Science fiction film and Talk:Snoop Dogg/Archive 1: Difference between pages

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[[Image:Day the Earth Stood Still poster.jpg|thumb|right|200px|Poster for ''[[The Day the Earth Stood Still]]'', an archetypal science fiction film]]

| title=Sounding out Snoop Dogg

[[Science fiction]] as a genre of [[film]] making has been an element of the [[cinema]] experience since the earliest days of the [[motion picture industry]]. These films have explored a great range of unique topics, including many that can not be readily presented in other [[genre]]. Science fiction films have been used to explore sensitive social and political issues, while often providing an entertaining story for the more casual viewer. Today, science fiction films are in the forefront of new [[special effects]] [[technology]], and the audience has become accustomed to displays of realistic [[alien]]s, space battles, [[energy weapon]]s, [[FTL|faster than light travel]], and distant [[world]]s.

| org=The Star Online Malaysia Entertainment

| url=http://www.star-ecentral.com/news/story.asp?file=/2005/3/8/music/10332336&sec=music

| date=March 8, 2005}}

:;Excerpt

::''You can learn more about Snoop Dogg’s life, his career and his music from the numerous websites that are dedicated to him on the Internet. His official website (www.snoopdogg.com) doesn’t really provide much information, but pay a visit to online encyclopaedia Wikipedia (www.wikipedia.com) for something more substantial.''

::''For example, did you know that many of the rapper’s songs mention the letters “LBC”? This, according to the site, is a reference to Long Beach, California, as well as the Long Beach Crips, a group he formed in his hometown. The site also teaches you how to speak in Snoop Dogg slang, which he borrowed from another prolific rapper named E-40. This can be achieved by simply adding an “izz” or “izzle” to the end of a word or letter. Some of the phrases regularly used by Snoop Dog include “fo’ shizzle”, which means for sure or the real thing, and D-O-double-Gizzle in the hizzle, which means “DOGG in the house”. You gizzle-e-tizzle (you g-e-t)?''

==Talk==

This genre has produced many memorable films, as well as a number that can be considered mediocre or even among the worst examples of film production. It took many decades, and the efforts of talented teams of [[film producer]]s, for the science fiction film [[genre]] to be taken seriously as an art form by many [[critic]]s.

Looks like some vandalized this page...look at the names of the hit singles. Please fix!

==History==

Science fiction films began to make their appearance very early in the history of movie production, during the silent film era. The initial attempts were short films of typically 1 to 2 minutes in duration, and shot in the black and white, silent-film technology of the period. These usually had some type of technological theme and were often intended to be humorous.

===Before [[1930]]===

In [[1902]], [[Georges Méliès]] released ''[[A Trip to the Moon|Le Voyage dans La Lune]]'', the first major film of the science fiction genre. Inspired by the novels of [[Jules Verne]] and [[H.G. Wells]], it portrayed a journey to the [[Moon]] in a spacecraft launched by a powerful gun. This movie's space travel plot, formalist visuals, and innovative special effects, influenced future sci-fi films.

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In [[1910]], [[Mary Wollstonecraft Shelley|Shelley's]] novel ''[[Frankenstein]]'' was brought to the [[film]] medium, one of the early mergers of sci-fi and horror. Although only 16 minutes in length, this film succeeding in producing a suitably dark mood and would be remade several times in the future. Another such horror movie, ''[[Dr. Jekyll and Mr. Hyde (1913 movie)|Dr. Jekyll and Mr. Hyde]]'', was released in [[1913]].

How do I make the caption not push everything over? [[User:TUF-KAT|Tuf-Kat]]

An early epic film that introduced underwater filming was the production of the ''[[Twenty Thousand Leagues Under the Sea]]'' in [[1916]], based on the novels of [[Jules Verne]].

:Thanks to whoever fixed this. [[User:TUF-KAT|Tuf-Kat]]

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Can someone clarify the bit about Snoop's actual violent history being used as proof that gangsta rap lyrics aren't an artistic reflection of the songwriters' surroundings? It seems like a strawman, because the exact opposite is true. If he had grown up in a middle-class suburban home with no problems with violence, ever, then that would be proof that his lyrics aren't an artistic reflection of his surroundings.

