Environments in Zero Gravity: Space Film Genre

Defying Gravity: Space Architecture in Film Environments

The Space Film Genre:

Unlike architecture, film spaces have never had to be realistic, nor have they been obliged to possess a conscience. That is not to say, however, that the notions of science or conscience have failed to be vital motivations behind the creation of many films. Film producers, though, can make a conscious decision whether to choose to respect scientific accuracy, and how to portray moral and political conscience. An examination of the Timelines of Science can begin to allow us to understand the development of the space genre of film as it relates to accurate scientific invention.

Although classic pieces such as "The Odyssey" could be said to exhibit early science fictional tendencies, Sir Thomas More has been credited with the first science fiction/non-dystopic piece, “Utopia”. Miriam Allen de Ford has noted: "Science fiction deals with improbable possibilities, fantasy with plausible impossibilities." And herein lies part of the blur that we see in the evolution of the Space Film genre. What might have begun in "Aelita" and "First Men in the Moon" as science fiction in its attempts to include some recognition of some of the scientific realities of space, has evolved to become more fantasy based, in the modern" Star Wars" series of films, which tend to completely ignore any realistic portrayal of the limits that space environments bring to bear on urban environments and travel.

The invention of the modern science fiction novel was not far ahead of the invention of the motion picture. It is not surprising then, that the space/sci-fi film genre has its start during the beginnings of the development of the commercial film industry, and that the scientific development of the film industry sees its needs propelled by the desire to create more believable science fiction and space environments. Advanced urban environments, such as those in Fritz Lang's "Metropolis", also encourage the development of film techniques as they too stretch the limits of model builders and film makers in their ability to portray realistic sets. Lang's environments have also influenced the urban representations of many dystopic films such as "Blade Runner" (1982) directed by Ridley Scott.

The Role of the Science Fiction Novel:

Early space based science fiction novels, such a "Aelita" by Alexei Tolstoy (1922) and "First Men in the Moon" by H.G. Wells (1901), had little accurate scientific information upon which to base their texts. In Aelita the atmosphere on Mars was harsh, but was not lacking in breathable atmosphere or gravity. At this point in time the geographic markings that were visible to early telescopes were thought to be the remains of an ancient canal system, indicating the presence of water and a far more hospitable climate.

Wells inclusion of scientific knowledge in "First Men in the Moon" was more accurate, and the film makers in 1964 had benefit of being able to include state of the art interpretations to aspects of the film due to the contemporary nature of the "Space Race". Ray Harryhausen's invention of "Dynamation" (green screening techniques) also allowed the film to more believably mix live action with realistic looking settings, limiting dependency on simple model views.

There has been constant interaction between science fiction writers and space genre film production. Arthur C. Clarke worked with Stanley Kubrick on the screen play for "2001: A Space Odyssey" (in this rare case, the book followed the film), and Philip K. Dick's short story, "We Can Remember it Wholesale", provided the basis for the Mars based film, "Total Recall". Current writers have had up to date scientific knowledge at their disposal, which makes conscious choice possible when creating accurate versus inaccurate space environments.

Interestingly, adherence to scientific accuracy has not been the biggest change in space genre science fiction novels or films. Inclusion of manipulative aspects of the human mind and perception have replaced the notion of "conquering the universe", which seems to be a passé topic for the most part. Space travel has not progressed near to the predictions of the early science fiction writers, and seems actually to be far from possibility with the current state of science and the inability to master space travel technology to reduce problems and fatalities.

Representational Limits in Space Environments in Early Film:

The art of filmmaking has also undergone a transition from “techniques” to “technologies”. Early film was reliant on a fixed camera position, fixed lens and the physical construction of sets and mini models to represent imaginary places. This, moreso than lack of scientific knowledge about space, severely limited the portrayal of space environments. This can be clearly seen in "Aelita" -- the novel spends the majority of its pages roaming around Martian landscapes, and the film does not elaborate on the environment of Mars beyond a few small glimpses through a window.

Modern Filming Techniques:

Filming techniques today, from the highly accessible iMovie, through to professional systems used by George Lucas and company, have the ability to make visual images of environments that blend seamlessly from the physically constructed full sized set to realistically animated visions of characters speeding through highly complex urban cities set on unknown planets. This can be easily seen to have radically changed the appearance of space genre films through the increase in complexity, speed, layering and realism in the imagery used.

Maintaining the Traditional View of Architecture:

In spite of the limitless capabilities in film making with the advent of computer aided drawing and design software, the tendencies in the presentation of zero gravity environments has normally maintained a gravity driven architectural solution.

From "Aelita" (1924) to the most recent installment of "Star Wars" (2005), film has maintained an architectural response to the act of living and building in space that is almost totally derived from traditions in building on earth. With the exception of rotating spaces in "2001: A Space Odyssey", the floor remains the floor, the ceiling the ceiling and the walls the walls. There are more durable materials placed on the floor than the other surfaces. Barring some hexagonal and curvilinear anomolies, spaces are rectalinear and familiar looking. Even the architecture of "Star Wars" has borrowed from the romance of the Art Deco period in the creation of its powerful urban images.

So with rare exception, it can be seen, that very little in the space film genre has taken full or any advantage of the lack of restriction in conforming to the laws of gravity.

Terri Meyer Boake