A Look Back at Stanley Kubrick’s “2001: A Space Odyssey” (Space.com Infographic)

Find out about '2001: A Space Odyssey
Source SPACE.com: All about our solar system, outer space and exploration

Identity Group Experiences & Perceptions Of Therapy: Vampires, Otherkin and Others

womens_otherkin_inside_tshirt-p235696838343882860u34v_400Researching Identity Group Experiences & Perceptions Of Therapy

UNIVERSITY OF EAST LONDON
School of Psychology
Stratford Campus
Water Lane
London E15 4LZ

Would you like to take part in research about Otherkin, Vampires, and Therians/Weres and are over 18?

Ish’had Duncan (MA Student at University of East London) is seeking six self-identified Otherkin, Vampires and Therians/Weres to share their experiences for an interpretative phenomenological research project aimed at the education of therapists.

Exploring The Experiences Of Otherkin, Vampires and Weres and Their Perceptions Of Therapy

Project Description:

This research is aimed at using credible research methods to capture your experiences of what it is to be Otherkin and also introduce therapists who might come across Otherkin to what it is to feel non-human in spirit, psychologically or physically. This research is subject to ethical approval.

If you are interested in taking part in an interview please contact me below for more details:

Principal Researcher:

Ish’had Duncan
Ishhadduncan@yahoo.co.uk

Tony Mills on “Buffyverse Fandom as Religion”

9781783200191From time to time TheoFantastique explores aspects of fan cultures, and with this interview we talk to Tony Mills who discusses his contribution on the “Buffyverse Fandom as Religion” in Fan Phenomena: Buffy the Vampire Slayer, edited by Jennifer K. Stuller (University of Chicago Press, 2013). Tony Mills received a PhD in theology and culture from Fuller Seminary, where he studied theology and film under Robert Johnston and wrote a dissertation on theological anthropology and Marvel superhero comics and films, which will be released by Routledge later this year under the title American Theology, Superhero Comics, and Cinema.

TheoFantastique: Let’s begin with some discussion of the book you’ve contributed a chapter to. How did you come to develop an interest in pop culture fandom and religion, and how does your contribution fit within the focus of Fan Phenomena?

Tony Mills: Hmmm, I don’t recall all of the details to answer the first part of your question. I’m part of a listserv which sends out various calls for papers and I was particularly intrigued by the one for the Fan Phenomena series which Intellect Books is currently doing. I was most interested in and familiar with Buffy, so I took some time to think of how my background in religion and theology could be used to give insight into fan phenomena. So I believe that call for papers was itself the impetus. As for the second part of your question, my contribution tries to get to the roots of why people become fans, especially dedicated ones. I’m interested in the biological and psychological impulses behind devotion and how this comes to expression in cultural phenomena such as fandom. To this extent, much of what I say in my chapter is true of other media texts in addition to Buffy, although Buffy and Whedon’s work in general have a special place in my heart.

imagesTheoFantastique: Some readers might think it curious or inappropriate to think of something like Buffy the Vampire Slayer being considered in some way as religious. What hurdles do you face in making the case here?

Tony Mills: The biggest hurdle, as I allude to in the chapter, is overcoming a strict definition of religion which many people have. The interesting thing is that people from across the gamut of religious views are resistant to such a reading. There is an assumption among many, including most cognitive science of religion (or CSR) scholars, that “religion” is primarily about belief in supernatural agents. This is, in my opinion, something of a common sense view of religion and it is shared by conservative believers and ardent non-believers alike. Part of my motivation, although this chapter is not really the venue for it, is to get people to think about how their commitments in daily life often reflect the same psychological devotion and energy as the most steadfast churchgoers or even extremist terrorists. Although I consider myself to be an atheist, one of the things which bothers me about many atheists is the idea found among many of them that the only real problems in the world stem from the traditional religions and their violence. Certainly the violence done in the name of a god has been catastrophic, but it does not serve us to be blind to the violence and destruction wrought by the same mindless devotion to, say, a sports team, a nation, or a political ideology. Of course, to my knowledge Buffy and Star Trek fans and the like do not burn alleged witches at the stake, but even so we ought to be aware of how it is that we are wired for worship, community, sacrifice, ritual, and other aspects which are not strictly “religious” in the common sense of the term but are rather broadly human phenomena. So, by opening the definition of religion to get away from the idea that it’s only about god, my hope is to create awareness as well as to build bridges to those whom we judge as being crazy religious fanatics. There but for the grace of God go I, you could say.