As per above, I removed the claim, the second half of the below sentence:

The [[1920s]] saw distinctly different forms of science fiction films being produced in [[United States|America]] and [[Europe]]. European film-makers employed the imaginative elements and the predictive aspects of science fiction, with films such as ''[[Metropolis (1927 movie)|Metropolis]]'' ([[1926]]) and ''[[Frau im Mond|Die Frau im Mond]]'' ([[1929]]) — both from [[Germany]]. By contrast, [[Hollywood]] embraced action, melodramatic plots, and techno-gadgetry. These would blossom into the serials of the [[1930s]], and echoes of this trend can still be seen today in films such as the various [[James Bond]] movies.

:[[Gangsta rap]] became the center of arguments for [[censorship]] and labeling, with Dogg's history cited as evidence that the violence in rap music was not simply an "artistic" reflection of a songwriters surroundings.

===[[1930s in film|1930s]]===

Movies during the 1930s provided an escape from the poverty of the [[Great Depression]], and it was during this era that film-making experienced a golden age. Movies now possessed a sound-track, and the extreme physical expression of the silent era was replaced by dialogue. The films were focused on the actors, rather than the still-primitive special effects. An exception was the [[1993 in film|1933]] release of [[King Kong]], including scenes of the giant ape battling biplanes atop the [[Empire State Building]]. Most sci-fi films focused on human [[drama]], instead of aliens, space travel, or disasters.

Because it really doesn't make sense. [[User:TUF-KAT|Tuf-Kat]]

Influenced by ''Metropolis'' the [[1930]] release ''[[Just Imagine]]'' was the first feature length science fiction film by a US studio but the film was an expensive flop and no studio would produce a feature length science fiction film until the 1950s. The British made ''[[Things to Come]]'' of [[1936]] along with ''Metropolis'' was one of the most influential films of the early period in using special effects to evoke 'spectacle' but it too was a failure at the box office.

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This decade also saw the rise of the serial movies, most notably in the form of the various ''[[Flash Gordon Serial|Flash Gordon]]'' films, as well as the quasi-sci-fi ''[[Dick Tracy (movie)|Dick Tracy]]'' and others. These were generally somewhat mediocre efforts employing soon-to-be-stock ideas such as the mad scientist, various super-tech gadgets, and plots for world domination. The decade also saw the release of ''[[The Invisible Man]]'' ([[1933]]), and new versions of ''[[Frankenstein]]'' and ''[[Dr. Jekyll and Mr. Hyde (1931 movie)|Dr. Jekyll and Mr. Hyde]]''.

Shouldn't we really have this at [[Snoop Dogg]] now? I don't know anywhere that calls him [[Snoop Doggy Dogg]] anymore. [[User:RadicalBender|R<small>ADICAL</small>B<small>ENDER</small>]][[User talk:RadicalBender|<small>&#9733;</small>]] 04:39, 25 May 2004 (UTC)

===[[1940s in film|1940s]]===

With [[World War II]] dominating events during the 1940s, few science fiction films were released and several of those were mere vehicles for war [[propaganda]]. Among the few notable examples was ''[[Dr Cyclops]]'' ([[1940]]), an early colour film, and [[Fleischer Studio]]'s animated [[Superman (1940s cartoons)|''Superman'' short subjects]], which often incorporated science-fiction themes.

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===[[1950s in film|1950s]]===

Moved as per above and All Music Guide, http://www.allmusic.com/cg/amg.dll?p=amg&uid=UIDSUB040402070125133172&sql=B0ykxikp6bb19. [[User:Hyacinth|Hyacinth]] 06:00, 25 May 2004 (UTC)

[[Image:When Worlds Collide DVD.jpg|thumb|right|When Worlds Collide [[DVD]] cover: [[Apocalyptic]] themes were popular in science fiction films during the [[Cold War]] era]]

The 1950s witnessed the emergence of the monster movie trend, driven by the anxieties and paranoia of the emerging [[cold war]], beginning with [[Howard Hawks]]'s ''[[The Thing]]'' and the success of ''[[The Beast From 20,000 Fathoms]]''. Several important movies, now considered classics, were released during this period, including ''[[The Day the Earth Stood Still]]'', ''[[The Thing From Another World|The Thing]]'', ''[[The War of the Worlds (1953 movie)|War of the Worlds]]'', ''[[Them! (1954 movie)|Them!]]'', ''[[Forbidden Planet]]'', ''[[Invasion of the Body Snatchers]]'' and ''[[On the Beach]]''.

== Grammar ==

A notable producer of this period was [[George Pal]] who was responsible for ''War of the Worlds'', ''[[When Worlds Collide]]'' and the pseudo-documentaries of manned space exploration ''[[Destination Moon]]'' and ''[[Conquest of Space]]''. When ''Conquest of Space'' flopped at the box office the US studios again turned their backs on 'straight' science fiction.

