aboard the ship and he self-inflicts bodily harm to himself,
physically changing his appearance to match the horror and chaos of the
alternate dimension the prior crew encountered during their gravity drive
experiment. This category also includes the occult oriented aliens, so here’s
where those interplanetary vampires and the Cenobites that astronauts sometimes
encounter would fit.
There is one other aspect of the alien that needs to be
considered: to be or not be a sentient alien. There are aliens that are interpreted
as hostile, but in fact, are only driven by the instinct to survive. The
bioraptors in Pitch Black are not
sentient beings but are an alien species led by their instinct for survival.
They are led by the most fundamental need to exist – hence, they have not
evolved. On the other hand, one sentient alien being would include the hunter
from the Predator franchise. The
hunter’s actions are thoughtful and with intent. They have advanced themselves
through the development of clothing, armor and technology for example, which
they use for the purpose of hunting others. In the former example, the
horrifying nature of the film’s aliens boil down to a “survival of the fittest”
mentality, while for the latter film, the motivation is more devious and
intentional.
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| Bioraptor from Pitch Black |
SPACE HORROR TROPES
Below, I
have identified a number of recurring tropes during my film watching. I am
starting out with the stereotypes that had the strongest validity within the
space horror genre, then I will follow up with the remaining tropes that I feel
will need more time and analysis. However, I felt they still have importance in
this dialogue.
Sense of Isolation
A sea of black with twinkling stars and glowing planets may
provide wonder and awe, but after traveling in space – days, weeks, months,
years – isolation sets in and takes a physical and emotional toll on each
person. We have seen this countless times – Event Horizon and Europa Report – where bodily fatigue, depression, and an
anxiousness to get home to Earth are prevalent. Additionally, space represents
danger to humans because there are deadly hazards to space travel: the threat
to the air supply if the ship is damaged and the adverse impact of gravity and
radiation to the human body.
If a crew finds themselves in trouble, they know they are
alone. And if any space horror has taught us, any help will be too far away
(months or even years) to be of any assistance because the alien or aliens are
faster at annihilation.
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| Elite squad from Doom |
Military and/or Corporate Presence
In many of the space horror films, there is either a
military component such as the special elite squad in Doom or the marines in Aliens (1986) for example – or a corporation presence such
as Weyland-Yutani throughout the Alien franchise. Eventually, the crew discovers they are expendable in the
eyes of the corporation, or alternatively, the military. The crew, or the
remains of it, may also identify there is a “turncoat” in the group. An
individual will turn, either intentionally or not, against their fellow
crewmembers because they are following their corporation’s directive and/or
trying save their own skin. This person is a walking dead man.
Returning to Aliens
as an example, Carter Burke (Paul Reiser) is a company man and he creates a
situation, which Ripley (Sigourney Weaver) and Newt (Carrie Henn) should be
impregnated by an alien. He does this with the intention of smuggling an alien
embryo back through intergalactic customs. However, that tactic was foiled.
Later, when the aliens are storming the base, Burke becomes scared and tries to
save himself, to the detriment of the others. He uses the intended escape route
and locks the door so the remaining survivors cannot use that route, but he
comes face to face with an alien and his own demise.
High Fatality
In many of the films set in space, there is a limited number
of crew, usually ranging between 7 or 8, which is probably the tipping point
for the film to have just enough time to introduce and develop each character
for the audience to identify with and keep track of during the movie. Alien had seven crewmembers as did Dracula 3000, while Sunshine, Event Horizon, Last Days
on Mars, and Doom (the marines) had eight. Some of the outliers
included Europa Report with 6, Pandorum with 5, Stranded (2013) with 4, and Apollo 18 with 3, while Pitch Black, Aliens and The Thing had over 8. As a trope device, it is about the right count of deaths
for the purpose of pacing tension and suspense. Ultimately though, the presence of aliens are seriously bad
for a human’s longevity and with crews typically averaging around 7 or 8, it
doesn’t take long for an alien to get to…..
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| Ripley from Alien |
Sole Survivor
….the sole survivor: This person defies Darwin’s law and
either defeats the alien in a climatic battle or is able to escape, until the
sequel – think, Ripley from the Alien
franchise. In some stories, the last survivor has to complete their task, which
will cause their death yet will be for the greater good, such as in Sunshine,
Last Days on Mars and Europa
Report. We often see this trope utilized in
the slasher films where the last survivor is the ‘final girl’ and while that is
the case in a few of the space horror films I have watched so far, I think it
is the exception rather than the norm. More often, either the entire crew dies
or there will be a small number of survivors, usually two or three, such as in Event
Horizon, Pitch Black and Pandorum.
