Science fiction programmes have for
a while thought to have been the output of a niche market, viewed arguably, as
the choice of geeks and fanboys, whose dedication to their favourite television
shows has been parodied both in television and in films such as Fanboys. (2009)
However, terrestrial channels have
always shown genre television in prime time spots, television in decades such
as the 50’s providing viewing for all the family. Sci-fi television here, as explained by M.
Keith Brooker derived from cinema shorts and was primarily aimed at children
and young people:
“…to a generation of young Americans, they offered
thrilling images of other planets and other times that presented an exciting
alternative to a dreary Depression-era world that was drifting towards global
war. “ (2004:4)
As television, and by extension
Science Fiction television became more popular, budget and technological
limitations meant that the majority of programmes made in this era were enjoyed
by children.(2004:4) As the decades have
gone on, it seems that science fiction television has grown in production
values, audience, and appeals to other then children. The programmes made from the late 50’s onwards
have, as many critics such as Booker and Steve Neale argue, provided us with
something more than just children’s entertainment and provide us with
socio-political commentary. (2004:4)
Steve Neale suggests in his book The Genre Television Book that
though early sci-fi can be seen as low culture due to its budget, as technology
has improved, sci-fi has gained in status, and like Booker, he recognises that
sci-fi television through the years has had a major part to play in commentary
on the state of our lives and the world around us. He says that:
“Significantly, what science-fiction television
does, like its counterpart in the cinema, is to reflect contemporary social and
political concerns.” (2008 :4)
It seems to be this that marks
sci-fi television and sets it apart from other television categories such as
dramas, soaps and so on.
As television as well as other
areas of cultural production have developed over the years, so too has genre
theory. From being just a method for
categorising cultural texts, it is now seen as a way for the audience to derive
meaning from what they watch, as well as for more financial gain. In today’s fast paced, multi choice world,
viewers have many channels to available to them and can flick through from one
channel to another until they find a programme that will satisfy their tastes. This therefore, is also an important point
that is explored in The Genre Television Book. (2008:5)
Genre theory then, takes into
account more than just categorising output on similarity of themes. Whilst sci-fi tv, as with other genres will
have a set of conventions, sci-fi television encompasses many different
themes. It is not all about aliens and
spaceships! The rocketships and crude
robots of the early 50’s, have now given way to interplanetary exploration, as
well as survival on other worlds, where the “otherworldliness” serves only as a
backdrop to the unfolding drama onscreen.
It also gives dystopian visions of a technological alternative world, frightening
and amazing images of our own possible technological future, and much more.
Steve Neale explains that much of
genre theory is down to audience expectation.
Therefore the reactions and opinion of the audience are just as
important as the programmes and the studios that make them. (2008:3)
Science fiction then as a genre has
been complicated by many things. Firstly
the difficulty of categorising programmes which are all different thematically. Secondly by the development from children’s
entertainment to sophisticated viewing,[1]
and lastly, the notion that unlike other
genre tv, Sci-fi television provides us with a commentary on ourselves as
humans and at the world we live in.
Programmes can be responsible for creating culture and ideology as much
as they are responsible for talking about them.
For example certain phrases and words have entered our everyday
vocabulary, and we are all familiar with the idea of ‘using the force’ and of
the high tech futuristic transporters and holodecks of the Star Trek franchise
(1966 onwards), and such familiarity has led to phrases such as the famous
‘beam me up Scotty’ used in popular culture.
(1966) These aspects have leaked
into other areas of cultural consumption in speech, other television
programmes, song, merchandise and influencing clothing and fashion.
Lastly, and significantly, as Neale
further points out, genre hybridity and crossovers are occurring in cultural
texts and these are important to recognise.
He argues that hybridity can be seen in all forms of culture, and that
television by nature is “generic”. (2008:5) We can see hybridity occurring in
television just as we can in film. It is easy to see that the boundaries
between sci-fi and horror for example are blurred in films such as in the Alien franchise,(1977) Dark
City (1998), and many more. In television we see similar crossovers
happening in Buffy the Vampire Slayer
(1997-2003) which goes back and forth
between fantasy, sci-fi and horror, as well as television shows such as The X-Files (1993 - 2002), Sanctuary (2008 – present), Farscape (1999 – 2003) and newer forms of sci-fi
television.
We can see then that there is much
to explore within the realm of the sci-fi genre. From its history, narrative and stylistic
conventions, characterisation, ideology and much more, sci-fi television is
rich in meaning and gives much scope for discussion.
Alien 1979, Scott, Ridley, Brandywine Productions,
Twentieth Century Fox Productions.
Booker, M. Keith, The Praeger Television Collection:
Science Fiction Television. 2004. Praeger.
The X Files, Creator : Carter, Chris, 1993-2002, Fox
Creeber, Glen, The Television Genre Book, ed Creeber,
Glen, 2008:1, Palgrave Macmillan
Neale, Steve. The Television Genre Book, ed Creeber,
Glen, 2008:3-4, Palgrave Macmillan
Sanctuary, Creator: Kindler, Damien, 1998-present,
Sanctuary 1 Productions, Stage 3 Media
Farscape, Creator : O’Bannon, Rockne S, 1999-2003, Jim
Henson Productions, Hallmark Entertainment
Dark City, Dir. Proyas, Alex, 1998, New Line Cinema
Star Trek, 1966, Roddenberry, Gene, Paramount Television.
Firefly, Creator: Whedon, Joss, 1997-2003 Twentieth
Century Fox
Fanboys, Dir: Newman,Kyle, 2009. The Weinstein Company,
Trigger Street Productions
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