"Himself (He would on his MTV show)" -- what was meant by this?

The 1950s were also the dawn of the space age as humans began to venture into outer space, and a number of films from this period reflected a fear of the consequences. Among these were ''[[The Angry Red Planet ]]'' ([[1959 in film|1959]]), ''[[First Man Into Space]]'' (1959), and ''[[It The Terror from Beyond Space|It! The Terror from Beyond Space]]'' ([[1958 in film|1958]]). (This last film is also considered a precursor to the film ''[[Alien]]''.) Another popular theme from this period was movies about [[flying saucer]]s, reflecting the prevalence of UFO sightings. One of the best known of these was ''[[Earth vs the Flying Saucers]]'' (1956), with special effects by [[Ray Harryhausen]].

== Label changes ==

===[[1960s in film|1960s]]===

Once of the most significant movies of the 1960s was ''[[2001: A Space Odyssey]]'', produced by [[Stanley Kubrick]]. This movie was groundbreaking in the quality of its visual effects, its realistic portrayal of space travel, and the epic and transcendent scope of its story. Science fiction movies that followed this film would also enjoy increasing larger budgets and ever improving special effects.

Should there be a section on Snoop's label changes (ie, Death Row, No Limit, Capitol, etc.) over the years?

===[[1970s in film|1970s]]===

The early 1970s saw the continued themes of paranoia with humanity under threat from ecological or technological adversaries of its own creation. Notable films of this period included ''[[Silent Running]]'' (ecology), the sequels to ''[[Planet of the Apes]]'' (man vs. evolution), ''[[Westworld]]'' (man vs. robot) and ''[[THX1138]]'' (man vs. surveillance).

''[[Star Wars Episode IV: A New Hope|Star Wars]]'' and ''[[Close Encounters of the Third Kind]]'', both released in [[1977 in film|1977]], contained a type of mystical element that had first appeared in ''2001: A Space Odessey''. The space discoveries of the 1970s created a growing sense of marvel about the universe that was reflected in these films.

== Bluegrass ==

The slow-paced ''[[Solaris (movie) |Solaris]]'' made by [[Andrei Tarkovsky]] and released in [[1972 in film|1972]] (and remade as a much shorter film by [[Steven Soderbergh]] in [[2002 in film|2002]]) matches and in some assessments exceeds ''2001'' in its visuals and philosophic scope.

Since When is Snoop Dog a "bluegrass musician and minister of the gospel" Probably Someones Idea of a joke

===[[1980s in film|1980s]]===

The 1980s and later saw the growth of [[animation]] as a medium for science fiction films. This was particularly successful in [[Japan]] where the [[anime]] industry saw the production of such films as ''[[Akira (film)|Akira]]'' ([[1988 in film|1988]]) and ''[[Ghost in the Shell]]'' ([[1995 in film|1995]]). Serious animation has not yet proven commercially successful in the [[United States|U.S.]] and Western-made animated science fiction films such as ''[[Light Years (movie)|Light Years]]'' ([[1988 in film|1988]]), ''[[The Iron Giant]]'' ([[1999 in film|1999]]) and ''[[Titan A.E.]]'' ([[2000 in film|2000]]) did not draw a significant viewing audience. However, anime has gradually gained a cult following and from mid-[[1990s]] its popularity has been steadily expanding worldwide.

== Gang affiliation ==

Following the huge success of ''Star Wars'' science fiction became bankable and each major studio rushed into production their available projects. As a direct result ''[[Star Trek]]'' was reborn as a movie franchise that continued through the [[1980s in film|1980s]] and [[1990s in film|1990s]]. [[Ridley Scott]]'s ''[[Alien]]'' was hugely significant in establishing a visual styling of the future that became dominate in science fiction film through its sequels and Scott's ''[[Blade Runner]]''.

Snoop has never made his affiliation with the Crips a secret. It probably deserves mention. 09:14, 17 Oct 2004 (UTC)

Thanks to the ''Star Wars'' and ''Star Trek'' [[franchise]]s escapism became the dominant form of science fiction film through the 1980s. The big budget adaptations of [[Frank Herbert]]'s ''[[Dune (movie)|Dune]]'' and [[Arthur C. Clarke]]'s sequel to ''2001'', ''[[2010]]'', were box office duds that disuaded producers from investing in science fiction literary properties. The strongest contributors to the genre during the second half of the decade were [[James Cameron]] and [[Paul Verhoeven]] with the ''[[Terminator]]'' and ''[[Robocop]]'' entries.