‘Uncanny Valley’ or the Evil Android
I noticed that if there is an android or a central computer
present in the story, then they usually turn out to have questionable intentions
that may or may not lead to the termination of human life. Such is the case
with Ash (Ian Holm) in Alien, David
(Michael Fassbender) in Prometheus (2012),
and Bishop (Lance Henriksen) in Aliens, which were androids made to pass as human and do so for a time during
their respective films. Occasionally, instead of an android, there may be a
central computer, often referred to as ‘Mother’ and controlled by the military
and/or corporate entity within the film. Two examples of this can be found with
Alien and with the Japanese anime
Lily C.A.T. (1987), which was
directly influenced by Alien. I
think it is a fascinating concept that I would like to spend more time
researching and expanding on in a future blog, especially in light of Isaac
Asimov’s laws regarding robotics – robots should not injure humans – and the
concept of ‘uncanny valley’ whereas there is an adverse reaction and/or
discomfort in humans.
Foreshadowing Events via the Ship’s Name
Foreshadowing, the use of a clue in the narrative that eludes
to or predicts an event later in the film, is an intriguing concept that has
not had much discussion from what I have found thus far. In particular, I think
there is a need to mediate the literature, mythology, and real events to their
filmic references. For example, Joseph Conrad’s novel Nostromo: A Tale of
the Seaboard (1904) for the Nostromo ship in Alien and the fictional town Sulaco lends its name to the ship in Aliens, while William Shakespeare’s The Tempest (1610-11) is referenced in Forbidden Planet (1956). The Icarus I and Icarus II ships in Sunshine reference Greek mythology, while the Lewis
and Clark is the rescue ship in Event
Horizon and references the early American
explorers.
Below, I have briefly described a handful of tropes that I
am still conceptualizing and will be explored in future blog posts. However,
initially I think they are valid points that are worth pointing out, with their
significance pending further investigation.
Kafka’s Metamorphosis
The Metamorphosis
(1915) written by Franz Kafka is a novella about Gregor Samsa, who wakes up to
find himself mysteriously transformed into a large beetle-like insect. Kafka
explores Gregor’s adjustment and his family’s response to his transformation.
Many of the space horror films involve a transformation of one or more
individuals who have been invested with an alien being. The majority of the
time in these films, the point of view is from the uninfected humans, but
sometimes there are breakout performances: Dr. Weir in Event Horizon, Goat (Ben Daniels) in Doom and Wikus Van De Merwe (Sharlto Copley) in District
9 (2009).
Symbolism & Semiotics
The religious references in Event Horizon, the concept of mother/motherhood in Aliens and the copulating facehuggers of the Alien franchise are just a few of the many examples that
could use some semiotic analysis.
Humor
I noted several instances of humor, particularly in the
first and second films of the Alien
franchise. Humor provides a break in the tension of fear and can result some
fantastic memorable lines in the heat of the action.
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| Dinner table scene from Alien |
Gather Around the Table
This is an interesting one because it employs tradition of
family and friends breaking bread together. In the films, it becomes a vehicle
to gather all of the characters for the purpose of introducing them, revealing
the group’s dynamics and relationships, and setting up the story that will
unfold. There are meal scenes in the Alien franchise, with the first film
having the most famous, but I noticed there are similar scenes in Sunshine,
Event Horizon and Europa Report.
Element of Romance
Although one would think that the crew is too busy trying to
stay alive in a space horror, there are references to either an established
relationship between two of the crewmembers such as Shaw (Noomi Rapace) and
Holloway (Logan Marshall-Green) in Prometheus, or the potential for a relationship to be hinted at, such as Ripley
and Hicks (Michael Biehn) in Aliens
and Carolyn (Radha Mitchell) and Riddick (Vin Diesel) in Pitch Black. In Doom,
an interracial relationship is brewing between Samantha Grimm (Rosamund Pike)
and Duke (Razaaq Adoti) and Aurora Ash (Erika Eleniak) and Humvee (Tommy ‘Tiny’
Lister) explore a human and android romance in Dracula 3000. However, I have yet to come across same sex
relationships, except in the comic book series, Caliban.
Check back next week where I will begin exploring the themes
I listed on my call for papers.
© Copyright. Michele Brittany. 2015. All rights
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