TheoFantastique: Many people define religion in regards to belief, and belief in the supernatural and a personal God. Of course there are religions which don’t fit this mold, such as certain forms of Buddhism, so that type of definition is problematic. You are drawing upon the cognitive science of religion or the biocultural science of religion for your definition. Can you describe this a little, and how does this functional definition of religion dovetail with other approaches, such as the work of Clifford Geertz and a “thick description” of religion, and the idea of religion as a binding force from the Latin word religare?

Buffy3Tony Mills: I’m definitely drawing on recent insights from scholars in the cognitive science of religion, but it’s interesting that, as I mentioned above, most of them still hold to the idea that religion is really about the origins and perpetuation of belief in supernatural agents. There is a minority strand of researchers, like Loyal Rue, who want to get away from that strict association because it is ultimately limiting and doesn’t help us to make sense of the broader human phenomena which come to expression in traditional religion, such as the impulses to ritual, devotion, worship, community formation, etc. You mentioned Buddhism. From my understanding original Buddhism is atheistic. Now, if you are committed to the idea that religion must include the worship of a supernatural agent, you will have a hard time understanding how Buddhism is actually a religion. From a broader approach, however, you can see Buddhism as a religion because it very much focuses on all those other human phenomena which are also part of traditional, supernaturalistic faith traditions.

Also, you mention that what I’m doing is a “functional” definition of religion, which is considered to be distinct from a “substantive” definition of religion, a distinction which I believe goes back to a particular twentieth-century religion scholar. I’m not sure who because classical religious studies was never my expertise. It’s a distinction, more simply, between what a religion does (its function) and what it is (its substance). I’ve always found such distinctions problematic because that kind of language goes back to Aristotle’s distinction between essence and accidents; but if, as David Hume asked, we can’t say anything about what a substance actually is, then are we actually talking about anything? I prefer a more organic or relational approach to such things, so for me, how religious devotion, worship, commitment, etc. function actually is its substance, to use that terminology.

ew_joss_whedonAs for Clifford Geertz, who represents traditional religious studies, I personally think that there is a lot to be shared between his approach of thick description and CSR approaches. It should be noted that not everyone in those two camps agree. Several CSR scholars ignore the insights of traditional religious studies because they feel that the older approach is limited, so they throw the baby out with the bathwater. Many in religious studies, as well as in the humanities more broadly, are leery of cognitive approaches to cultural phenomena such as religion because they sense biological determinism in the cognitive approach, not to mention the philosophical amateurism which pervades the usually simplistic theological assertions of many CSR writers.

But folks like Geertz are indispensible because they actually tell us what contemporary religion is like. CSR people often get so hung up on our evolutionary past that they forget that we really know more, and exponentially more, about how religion as it is lived today than how it was experienced in prehistoric times. Working with the details that Geertz and others offer allows us to analyze those details through the lenses of not only evolutionary psychology, but also of current cognitive neuroscience and many other fields. At the same time, I don’t think it has been observed often that Geertz, and Durkheim before him (whose magnum opus was written over a century ago), displayed intuitions of the importance of evolution and cognition for understanding religion and other cultural phenomena.

As for your final point on the etymological definition of religion as about binding, from the Latin religare, CSR has offered fresh insights on this. For major instance, it seems that early homo sapiens both formed more tightly knit communities and had more psychological incentive to see their communities succeed when they had a shared religion, specifically a shared view of supernatural agents, what these agents wanted, and how to make them happy and unhappy. CSR has only supported the view that religion is quite likely the most powerfully binding force in human history, which would also help explain the tenacity of fundamentalism in its various manifestations today.

TheoFantastique: You mention the emotional aspect of Buffyverse fan communities as the cohesive element. Can you talk to this a bit?

buffy_wb_083_wwwhqparadisehuTony Mills: This actually relates to my preceding comments about the binding force of religion, for therein it is not that there is a literal god or goddess who mystically binds people together for a common purpose, at least not from a scientific vantage. It is rather the psychological and emotional power which belief in said deities holds; e.g. that my tribe, my family, my nation, etc., is the best and most important and must be protected at all costs because my god demands it (and, you know, I will be punished if I don’t comply).