===[[1990sMeaning inof film|1990s]]=LBC==

The article now says:

The emergence of the [[world wide web]] and the [[cyberpunk]] genre during the 1990s spawned several internet-themed movies. Both ''[[The Lawnmower Man]]'' ([[1992 in film|1992]]) and ''[[Virtuosity]]'' ([[1995 in film|1995]]) dealt with threats to the network from a human-computer interface. ''[[Johnny Mnemonic (movie)|Johnny Mnemonic]]'' ([[1995 in film|1995]]) and ''[[Total Recall]]'' ([[1990 in film|1990]]) had the memories of their main actors modified by a similar interface, and ''[[The Matrix]]'' ([[1999 in film|1999]]) created a machine-run virtual prison for humanity. The internet also provided a ready medium for movie [[fandom]], who could more directly support (or criticize) such media franchise film series as [[Star Trek]] and [[Star Wars]].

:A large number of Snoop Dogg's songs mention "the LBC." This is reportedly a reference to the Long Beach Crips.

However, [http://rapdict.org/wiki/index.php/LBC the Rap Dictionary says] that LBC is a "phonebook abbreviation for Long Beach city". Which does Snoop mean? [[User:Tim Ivorson|Tim Ivorson]] 23:31, 28 Nov 2004 (UTC)

:I was under the impression it was ''Long Beach City''. It may very well refer to both, though, depending on the circumstance. [[User:TUF-KAT|Tuf-Kat]] 02:57, Nov 29, 2004 (UTC)

::In "Gin and Juice", the first line is "in the LBC", so ''Long Beach Crips'' wouldn't make any sense there, and it must be the city. [[User:TUF-KAT|Tuf-Kat]]

== Cleanup ==

Disaster movies remained popular, with themes updated to reflect recent influences. Both ''[[Armageddon (movie)|Armageddon]]'' ([[1998 in film|1998]]) and ''[[Deep Impact]]'' ([[1999 in film|1999]]) used the threat of a massive impact with the earth. ''[[Independence Day (movie)|Independence Day]]'' ([[1996 in film]]) recycled the 1950s monster movie, with rapacious, all-consuming aliens. Advances in genetic science were also featured in the dark-themed movies ''[[Jurassic Park]]'' ([[1993 in film|1993]]) and the slow-paced ''[[Gattaca]]'' ([[1997 in film|1997]]).

This article just goes on and on without any stops. Snoop is a big enough character that we can at least break his history up into headings and subheadings right? How do I recommend attention again? [[User:JoeHenzi|JoeHenzi]] 6 July 2005 01:31 (UTC)

As the decade progressed, computers played an increasingly important role in both the addition of special effects and the production of films. Large [[render farm]]s made of many [[Computer cluster|computers in a cluster]] were used to detail the images based on three-dimensional models. As the [[software]] developed in sophistication it was used to produce more complicated effects such as wave movement, explosions, and even fur-covered aliens. The improvements in special effects allowed the original Star Wars trilogy to be [[List of changes in Star Wars re-releases|re-released]] in [[1997 in film|1997]] with many enhancements.

==Definition==

Defining precisely which movies belongs to the science fiction genre can be as difficult with films as it is with literature.

:'''[[Science fiction]] [[film]]''' is "a [[film genres|film genre]] which emphasizes actual, extrapolative, or speculative [[science]] and the [[empirical methods|empirical method]], interacting in a social context with the lesser emphasized, but still present, [[transcendentalism]] of [[Magic (paranormal)|magic]] and [[religion]], in an attempt to reconcile man with the unknown" (Sobchack 63).

This definition assumes that a continuum exists between (real-world) empiricism and ([[supernatural]]) transcendentalism, with science fiction film on the side of empiricism and [[horror film]] and [[fantasy film]] on the side of transcendentalism. However, there are numerous well-known examples of science fiction horror films, epitomized by ''[[Frankenstein (1931 film)|Frankenstein]]'' and ''[[Alien (movie)|Alien]]''.

The visual style of science fiction film can be characterized by a clash between alien and familiar images. This clash is implemented in the following ways:

# Alien images become familiar

#* In ''[[A Clockwork Orange]]'', the repetitions of the Korova Milkbar make the alien decor seem more familiar.

# Familiar images become alien

#* In ''[[Dr. Strangelove]]'', the distortion of the humans make the familiar images seem more alien.

# Alien and familiar images are juxtaposed

#* In ''[[The Deadly Mantis]]'', the giant [[praying mantis]] is shown climbing the [[Washington Monument]].

