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The science fiction film, as a construction somewhat removed from everyday reality, is a privileged vehicle for the presentation of ideology. Because it is less concerned than other genres with the surface structure of social reality, science fiction can pay more attention to the deep structure of what is and what ought to be. In practice, this means that science fiction films vividly embody ideological positions, and that comparing science fiction films of the same era becomes an analysis of conflicting social visions. Such visions cannot, however, be reduced to a simple, discursive message. Instead, the total semiotic output of a film-images, sounds, textures, relationships-is a carrier of ideology.
As a test of this hypothesis, consider three popular films from the years around 1980: Star Wars (1977), Alien (1979), and Blade Runner (1982).1 These films have much in common. All three are key moments in the renaissance of science fiction film stretching from the late 1970s to the present. And all three films are renowned for the quality of their visual design and special effects. However, Star Wars creates an ideologically conservative future, whereas Alien and Blade Runner create futures linked to liberal and socially critical ideas.
What factors account for Star Wars overwhelming success with the public? Certainly the film's narrative provides a partial answer. Star Wars is a modern quest narrative, blending such sources as Arthurian legend, Paradise Lost, Lord of the Rings, the Western, The Wizard of Oz, and the meta-discourse of Joseph Campbell's The Hero with a Thousand Faces.2 Young, naive Luke Skywalker sets out on an adventure both physical and spiritual, which involves saving the princess, defeating the evil Empire, and establishing a more just government. The story has a mythic or fairy-tale dimension, but also a lightness of tone; Luke (Mark Hamill), Princess Leia (Carrie Fisher), and Han Solo (Harrison Ford) wisecrack their way through difficult situations. There are some weak points to the narrative. One would be a problem with character development, particularly apparent in the minor roles-e.g., Uncle Owen and Aunt Beru. Another would be the lack of emotional response to destruction of an entire inhabited planet! (Wyatt 609-10) However, the quest narrative of Star Wars has proved sufficiently compelling and resilient to support two film sequels...