Science and Fiction Films Response Paper Example

Science and fiction films (sci-fi) have constantly been a peoples favorite genre among the film enthusiasts. The climax of sci-fi film is usually characterized by mysterious changes that are always becoming a certain scene in the films. In one way or the other something must always change; whether human into a fruit, a human into a metallurgical structure or a rock into a flying object. Despite the main characteristic of unexplained mystery, sci-fi films have evolved and transformed significantly over time. This can be revealed by going through Joseph Campbells The Road of Trial, Jean Baudrillard's Simulacra and science fiction and Mihai Burlacus evaluation of the Zone as Heterotopia as presented in the film Stalker by Tarkovsky. The aspect of mystical spaces is, therefore, a mainstay in sci-fi films despite the transformation of style and themes.

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The thematic perspectives displayed in science and fictions can sometimes be a subject of confusion and misinterpretation among the viewers. However, a close examination of the readings reveals a different perspective adopted by each reading. The road of trial represents as the title suggests, the plight of a shaman in seeking redemption for a sick client. Although the happenings experienced by the shaman en route seeking for redemption in some underworld are starkly different and more magical, there is the sense of a trademark visit to Utopia. Despite not able to get there by themselves, the ladies accompanying the patient are well able to understand and related to the utopia by name-guessing.

The inquiry into the obsession of sci-fi directors with mystical spaces does not end there, though; a seemingly long they become a mainstay in the stalker as reviewed by Mihai Burlacu. Burlacu believes the Zone in the Stalker vividly exhibits the mystery spaces best described by the works of Michel Foucault. In this review, the essence of the zone being a heterotopia is shown through its possession of the Foucault described principles of this non-hegemonic space. It is further revealed that what makes the stalker a science fiction film are elements of the dangers associated with the zone which the director has made unfruitful attempts to cut down. Though the physical aspects of the zone are cut down, the elements of alien visitation from the six zones makes a case for the Zone to be characterized as a heterotopia.

The situation with the description of Simulacra does differ much from the subjects as mentioned earlier. The first orders of simulacra perfectly define the existence of utopias and heterotopias. However, the third order provides a rather transformed aspect that does fit somewhere beyond science fiction and other theoretical perspectives of the film. The evaluation of simulacra reveals a new realm of fiction and reality with the utopias no longer being the dream spaces. Jean Baudrillard seems to be bringing to sense, the simulation that has eclipsed the realism of entire sci-fi world bringing with it a real transformation. The aim of this transformation is the adoption of the genre that has in its view the past hallucination, the present, and the future.

The transformation of the sci-fi film has, therefore, maintained the essence of surreal spaces and other universes. The inclusion of utopias and heterotopias are a mainstay in most sci-fi films despite the efforts by the directors to cut down their manifestation. It is these mystical spaces and events that make up the film genres what it is. However, with the advance of simulation technologies, the creation of more advanced sci-fi films like Simulacra is on the horizon.