Cultural theorist [[Scott Bukatman]] has proposed that science fiction film is the main area in which it is possible in contemporary culture to witness an expression of the [[sublime]] be it through exaggerated scale (the [[Death Star]] in ''Star Wars''), apocalypse (''[[Independence Day (movie)|Independence Day]]'') or transcendence (''[[2001: A Space Odyssey]]'').

==Themes==

[[Image:Independence_day_movieposter.jpg|thumb|right|200px|[[Independence Day (movie)|Independence Day]] movie poster: The movie represents a popular theme of the modern era for science fiction: a lot of action and special effects]]

A science fiction film will be speculative in nature, and often includes key supporting elements of science and technology. However, as often as not the "science" in a [[Hollywood]] sci-fi movie can be considered pseudo-science, relying primarily on atmosphere and quasi-scientific artistic fancy than facts and conventional scientific theory. The definition can also vary depending on the viewpoint of the observer. What may seem a science fiction film to one viewer can be considered fantasy to another.

Many science fiction films include elements of mysticism, [[occult]], [[magic]], or the [[supernatural]], considered by some to be more properly elements of fantasy or the occult (or religious) film. This transform the movie genre into a science fantasy with

a religious or quasi-religious philosophy serving as the driving

motivation. The movie ''Forbidden Planet'' employs many common

science fiction elements, but the nemesis is a powerful creature

with a resemblance to an occult demonic spirit. The ''Star Wars''

series employed a magic-like philosophy and ability known as the

"Force". ''[[The Chronicles of Riddick|Chronicles of Riddick]]'' ([[2004 in film|2004]]) included quasi-magical elements resembling [[necromancy]] and [[elemental]]ism.

Some films blur the line between the genres, such as movies where the protagonist gains the extraordinary powers of the [[superhero]]. These films usually employ a quasi-plausible reason for the hero gaining these powers. Yet in many respects the film more closely resembles fantasy than sci-fi.

Not all [[science fiction themes]] are equally suitable for movies. In addition to science fiction horror, [[space opera]] is most common. Often enough, these films could just as well pass as [[western]]s or [[World War II|WWII]] movies if the science fiction props were removed. Common themes also include voyages and expeditions to other planets, and [[dystopia]]s, while [[utopia]]s are rare.

Special effects in science fiction movies range from laughable to ground-breaking. Milestones in this respect include [[Stanley Kubrick]]'s ''[[2001 (movie)|2001]]'', ''[[Star Wars]]'' and, more recently, ''[[The Matrix]]''.

===Scientific elements===

While [[science]] is a major element of this genre, many movie studios take significant liberties with what is considered conventional scientific knowledge. Such liberties can be most readily observed in films that show spacecraft maneuvering in outer space. The [[vacuum]] should preclude the transmission of [[sound]] or maneuvers employing wings, yet the sound track is filled with inappropriate flying noises and changes in flight path resembling an aircraft banking. The film makers assume that the audience will be unfamiliar with the specifics of space travel, and focus is instead placed on providing acoustical [[atmosphere]] and the more familiar maneuvers of the aircraft.

Similar instances of ignoring science in favor of art can be seen when movies present environmental effects. Entire planets are destroyed in titanic explosions requiring mere seconds, whereas an actual event of this nature would likely take many hours. A star rises over the horizon of a [[comet]] or a [[Mercury (planet)|Mercury]]-like world and the [[temperature]] suddenly soars many hundreds of degrees, causing the entire surface to turn into a furnace. In reality the [[energy]] is initially reaching the ground at a very oblique angle, and the temperature is likely to rise more gradually.

The role of the [[scientist]] has varied considerably in the science fiction film genre, depending on the public perception of science and advanced technology. Starting with Dr. [[Frankenstein]], the [[mad scientist]] became a [[stock character]] who posed a dire threat to society

and perhaps even civilization. In the monster movies of the [[1950s]], the scientist often played a heroic role as the only person who could provide a technological fix for some impending doom. Reflecting the distrust of [[government]] that began in the [[1960s]] in the [[US]], the brilliant but rebellious scientist became a common theme, often serving a [[Cassandra]]-like role during an impending disaster.

===Disaster films===

A frequent theme among sci-fi films is that of impending or actual disaster on an epic scale. These often address a particular concern of the writer by serving as a vehicle of warning against a type of activity, including technological research. In the case of alien invasion films, the creatures can provide as a stand-in for a feared foreign power.

