Science fiction true sci-fi is a plot based around scientific principals and speculation, with a story

built around them. However commonly sci-fi is used today as a generic term for anything set in the
future or with technological or extra-terrestrial subject matter. So, the term sci-fi in actual fact
refers to what is technically science-fantasy as well as hard sci-fi which has facts at its core.

An example of the shifting idea of what defines sci-fi is that Mary Shellys novel Frankenstein is
sited as being the first ever work of science fiction because of its themes of creating life artificially.
Today it is remembered as one of the pillars of the horror genre, and it little resembles our idea of
sci-fi.

This essay will focus on analysing the sci-fi genre, as we define it today, within the medium of the
motion picture.

Codes and conventions of science fiction include an abnormal setting (such as future or alternative
past/present) and the use of special effects to render these settings. Narrative convention is for the
plot to be driven by the application of a new technology, a scientific principal, or the simple conflict
between good and evil. On top of this is the use of symbolism. On a surface level this means props
and costumes used to symbolise the stark differences between our world and the films setting, but
symbolism can also encompass the use of plot elements representing real-life issues and current
affairs. An example of the latter is the abandoned script for Alien 3 by William Gibson, which would
have been a Cold War plot of communists, capitalists and mutually assured destruction in space.

The medium of the moving image is particularly interesting to study the development of, because
not only has it progressed as a result of the evolution of cultural tastes, but hugely because of the
constraints and freedoms technology in different eras. The typical B-movie sci-fi such as 1955s Bride
Of The Monster is a very light on any form of challenging techniques such as FX make-up, because
the means to realistically create things such as monsters on screen were not in existence. Instead,
dialogue was used to deliver information by exposition, and to build suspense. The spectacle was
largely a result of tapping into the audiences imagination, rather than by blowing them away with
eye candy. This contrasts heavily to contemporary sci-fi such as 2013s Gravity, a live action film that
is more special effect than actual footage. This trend has driven the re-definition of the genre. This is
an extremely broad example, but it illustrates just how much technology and audience expectations
have fed one another, resulting in a monumental shift over a course of a few short decades, to the
point that the genre is beyond recognition from its B-movie roots.

Partially this change in production value and audience expectation has caused, and was itself caused
by, a dramatic shift in the distribution methods used in relation to sci-fi. The B-movies mentioned
above were so named because of the fact that they were a cheap added extra, an after thought, to
the presentation that audiences were actually paying to see at the cinema. B-rolls were cheaply
produced, and stuck on the end of better features, much the same way that American politicians like
to put their least popular legislation onto the end of their most popular bills to trick people into
taking more than they asked for. Today, in stark contrast, sci-fi are some of the most expensively
produced films, with careful and optimised distribution, because they are huge money makers. The
Force Awakens (2015) had a gross budget of $306 million, and a box office of over two billion US
dollars.

Distribution of science fiction cinema is so lucrative partially because of the inherent spectacle. An
example of this is the original Star Wars. It was usual at the time for films to tour. This was due to
the fact that cinema distribution required the creation and transportation of physical prints of the
feature on 35mm film. They were only made in a limited number, and so would be travel from city to
city. Star Wars, being so phenomenally popular, toured for years. People living in more remote areas
of the country were steeped in Star Wars, through its merchandising and spin-off media, for years
before they had a chance to see it. Partially, the reason for this extended tour, was the inherent
spectacle of Star Wars. Its employment of a huge number of FX techniques invented especially for it,
and never seen before, to render its science fiction settings and events, it had to be seen to be
believed. The success of Star Wars, and the length of its run, was due to the word-of-mouth
spreading of excitement for the film, which gave it a profile. This can be compared to the release of
2015s instalment in the Star Wars series, The Force Awakens. This film had a pre-built public
awareness of it and profile, due to the brand and previous films. It was released on the same day,
world-wide. This was due to the huge fandom that can build around science fiction stories, and
made possible by the development of digital projection distribution technology. With no physical
reels of 35mm to be produced or transported, an infinite number of cinemas can all poses a copy,
and show the film on multiple screens as once within their premises. This difference in distribution
methods also highlights the differences in the publics relationship with science fiction, and film as a
whole.

A change in audience has also occurred in the time between 1950s B-movies and contemporary
blockbuster sci-fi. The genre has shifted from being adult-orientated and crossing over strongly with
horror, to become a genre capable of catering for any audience. Franchises such as Star Wars are a
family favourite, and suitable for children, while bloody, foreboding body horrors such as 1982s The
Thing can still sit comfortably as a stand-out example of the genre.

It is also worth noting how pastiche and parodies, such as but not limited to Space Balls, have helped
to shape and cement the idea of sci-fi in the minds of the public. Largely, such parodies have focused
on the campy nature of sci-fi, as well as its cheap production values.

There are certain types of narrative structure typically associated with science fiction films, such as a
non-linear plot, multiple strands and open endings. Films such as Back to the Future are, because of
their time travel, linear plots from the perspective of the protagonist, but non-linear in chronology
and other characters. Multiple strands often occur because of a large number of different
characters, such as in Star Wars (1977) where we frequently cross-cut between different characters
in different places, most obviously Luke Skywalker and Darth Vader. Open endings are often used in
stories like the ones found in the Black Mirror anthology series. Deliberately circular and non-
conclusive endings are employed to imply scope outside of the limited run time, and to leave the
viewer contemplating the events of the story after the credits roll. Black Mirror is also an example of
sci-fi taking on very intelligent and often understated stories which are intimately self reflective on
society, showing how much the genre has moved on since its B-movie influence.

Representation is important in any genre, but often especially so in science fictions, as depictions of
the future often reflect our desires for the future. Creators of the shows Star Trek (1966) and Red
Dwarf (1988) both decided that it would be extremely negative for there to be a total absence of
cultures and races in the future aside from Anglo-Saxon white people. Star Trek, the original 1964
series, had to fight hard with its television network and with US society as a whole, to simply depict a
black character on television. Black actress Nichelle Nichols character Uhura was actively banned
and prevented by the network from making any form of contribution to the episodes actual plots,
but the shows creators insisted on her presence in order to create some positive representation of
African Americans in the mainstream of US culture. She was the very first person of colour depicted
on American television not as a servant. Martin Luther King Junior himself encouraged her to stay on
the show when she considered leaving, because of the huge cultural significance of her presence
You cant [leave the show]. Youre a part of history. Star Trek also relied upon stereotyping for its
characters Scotty is everybodys favourite character specifically because of his extraordinarily
broadly written Scottish brashness.

The 1968 episode of Star Trek titled Platos Stepchildren features a then extremely controversial kiss
between Uhura and William Shatners character. It is often miss-credited as being televisions first
ever interracial kiss. Though this is false, it is indeed one of the first handful of instances, in a time
when such a thing was extremely unusual, and to a great many controversial. This moment exists
partially as a result of the showrunners passionate feelings that this sort of thing should be
commonplace, and that the sci-fi setting presented them with the opportunity to present the kiss
occurring in a society where it is not controversial or unheard of, as it was at the time. They were
able to imagine society as they wished it already were.

In conclusion, science fiction is a genre that has been redefined multiple times due to its constant
evolution, and this has been influenced by both cultural and technological changes in motion picture
production. The publics regard for it and relationship with it has changed radically, and so has the
definition of the genre itself.