What I think happens often in fandom is that this same emotional significance and attachment is simply refashioned. Sure, Buffyverse fans have all sorts of different views on the divine and how one ought to live one’s life outside of conventions and other interactions (a shared if unconscious assumption which at least contributes to why, say, Angel-lovers and Spike-lovers don’t resolve their dispute through armed skirmishes), but the meaning and belonging they find in the shared communal love of Buffyverse media is, I argue, the same as that which has been provided by traditional religions. Perhaps the intensity is different. Perhaps there is not the same impulse to violent protection of values as there is in many religious contexts. But the emotions, the feelings of belonging, of being caught up into something bigger than oneself, are, I suspect, psychologically and neurologically the same.

TheoFantastique: You also describe group-specific vocabulary, esoteric knowledge, and ritual as important. Other scholars have noted similar things in regards to other forms of fandom, such as Star Trek and Star Wars. Have you given any consideration to attendance at fan conventions as a possible form of ritual paralleling pilgrimage in religious traditions?

Tony Mills: I’ve definitely considered attendance at fan conventions religiously significant, but I didn’t think of the parallel to religious pilgrimage per se independently, probably because in my own former faith tradition pilgrimage was not a priority. I’ve considered them more in terms of ritual and regular communal gathering. I have, however, come across one or two essays recently which address explicitly the parallel to pilgrimage. I would be happy to share them if I could recall where I found them! But my own knowledge of religious pilgrimage is too thin to comment further.

TheoFantastique: How do you see the breakdown of Berger’s “sacred canopy” of traditional religious plausibility structures, the democratization of knowledge and authority through the Internet, and the sacralization of popular culture playing a part in the religious function of Buffy fandom?

buffy-the-vampire-slayer-001Tony Mills: Wow, this is a complex question, ostensibly composed of three parts. First, with regard to the sacred canopy and the related idea of the secularization thesis, I think that Buffy and pop culture fandom more broadly can be seen as evidence that Berger was wrong about the latter, a mistake he now readily admits. The evolved human needs for meaning, purpose, community, identity, nomos, and so on were never limited to the traditional religions—even if they found their most intense and systemic meeting therein—as Berger and others seem to have assumed, but have always been anthropological data, something which the cognitive and social sciences have helped us realize. This is precisely why even the monolith of industrial capitalism cannot permanently suppress those needs but must rather co-opt them in order to survive, which it is doing splendidly (hence the possibility and proliferation of fandom itself on a commercial level). The sacred canopy, in short, may look very different, but it is still there, one expression of which is demonstrated in Buffyverse fandom.

Second, with regard to the democratization of knowledge and authority through the Internet, I see this more as an expression of what was already in the air; an outcome of the late modern (or postmodern, if you prefer that term) breakdown of traditional authority structures, without which the Internet would either have not come into being at all, or would at least look very different than how we know it (perhaps still exclusive to military usage). Buffyverse fandom has flourished because of fans’ ability to communicate instantly with each other across the globe, a communication which, moreover, has included the sharing of fan-made videos, art, literature, and other media which are precisely not sanctioned by the established authorities, in this case the corporate conglomerates who own the legal rights to Whedon’s creations. In this sense there is something of a religious rebellion going on: people will find a way to worship despite the strictures of the clerical elite. This communication enabled by the Internet also means that, whatever fans decide about canonicity, they will continue to value texts created by each other and not only those by Whedon and those who own the rights.

Finally, the importance of the sacralization of pop culture for understanding Buffyverse fandom as religion should be evident, but I hesitate to make much use of this term because the sacred–secular dichotomy, like essence–accident, is another that I have tended to eschew in my analyses of cultural phenomena. Pop culture has always been sacred to the extent that it provides meaning, escape, hope, etc. to people. The breakdown of traditional religious observance has, I believe, intensified its importance (or sacredness, as it were) in contemporary Western life, but not in a way that would suggest that there has ever been a clear divide between “sacred” and “secular.” That being said, Buffyverse fandom would very likely not be possible in a world where the traditional religions had the influence they had, say, during the nineteenth century. Perhaps we can apply the term “sacralization,” then, to the phenomenon of the intensification of existential relevance of popular culture texts.