Disaster films typically fall into the following general categories:

*Alien invasion &mdash; hostile [[extraterrestrial]]s arrive and seek to supplant humanity. They are either overwhelmingly powerful or very insidious.

*Environmental disaster &mdash; such a major climate change, or an [[asteroid]] or [[comet]] strike.

*Man supplanted by technology &mdash; typically in the form of an all-powerful [[computer]], advanced [[robot]]s or [[cyborg]]s, or else genetically-modified humans or animals.

*Nuclear war &mdash; usually in the form of a [[dystopia|dystopic]], post-[[holocaust]] tale of grim survival.

*Pandemic &mdash; a highly lethal [[disease]], often one created by man, wipes out most of humanity in a massive [[plague]].

Time travel movies can also exploit the potential for disaster as a motivation for the plot, or they can be the root cause of a disaster by wiping out recorded history and creating a new future.

===Time Travel===

The concept of [[time travel]], or travelling backwards and forwards through time, has always been a popular staple of science fiction film, as well as in various sci-fi television series. This usually involves the use of some type of advanced technology, such as H. G. Wells' classic ''[[The Time Machine]]'', or the ''[[Back to the Future]]'' trilogy. Other movies have employed [[Special Relativity]] to explain travel far into the future, including the ''[[Planet of the Apes]]'' series.

More conventional time travel movies use technology to bring the past to life in the present (or a present that lies in our future). The movie ''[[Iceman]]'' ([[1984 in film|1984]]) dealt with the reanimation of a frozen [[Neanderthal]], a concept later spoofed in the [[comedy]] ''[[Encino Man]]'' ([[1992 in film|1992]]). The ''[[Jurassic Park]]'' series portrayed cloned life forms grown from [[DNA]] ingested by insects that were frozen in [[amber]]. The movie ''[[Freejack]]'' ([[1992 in film|1992]]) has victims of horrible deaths being pulled forward in time just a split-second before their demise, and then used for spare body parts.

A common theme in time travel movies is dealing with the paradoxical nature of travelling to the past. The movie ''[[12 Monkeys]]'' ([[1995 in film|1995]]) has a self-fulfilling quality as the main character as a child witnesses the death of his future self. In ''[[Slaughterhouse-Five]]'' ([[1969 in film|1969]]) the main character jumps backwards and forwards across his life, and ultimately accepts the inevitability of his final fate.

The ''[[Back to the Future]]'' series goes one step further and explores the result of altering the past, while in ''[[Star Trek: First Contact]]'' ([[1996 in film|1996]]) the crew must rescue the Earth from having its past altered by time-travelling aliens. ''[[The Terminator]]'' series employs self-aware machines instead of aliens, which travel to the past in order to gain victory in a future war.

==Film versus literature==

When compared to [[Literature|literary]] works, such films are an

expression of the genre that often rely less on the human imagination and more upon the visual uniqueness and fanciful imagery provided through [[special effects]] and the creativity of artists. The special effect has long been a staple of science fiction films, and, especially since the [[1960s in film|1960s]] and [[1970s in film|1970s]], the audience has come to expect a high standard of visual rendition in the product. A substantial portion of the budget allocated to a sci-fi film can be spent on special effects, and not a few rely almost exclusively on these effects to draw an audience to the theater (rather than employing a substantial plot and engaging drama).

Science fiction literature often relies upon story development, reader knowledge, and the portrayal of elements that are not readily displayed in the film medium. In contrast, science fiction films usually must depend on action and suspense to entertain the audience, thus favoring battle scenes and threatening creatures over the more subtle plot elements of a drama, for example. There are, of course, exceptions to this trend, and some of the most critically-acclaimed sci-fi movies have relied primarily on a well-developed story and unusual ideas, instead of physical conflict and peril. Nevertheless, few science fiction books have been made into movies, and even fewer successfully.

==Science fiction as social commentary==

This film genre has long served as a vehicle for thinly-disguised and often thoughtful social commentary. Presentation of issues that are difficult or disturbing for an audience can be made more acceptable when they are explored in a future setting or on a different, earth-like world. The altered context can allow for deeper examination and reflection of the ideas presented, with the perspective of a viewer watching remote events.

[[Image:aclockworkorangeCover.jpg|right|thumb|200px|[[Clockwork Orange]] DVD: This movie, while violent and grotesque in nature, is a social commentary type of film written by [[Stanley Kubrick]]]]

The type of commentary presented in a science fiction film often an illustrated the particular concerns of the period in which they were produced. Early sci-fi films expressed fears about automation replacing workers and the dehumanization of society through science and technology. Later films explored the fears of environmental catastrophe

or technology-created disasters, and how they would impact society and individuals.

