“Implications of Critical Theory applied to Science Fiction Film in regards to Sexual Difference and Gender Roles”

The genre of American Science Fiction film has gone through many metamorphoses since it’s beginning in 1902. Characteristic of the genre, these films take the viewer on voyages to outer space, we meet aliens and are presented with futuristic technologies. It is commonly suggested by critics, such as author J.P. Telotte, that American Science Fiction film mirrors the anxieties and personal concerns of the American population as a whole in its representations on the screen. This simplistic interpretation is defined as Reflectionist theory.

Critical theory as described by author Rick Kuhn serves as an alternative standpoint in its interpretation of the representations presented in these films. Contrasting Reflectionist theory, Critical theory views meanings presented in Science Fiction as not simply ‘mirroring’ inherent meanings in society, instead these meanings are constructed within the films themselves. These theories are important in our evaluation of the genre because instead of passively viewing the mirrored social constructs in Science Fiction, these movies can be active in the production of our real social constructs.

The films Logans Run (1976) and The Stepford Wives (1975) as interpreted through the lens of critical theory, serve to reinforce patriarchal social constructs while on the surface appearing to present women in a more progressive role. These meanings actively constructed within each film, do not simply mirror our personal concerns instead they “shape our understanding of the world we live in”.

Author Rick Kuhn in his essay “Ideologies” explains the difference between the “Reflectionist” and “Critical” approaches to the interpretation of representationsand meanings. Kuhn states, “The basic premises of reflectionist criticism are that the ‘real world’ pre-exists and determines representation, and that representation portrays the real world in unmediated fashion”. When applied to Science Fiction film as a genre, this reflectionist stance would interpret the visual images presented as having inherent meanings taken from the real world. The films would “mirror the real”, meanings are not constructed; the meanings are already there.

An important differentiation between critical and reflectionist theory exists in the point that reflectionist stance acts as a passive, ‘mirroring’ view while critical theory views representations as interactive with the real world; as Kuhn describes, “the production of meaning can be regarded as an activity”. Adopting this critical theory as applied to Science Fiction film, there are obvious and important implications. The films Logans Run and The Stepford Wives are creating realities within the films, to what consequence?

Logans Run takes place in a futuristic society in which all aspects of life are dictated and controlled by a super computer. Members of this society are completely taken care of by machines and do not have to work to provide for themselves. This freedom subsequently creates a hedonistic society within the film where pleasure rules all. Feminist approaches to Science Fiction are aptly applied to Logans Run. In the film, “men do while women watch appreciatively”.

It is common throughout the genre for men to be associated with the conquering and mastery of technology and creative force, while women are often portrayed as irrational, weak and associated with the “other”. In the case of Logan’s Run, all positions of power, such as the Sandman police force, are portrayed in the film as being held by men. The supercomputer itself, being a female simulacra and having a female voice, at the end of the film breaks down and destroys the entire society simply because it cannot realize its own error. In these films the female is interpreted though the eyes of a man.

In their essay, “Technophobia” Michael Ryan and Douglas Kellner describe films where there is a definite opposition between humans and technology, such as in Logans Run. “Science fiction films concerning fears of machines or of technology usually negatively affirm social values such as: freedom, individualism, and the family”. Anxieties in the film relating to the lack of monogamous relationships, sexual difference and individuality are alleviated in the end of the film only when a return to the “natural” is achieved. The “human” in Logan’s Run wants family and emotional closeness with others, this is threatened by casual sexual encounters and wanting of “illusory” idealism. Logan’s Run touts its enforcement of conservative and patriarchal ideologies as its prime achievement. By negatively affirming monogamy and patriarchy, the film acts creates meaning.

The Stepford Wives, on the other hand, while appearing more overtly satirical in nature, is critically accessed as simply being a reinforcement of the very ideals that it appears to reject. In the film, the men of the small community Stepford, MA develop a technology that is used to manufacture female replicants of their wives to actually replace them. The mechanical wives are designed by the men to be attractive, domestic and ultimately subservient to their husbands.

The main character of the film, Joanna, is portrayed as different than the other wives of Stepford. The clothes she wears are different, she is an artist and pursues her own personal interests, she is not concerned with housework and takes battles for an equal standing with her husband in their marriage. Throughout the film, Joanna is constantly under threat, not understanding why she is so different from these women and struggling to “free” them from their domestic duties. The movie ends with a scene where the mechanized Joanna makes her debut to the town in the local supermarket. The scene is calm, the anxiety ridden Joanna is erased and replaced with a serene Joanna that fits into society and is comfortable and happy.

In historical context both Logan’s Run and The Stepford Wives have been viewed as being satirical, reflecting upon society the ugliness of itself. Instead of being simply reflective of societies concerns, critical theory delves deeper to interpret these films as creating meanings in their representations. The Stepford Wives is particularly confusing in its aim of being ‘satirical’, as in the end the robot women themselves appear happier. Instead of being appalled that Joanna herself has become a robot, the viewer is given reprieve and eventually comes to accept becoming mechanized. The community simply functions better and is more enjoyable for everyone when the women are in their ‘proper’ role of being submissive to men.

Application of Critical Theory to Science Fiction films such as Logan’s Run and The Stepford Wives presents the spectator with new alternatives to a simple reflectionist interpretation of meanings of the representations on screen. At first glace these films appear to be satirical in tone, but after reviewing these films through the lens of critical theory the viewer can now sees how these films act to reinforce the particular social constructs of patriarchal society and the roles of women. The meanings constructed within the films can be seen as actively interacting with the real world through this critical interpretation. The implications of the reinforcement of these ideals in society are far reaching. Again it begs the viewer to ask him/herself to what consequence?












Works Used
Kellner, Douglas and Michael Ryan. “Technophobia.” Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. Ed. Annette Kuhn. London and New York: Verso Press, 1990. 58-65. (CR 44-47)

Kuhn, Annette. “Ideologies.” Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. Ed.
Annette Kuhn. London and New York: Verso Press, 1990. 51-57. (CR 48-51)

Telotte, J.P. “Psychoanalytic Criticism.” Science Fiction Film. Genres in American Cinema. Ed. Barry Keith Grant. Cambridge: Cambridge University Press, 2001. 44-49. (CR 138-140)

________. “Feminism.” Science Fiction Film. Genres in American Cinema. Ed. Barry Keith Grant.
Cambridge: Cambridge University Press, 2001. 49-54. (CR 140-143).

Telotte, J.P. “Postmodernism.” Science Fiction Film. Genres in American Cinema. Ed. Barry Keith Grant. Cambridge: Cambridge University Press, 2001. 55-59. (CR 82-84)