Buffy+and+CastTheoFantastique: What other work have you done or do you have coming out in the near future?

Tony Mills: My dissertation is being published by Routledge, I’ve been told in July, under the title American Theology, Superhero Comics, and Cinema: The Marvel of Stan Lee and the Revolution of a Genre. In the fall, Joss Whedon and Religion will be published by McFarland, a collection of essays which I co-edited along with you and J. Ryan Parker. It will be interesting to see the feedback we get from that within the Whedon fan community for sure.

TheoFantastique: Tony, thank you for research and willingness to discuss it here.

Tony Mills: My pleasure! Thanks for inviting me to do so.

“After Earth” and the Scientology Dimension

1108146 - After EarthAfter Earth, the new science fiction film starring Will Smith and his son Jaden, has largely received negative reviews by critics, and it has not done well at the box office. But recent news items provide another dimension for consideration, and that is its possible incorporation of a religious dimension, and a controversial one at that, in the form of Scientology. Scientology is a Western esoteric religion was founded by the late science fiction writer L. Ron Hubbard, and has been the focus of much controversy over the years. It has also been successful in attracting a number of celebrities, including Tom Cruise, a close friend of the Smiths. According to a piece in The Hollywood Reporter, there may be other connections between Scientology and the Smith family:

..the New Village Leadership Academy, a school he co-founded in 2008 with wife Jada Pinkett-Smith, is staffed by a number of Scientologists and employs “Study Technology,” a teaching methodology developed by Hubbard.

This article also notes the similarities in the film’s iconography to Hubbard’s religion including the concept of an “abandoned Earth,” the dialogue, a prominent volcano, the shape of the spacecraft, and the costumes. There are also quotations from various reviewers who see elements of Scientology and Dianetics in the film.

Writing for Vulture, Matt Patches breaks down After Earth as nothing more than an elaborate homage to Scientology. The movie’s villain is “emotion,” for example, while the father character “audits” his son throughout the film. “The bulk of After Earth is essentially that [auditing] scene from The Master on a blockbuster scale,” Patches argues.

The dots are also connected over at Religion News Service, where David Gibson provides his thoughts on the film in “Is Scientology unwatchable?”

If these reviewers are correct and elements of Hubbard’s esoteric technology have influenced or been incorporated into the film, and if the it continues to generate little box office profit, then it may send two messages to Hollywood. First, no matter how Scientology is bound up in a film, whether more overtly as in John Travolta’s Battlefield Earth, or in more subtle fashion as in After Earth, Scientology is best left to celebrity centers rather than celluloid. And second, the once bright shining star that was M. Night Shyamalan has now burnt out and left us with a black hole in directorial space.

Peter Cushing Centennial Blogathon: Cushing’s Van Helsing as Ultimate Monster Hunter from a Previous Age

pcbod8I am privileged to be a part of the Peter Cushing Centennial Blogathon spearheaded by Pierre Fournier at his wonderful blog Frankensteinia. Be sure to visit the blog to see the other posts in this blogathon. Peter Cushing has been one of my favorite horror actors for many years, and out of the many iconic characters he portrayed, Dr. Van Helsing has always been the most interesting for me. In this contribution to his centennial blogathon, I will consider Cushing’s portrayals of Van Helsing, and by drawing upon the analytical perspective of Heather Duda on the monster hunter in popular culture, I will consider how Cushing’s Van Helsing makes for a stark contrast with the 2004 cinematic incarnation of the same character portrayed by Hugh Jackman.

Peter Cushing played various expressions of the Van Helsing vampire hunter in a number of films. This includes Horror of Dracula (1958), The Brides of Dracula (1960), Dracula: Prince of Darkness (1966), Dracula: A.D. 1972 (1972), The Satanic Rites of Dracula (1973), and The Legend of the 7 Golden Vampires (1974). Of course, these incarnations of Van Helsing have a connection to Bram Stoker’s character, and in what follows we will sketch the significance of this iconic figure and how he changes over time.