The monster movies of the [[1950s]] served as stand-ins for fears of [[nuclear war]], [[communism]] and views on the [[cold war]]. In the [[1970s]], science fiction films also became an effective way of satirizing contemporary social mores with ''[[Silent Running]]'' and ''[[Dark Star (motion picture)|Dark Star]]'' presenting hippies in space as a reposte to the militaristic types that had dominated earlier films, ''[[A Clockwork Orange]]'' presenting a horrific vision of youth culture, ''[[Logan's Run]]'' depicting a futuristic [[swingers]] society and ''[[The Stepford Wives]]'' anticipating a reaction to the [[women's liberation movement]].

''[[Enemy Mine]]'' demonstrated that the foes we have come to hate are often just like us, even if they appear alien. Movies like ''2001'', ''[[Jurassic Park]]'', ''[[Blade Runner]]'', and ''[[Tron (movie)|Tron]]'' examined the dangers of advanced technology, while ''[[Robocop]]'', ''[[1984]]'', and even ''[[Star Wars]]'' illustrate the dangers of extreme political control. Both ''[[Planet of the Apes]]'' and ''Stepford Wives'' commented on the politics and culture of contemporary society.

==Influence of classic sci-fi authors==

[[Jules Verne]] was the first major science fiction author to be adapted for the screen with Melies ''Voyage Dans La Lune'' of [[1902 in film|1902]] and ''20,000 Leagues Under the Sea'' of [[1907 in film|1907]] but these only use Verne's basic scenarios as a framework for fantastic visuals. By the time Verne's work fell out of [[copyright]] in [[1950 in film|1950]] the adaptations were treated as period pieces. [[H. G. Wells]] has had better success with ''The Invisible Man'', ''Things to Come'' and ''The Island of Doctor Moreau'' all being adapted during his lifetime with good results while ''War of the Worlds'' was updated in [[1953 in film|1953]] and another update will be released in [[2005 in film|2005]]. ''The Time Machine'' has had two film versions ([[1961 in film|1961]] and [[2002 in film|2002]]) while ''[[Sleeper]]'' in part is a pastiche of Wells' 'The Sleeper Awakes'.

With the drop off in interest in science fiction films in [[1940s in film|1940s]] and [[1950s in film|1950s]] few of the 'golden age' sci-fi authors made it to the screen. A [[novella]] by [[John W. Campbell]] provided the basis for ''[[The Thing From Another World]]''. [[Robert Heinlein]] contributed to the [[screenplay]] for ''[[Destination Moon]]'', but it was not until ''[[Starship Troopers]]'' ([[1997 in film|1997]]) that one of his major works was adapted and [[L. Ron Hubbard]] had to wait to [[2000 in film|2000]] for the disastrous flop ''[[Battlefield Earth]]''. [[Isaac Asimov]] can rightly be cited as an influence on the ''Star Wars'' and ''Star Trek'' films but it was not until [[2004 in film|2004]] that a version of ''[[I, Robot]]'' made it to film.

The most successful adaptation of a sci-fi author was [[Arthur C. Clarke]] with ''[[2001: A Space Odyssey|2001]]'' and its sequel. Reflecting the times, two earlier science fiction works by [[Ray Bradbury]] were adapted for cinema in the [[1960s in film|1960s]] with ''[[Fahrenheit 451]]'' and the ''[[The Illustrated Man|Illustrated Man]]''. [[Kurt Vonnegut]]'s ''[[Slaughterhouse-Five|Slaughter-house 5]]'' was filmed in [[1971 in film|1971]] and ''[[Breakfast of Champions]]'' was filmed in [[1998 in film|1998]].

More recently [[Phillip K. Dick]] has become the most influential of sci-fi authors on science fiction film. Dick's work manages to evoke the paranoia that has been a central feature of science fiction film without invoking alien influences. Films based on PKD's works include ''[[Blade Runner]]'' ([[1982 in film|1982]]), ''[[Total Recall]]'' ([[1990 in film|1990]]), ''[[Minority Report]]'' ([[2002 in film|2002]]), and ''[[Paycheck]]'' ([[2003 in film|2003]]). These film versions are often only loose adaptations of the original story, being converted into an action-adventure film in the process.

==Awards==

* ''[[Destination Moon]]'', [[Academy Award|Oscar]] for special effects.

* ''[[When Worlds Collide]]'', Oscar for special effects.