In her book The Monster Hunter in Modern Popular Culture (McFarland, 2008), Heather Duda addresses the monster hunter as a largely neglected aspect of monster studies. She argues that Stoker’s novel Dracula “is the epitome of the monster-hunting narrative,” and that Van Helsing stands out as the “ultimate monster hunter” functioning as binary opposite of Dracula as “the ultimate monster.” What kind of man was Van Helsing? Stoker provided a description by way of the character John Seward in the novel:

He is a philosopher and a metaphysician, and one of the most advanced scientists of his day; and he has, I believe, an absolutely open mind. This, with an iron nerve, a temper of the ice-brook, an indomitable resolution, self-command toleration exalted from virtues to blessings, and the kindliest and truest heart that beats […] work both in theory and practice, for his views are as wide as his all-embracing sympathy.

1048528_468253733262276_275778048_o

Stoker’s Van Helsing was based upon the Victorian ideal of the male here, and Cushing brought the essence of this to life much like Seward’s description. This is best illustrated in his first portrayal of Van Helsing in Horror of Dracula. First, He is presented as a learned man, a philosopher and metaphysician, the latter understood in terms of the secular scientist drawing upon the symbols of Catholicism for its magical properties in dispatching the vampire. In one scene n another scene Van Helsing records the results of his ongoing research into a phonograph, and this provides us with a glimpse of his academic expertise. In another scene we discover how significant this is as he touts his vampire research to Arthur Holmwood as having been done for “some of the greatest authorities in Europe.” This is no amateur, but instead an educated scholar who brings together an interesting synthesis of folklore studies, philosophy, metaphysics, and science. Second, Cushing’s Van Helsing is much like Stoker’s in that  he has a kind heart. He goes to the grave of the undead Lucy in order to release her from her curse, and while there he rescues the a little girl, the would-be victim of the new vampire. With Lucy resting in her coffin at the approach of the morning sun, Van Helsing exercises compassion toward the girl by wrapping his coat around her and giving her his cross to hold. Third, Cushing’s Van Helsing demonstrates the iron nerve of Stoker’s character at the climax of the film when he chases Dracula into his castle. After almost being bitten and narrowly escaping, he doesn’t run from the castle to fight another day, but instead stares back at the Count before pulling down the curtains and using the sun and two candlesticks formed into a cross as the improvised weapons of monster hunting.

Cushing would go on through various films and not only play this particular Dr. Van Helsing again, but also his descendants. Regardless of the expression of Van Helsing, his character always worked to defeat the monster, and in so doing re-establish the status quo, both in the Victorian-influenced world of the Gothic horror of these Hammer films, but also that reflected in the times in which these films were made. But in our cultural journey out of the Victorian era, into the 1930s with Edward Van Sloan’s depiction of Van Helsing, and moving into Hammer’s depictions of the character in the 1950s and into the 1970s, our understanding of the monster and the monster hunter changed. So did Van Helsing. He would eventually go to his grave and a new generation of monster hunters would arise.

Duda argues that films like The Fearless Vampire Killers (1967) and Captain Kronos: Vampire Hunter (1974) are worthy of consideration because they were significant in the development of the monster hunter. The involve various shifts and additions. In these films the emphasis is on the monster hunter himself rather than on the creatures he stalks. And in Kronos the monster hunter no longer works alone, but gains an assistant or sidekick. There is also a change in the monster hunter in that the emphasis is no longer on him being the learned man who can outsmart his monstrous adversary. Now audiences expect a young and physically attractive hero. These developments continue in films like Blade, and go on to influence conceptions of the monster hunter in the 21st century.

van_helsing_2004_1920x1280_805530

In 2004 Hugh Jackman provided his take on Van Helsing in the film of the same name, and it is here that the transformation from the character is most striking, particularly how different from both Stoker’s conception, and Cushing’s depiction. Duda points out that between Cushing’s depictions of Van Helsing that started in the late 1950s and Jackman’s decades later, the United States had wrestled with the events that shook the national psyche, like Vietnam and Watergate. The impact of these events on the national consciousness changed the way in which both the monster hunter and his prey were viewed. The previous developments in depictions of the monster hunter with films like Kronos discussed above, coupled with the impact of the culture’s political angst, would come together to shape a very different portrayal of Van Helsing. Jackman’s “hero” is a man wanted by the law, a hired henchman rather than a learned and highly prized man. This element combines aspects of both a blurring of the monster and monster hunter, and distrust inherent in all authority figures In terms of appearance, he embodies contemporary standards of male masculinity and beauty, with long hair and an unshaven face. He no longer works alone, but has an assistant, Carl, and he must also draw upon the best high-tech weaponry and fighting techniques of the time.