* ''[[War of the Worlds]]'', Oscar for special effects.

* ''[[20,000 Leagues Under the Sea]]'', Oscars for art/set direction and special effects

* ''[[The Time Machine]]'', Oscar for special effects.

* ''[[The Incredible Shrinking Man]]'' Hugo 1958.

* ''[[Fantastic Voyage]]'', Oscars for special visual effects and art/set direction.

*''[[Dr. Strangelove]]'' Hugo 1965.

* ''[[Charly]]'', Oscar for best actor, [[Cliff Robertson]].

* ''[[2001: A Space Odyssey]]'', Oscar for special visual effects.

* ''[[Marooned]]'', Oscar for special visual effects; Hugo 1969.

*''[[A Clockwork Orange]]'' Hugo 1972.

*''[[Slaughterhouse Five]]'' Hugo 1973.

* ''[[Sleeper]]'' Hugo 1974.

* ''[[Young Frankenstein]]'' Hugo 1975.

* ''[[A Boy and His Dog]]'' Hugo 1976.

* ''[[Logan's Run]]'', Oscar for visual effects.

* ''[[Star Wars]]'', 1978 Oscars for art/set, direction, film editing, visual effects, costume design, sound, best original score, and a special achievement award for sound effect creations; Hugo 1978.

* ''[[Close Encounters of the Third Kind]]'', 1978 Oscars for cinematography and a special achievement award for sound effects editing.

* ''[[Superman (movie)|Superman - The Movie]]'', Oscar special achievement award for visual effects.

* ''[[Superman]]'' Hugo 1979.

* ''[[Alien]]'', 1980 Oscar for visual effects; Hugo 1980.

* ''[[The Empire Strikes Back]]'', 1981 Oscars for sound and a special achievement award for visual effects; Hugo 1981.

* ''[[Raiders of the Lost Ark]]'' Hugo 1982.

* ''[[E.T. the Extra-Terrestrial]]'', 1983 Oscars for best visual effects, best sound, best sound effects editing, and best music (original score).

* ''[[Blade Runner]]'' Hugo 1983.

* ''[[Return of the Jedi]]'' Hugo 1984.

*''[[2010]]'' Hugo 1985.

* ''[[Cocoon (movie)|Cocoon]]'', 1986 Oscars for best actor in a supporting role, visual effects.

* ''[[Back to the Future]]'', 1986 Oscars for best sound effects editing; Hugo 1986.

* ''[[Aliens (1986 movie)|Aliens]]'', 1987 Oscars for best sound effects editing and best visual effects; Hugo 1987.

* ''[[The Fly (1986)|The Fly]]'', 1987 Oscar for best makeup.

* ''[[Innerspace]]'', 1988 Oscar for best visual effects.

* ''[[The Princess Bride]]'' Hugo 1988.

* ''[[Who Framed Roger Rabbit]]'' Hugo 1989.

* ''[[Terminator 2: Judgment Day]]'', 1992 Oscars for best sound, best sound effects editing, and best makeup.

* ''[[Jurassic Park]]'', 1994 Oscars for best sound, best sound effects editing, and best visual effects.

* ''[[Independence Day (movie)|Independence Day]]'', 1997 Oscar for best visual effects.

* ''[[Men in Black (movie)|Men in Black]]'', 1998 Oscar for best makeup.

* ''[[The Matrix]]'', 2000 Oscars for best sound, best editing, best sound effects, and best visual effects.

==See also==

*[[Arthur C. Clarke's list of the best science fiction films]]

*[[History of anime]]

*[[List of science fiction films]]

*[[Saturn Award for Best Science Fiction Film]]

*[[Science fiction on television]]

==References==

* Welch Everman, ''Cult Science Fiction Films'', Citadel Press, [[1995 in literature|1995]], ISBN 0-8065-1602-X.

* Peter Guttmacher, ''Legendary Sci-Fi Movies'', [[1997 in literature|1997]], ISBN 1-56799-490-3.

* Phil Hardy, ''The Overlook Film Encyclopedia, Science Fiction''. William Morrow and Company, New York, [[1995 in literature|1995]], ISBN 0879516267.

* Gregg Rickman, ''The Science Fiction Film Reader'', [[2004 in literature|2004]], ISBN 0879109947.

* Vivian Sobchack, ''Screening Space: The American Science Fiction Film''. New Brunswick: Rutgers University Press, [[1998 in literature|1998]], ISBN 081352492X.

==External links==

* [http://www.filmsite.org/sci-fifilms.html The Greatest Films: Science Fiction Films]

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