A comparison of the character of Van Helsing in different eras reveals significant differences that reflect their times. Jackman’s Van Helsing represented the late modern conception of the hero and the monster hunter. The clear line between good and evil is blurred at best, as is that between monster and the monster hunter. Cushing’s Van Helsing was crafted with the assumptions of an earlier age. He represented both a depiction of the Victorian ideal for the hero, and the conception of the monster hunter prevalent in the late 1950s. This resulted in a confident, educated man with an inner beauty of character and virtue. As a fine British actor and gentleman, Cushing was the perfect choice to bring this conception of Van Helsing as the ultimate monster hunter to life.

Dom Augustin Calmet: Biblical Scholar and Vampire Researcher

36151945_paspxPreviously I discussed Sabine Baring-Gould, a Christian minister who also maintained a research interest in the paranormal and the horrific. I recently came across another individual like this when reading a paper from the 2010 conference of the Center for Studies of New Religions. In “Vampires and Alternative Religions,” co-authored by J. Gordon Melton and Angela Aleiss, they mention the work of a monk named Dom Augustin Calmet. In describing the controversy that followed the desecration of graves in an Austrian vampire panic and the report of Dr. Johannes Fluckinger on the subject, Melton and Aleiss write the following:

The Fluckinger report prompted a lengthy debate over the reality of vampires among Western intellectuals, a debate that peaked in the 1740s at Leipzig, when several faculty members wrote book-length contributions. It would culminate in the 1746 multi-volume work on a spectrum of supernatural entities including the vampire by the outstanding French-speaking biblical scholar and Benedictine monk Dom Augustin Calmet. In the first edition of his work, he proposed five options for understanding the various reports of vampires, the last of which left, however slightly, an open door for the existence of vampires. Calmet agreed with his German colleagues that in fact vampires did not exist; however, only in the later editions did he state that conclusion in no uncertain terms.

Calmet’s work on the subject was titled Dissertations sur les apparitions des anges, des démons et des esprits, et sur les revenants et vampires de Hongrie, de Bohême, de Moravie, et de Silésie, or Dissertations upon the Apparitions of Angels, Demons, and Ghosts, and Concerning the Vampires of Hungary, Bohemia, Moravia, and Silesia (London: M. Cooper, 1759). In their footnote on this, Melton and Aleiss note that this was “reprinted as The Phantom World. 2 vols. (London: Richard Bently, 1850). Most recently volume two of Calmet’s treatise, which included the discussion of the vampire, was reprinted as Treatise on Vampires and Revenants: The Phantom World (Brighton, East Sussex, UK: Desert Island Books, 1993).” Interestingly, this volume is still available via outlets like Amazon.com.

Calmet is a fascinating figure for me in that he is described by Melton and Aleiss as an outstanding biblical scholar, and he is one who applies this expertise in the analysis of the vampire phenomenon. This provides another example of past religious scholars and clergyman with interests in such phenomena, who also connect to similar individuals in the present.

lf

Space.com: How ‘Star Trek’ Technology Works (Infographic)

Find out how Star Trek's fictional high technology works in this SPACE.com infographic.
Source SPACE.com: All about our solar system, outer space and exploration

The New Yorker: Into Darkness a ‘Drone Allegory?’

gallery_16-580The New Yorker featured an interesting essay today titled “Is ‘Star Trek Into Darkness’ a Drone Allegory?” The essay dovetails with some of my criticism of the film shared in a previous post. In particular, this essay by Amy Davidson notes that in addressing counter-terrorism issues the setup in the movie has promise, but in the end it collapses on itself. After discussing various issues in the movie that it seemingly raises in order to present some kind of critical commentary, Davidson writes: “It is telling and useful that all of these themes are showing up in movies; they don’t come up enough in public debate. But they are thoroughly jumbled here.” The author then connects the dots between this installment in the Star Trek franchise and the Obama Administration and our national struggle with the “War on Terror”:

The dialogue contains several reminders that, confronted by danger, we must not forget “who we are”—one comes in a speech that Kirk gives at the very end. One fears that what he means is not that he should remember that he is an officer in a society governed by laws—and for good reason—but that he is James Tiberius Kirk. The only real conclusion in the movie is that Kirk should trust his instincts, and carry on meaning well and standing up for his friends. President Obama is due to give a big speech on Thursday about counterterrorism, drones, detainees, and everything he’s trying to do in that space. For a President who has been accused of being Spock-like, his approach to national security and the law has been far too Kirk-like: driven by a belief that his good will alone, his character, compensates for legal limbos like Guantánamo and discredits the anger, here and abroad, about drones. He remembers who he is, and thinks that that should be enough. He’s wrong; what we need to remember is what America is, and ought to be.

Star Trek: Into Darkness – An Action Film in a Space Suit Void of the Best of Science Fiction

star-trek-2-into-darkness-posterStar Trek: Into Darkness came out this weekend, and as a result reviews have been varied. By and large they seem to be very positive, not only from moviegoers, but also from critics, although there have been some reviews that have been very negative. Unfortunately, with this post I must contribute to the latter category of responses. For those interested in a couple of good critical essays I’d suggest Matt Goldberg’s at Collider.com, J. Bryan Lowder at Slate, and Sujay Kumar at The Daily Beast.

A few preliminary thoughts are in order. I am a nearly lifelong Star Trek fan, having first encountered the series as a child in the early 1970s. I have continued to follow the franchise through its various incarnations over the years, from the initial films based upon the first series, to the later television expressions. So I have a great familiarity with the brand. I addition, I am not a Star Trek “purist,” idealist or original series “loyalist.” Along they way the various installments have been of varying quality, as one would expect from any creative work that has involved many different people building on and adapting original concepts over the course of many years in a changing culture. While I have my preferences in which expressions are better than others, I do not believe that the original series is the only “true” and correct version. So while readers may disagree with the thoughts that follow, they cannot do so by way of the casual dismissal of an original series idealism.Readers should also be aware that previously I have been critical of Abrams’ work in the first Star Trek film, and some of my criticisms of that film also carry over into my concerns over Star Trek: Into Darkness.

I acknowledge at the outset that this film does include a lot of spectacle. Viewers will get their money’s worth in terms of action and special effects. For these reasons Star Trek: Into Darkness is being touted in advertising as the first major blockbuster of the summer. But surely we’ve seen these elements already, with an entertaining story, in Iron Man 3. Perhaps it’s a matter of defining when summer starts for such accolades. But in my view, there is far more to a good science fiction film, and especially one that is part of the legacy of Star Trek. Science fiction as a genre at its best, not only includes visual splendor, but also takes advantage of its ability to present an alternative universe where the reader or viewer has their assumptions challenged.

hr_Star_Trek_Into_Darkness_32Science fiction is able to do this through its inclusion of a facet that has been labeled “cognitive estrangement.” This has been defined in The Science Fiction Handbook as an element “that places readers [or viewers] in a world different than our own in ways that stimulate thought about the nature of those differences, causing us to view our own world from a fresh perspective.” This takes place to a certain extent in all genres, but science fiction is distinguished in that “cognitive estrangement is not only present but dominant.” This feature means that science fiction stretches us. Sense of Wonder: A Century of Science Fiction touches on this and says that “what science fiction offers many readers are new options for thinking through the concerns of their own age, metaphors which help to provide distance, and opportunities to redefine their own perceptions.” This feature gives science fiction a unique ability to address controversial topics like racism, war, and religion. It has done so many times, and Star Trek has been a good example of this, with the original television series tackling all of these topics and more.

Star Trek: Into Darkness incorporates contemporary real-world issues, and does so by way of demonstrating its post-9/11 context, by way of its depiction of terrorism, and the related issues of vengeance and retributive violence. The Federation is the focus of a terrorist attack from an “old” foe, Khan from the original series and the film Star Trek II: The Wrath of Khan. (But in Abrams’ alternative Trek universe this is a new enemy, right?) Kirk, who in Abrams’ universe has become largely a caricature rather than the character of the original series, wants revenge, and rushes off to exact it in ways that echo the “War on Terror” and the attacks on Iraq and Afghanistan, as well as continued US foreign policy on drone strikes that kill not only terror suspects but also significant numbers of innocent civilians in collateral damage.

Two aspects of this narrative are noteworthy in my critique. First, this film shows an increasingly militarized Federation. True, this is called into question, as when Scotty says, ““A military organization? Is that what we are now?”But for my money Abrams doesn’t take sufficient advantage of cognitive estrangement in order to press the issue sufficiently. Any serious concerns such as this quickly give way to explosions and special effects. Some may question why this is an issue for me in light of Star Trek‘s long history of the military action. I stated above that I do not have an idealist view of Star Trek, so I am aware of the fact that while the original series incorporated the Prime Directive and the rights of alien species to self-determination, and much talk of diplomacy and peacemaking, nevertheless, the Enterprise spent a lot of time acting like a military vessel and made frequent use of its weaponry in the process. This reflects Gene Roddenberry’s humanistic utopian vision for humanity, but also the pressing realities of the Cold War and Vietnam as the cultural context out of which the original series was birthed. Star Trek: Into Darkness seems to signal, not a change in mission, but an increasing acceptance of the militaristic element of the Federation.

star_trek_into_darkness_2013-wideSecond, this film’s portrayal of elements that parallel our ongoing post-9/11 raises important issues, but as with a militarized Federation, it does so without any real critical engagement that good science fiction is known for. The film raises issues, but seems afraid of seriously engaging them. If Abrams wants us to wrestle with questions of national identity that play out as a result of our actions related to terrorism around the world, he certainly hasn’t done so in keeping with good science fiction, or the tradition of Star Trek. Consider the original series episode “A Private Little War.” There Kirk and the Enterprise crew wrestle with an escalating arms race between the warring tribe the Federation supports in order to hopefully defeat the tribe they oppose that is being armed by the Klingons. This episode provides commentary on the Vietnam War raging at the time, and the informed viewer had little doubt wondering where the story came down on the subject. Not so, in my view, in Star Trek: Into Darkness. I would like to have seen more soul-searching on the part of the main characters as to the moral challenges facing them and the Federation.

This then raises questions about why Abrams would miss out on such an important opportunity. Aside from the fact that action and special effects probably provides more of an opportunity for box office success than critical reflection via science fiction, other possibilities present themselves. Previously Abrams has said that Star Wars never seemed like science fiction to him. Of course, it shouldn’t, because it was space opera or space fantasy, not science fiction. Such public assessments do not build confidence that this go-to director knows what genre he’s working in, and its potential. In addition, Abrams also drew the ire of Star Trek fans when he admitted he was not a fan of the franchise. This not only makes one wonder how familiar he is with it, and its extensive mythos that he has taken such liberties with in the construction of his alternative universe, but also whether understands and appreciates how Star Trek was able to draw upon cognitive estrangement in order to address social and cultural issues of the day.

In light of these considerations I am surprised that usually astute observers such as science fiction writer Robert J. Sawyer, who strongly criticized George Lucas for setting back serious science fiction, have been so glowing in their appreciation for Star Trek: Into Darkness. I hate to throw water on the latest installments in one of my favorite science fiction franchises, but in this reviewer’s opinion, this film and Abram’s reboot fall short of Trek’s legacy and truly reflective science fiction.

 

Peter Cushing Centennial Blogathon: May 25-31, 2013

helsingI am proud to announce my participation in the Peter Cushing Centennial Blogathon to be held May 25-31 of this year. I will post my contribution here, of course, and those of other contributors will all be listed at the Frankensteinia blog that is orchestrating this fine effort. For my part, I will explore Cushing’s take on the Abraham Van Helsing character contrasted with the film Van Helsing from 2004 and what this tells us about what Cushing brought to the character, as well as changes to the concept of the monster hunter.

RSS for Posts RSS for Comments