THE POSTMODERN PERCEPTION OF REALITY IN THE CITIES OF SCIENCE FICTION FILMS
by Özge ERGİN
THE POSTMODERN PERCEPTION OF REALITY IN THE CITIES OF SCIENCE FICTION FILMS
by Özge ERGİN
A paper submitted to the Faculty of Fine Arts and Design, IzmirUniversity of Economics
Faculty of Fine Art and Design Department of Architecture
In partial fulfillment of the requirements of ARCH 494
2013
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IZMIRUNIVERSITY OF ECONOMICS ABSTRACT The Postmodern Perception of Reality in the Cities of Science Fiction Films by ÖZGE ERGİN Chairperson of the Supervisory Committee:
Ass. Prof. Dr. AHENK YILMAZ Architecture
Supervisor:
Lecturer NUR YAVUZ Architecture
January 2013, 24 pages
“The thesis investigates how the features of the postmodern architectural approach penetrate the cities of science fiction movies. This investigation will be carried out by analyzing different science fiction movies that have a postmodernist feel and similarities to postmodernist theory.”
Keywords: Architecture, Reality, Sci-Fi, Vision, Design, City, Postmodernism, Simulacra, Pastiche, Hyper reality, Time Bending, Flattening of Affect
i
To my parents‌
ii
ACKNOWLEDGEMENTS
I would like to express my deep gratitude my supervisor NurYavuz for her patience , immense knowledge , guidance and encouragement in all the time of research and writing the thesis.
I am indebted to the rest of my instructors to guidance through my education life.
Last but not the least, I would like to thank my mother SemraErgin , my father A.MuttalipErgin and my sister DuyguErgin for supporting me through my entire life with their love and encouragement.
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TABLE OF CONTENTS
ABSTRACT ……………………………………………………………………………………………………...i ACKNOWLEDGEMENTS…………………………………………………………………………………iii LIST OF FIGURES……………………………………………………………………………………………v TABLE OF CONTENTS……………………………………………………………………………………iv INTRODUCTION…………………………………………………………………………………………...1 Chapter 1.The Postmodern Ideology in the Science Fiction……………………………………...1 1.1. What is postmodernism?……………………………………………………..…………………2 1.2. What is the features of the postmodern architecture ……………………………………...3 1.3. The Postmodern architecture in the portraying the city of the future …………………...4 1.4. Design of the postmodern city of the future in science fiction…………………………..4 Chapter 2. A close look at futuristic movies that carry the postmodernist impression……..5 2.1. Examples of movies……………………………………………………………………………...5 Chapter 3.Manifestation of thePostmodern Architecture in Science Fiction Films……….5 3.1.Pastiche…………………………………………………………………………………………….5 3.2. Flattening Affect………………………………………………………………………………...11 3.3.Hyper reality……………………………………………………………………………………..12 3.4. Time Bending……………………………………………………………………………………14 3.5.Simulation of the cities………………………………………………………………………....15 Chapter 4. The effects of the visual plausibility on the architecture reality………………….20 CONCLUSION……………………………………………………………………………………………....21 BIBLIOGRAPHY…………………………………………………………………………………………….23
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LIST OF FIGURES
Number
Page
Figure 1: The architecture of the city planet Coruscant /Star Wars: Episode II - Attack of the Clones, 2002(http://starwars.wikia.com).......................................................................................................................................... ......6 Figure 2:The Royal Palace of Theed, Naboo /Star Wars: Episode II - Attack of the Clones, 2002(http://starwars.wikia.com).................................................................................................................................. .......7 Figure 3:OtohGunga/ Star Wars: Episode I - The Phantom Menace, 1999 (http://starwars.wikia.com)......8 Figure4:Tatooine planet /Star Wars: Episode I - The Phantom Menace, 1999 (http://starwars.wikia.com)................................................................................................................................................9 Figure 5:Libria, 2035: The Architecture of Equilibrium, 2002 (http://www.imdb.com)..................................10 Figure 6:New York in Liquid Sky, 1982(http://www.core.form-ula.com).....................................................11 Figure 7:Poeple live in Liquid Sky (http://www.core.form-ula.com)....................................................................11 Figure 8: The Matrix (1999)-Red pills (http://www.imdb.com).............................................................................12 Figure 9: The Real World in the Matrix, 1999 (http://www.imdb.com)...............................................................13 Figure 10: Minority Report‟s (2002) Washington D.C. in the year 2054 (http://weburbanist.com)................14 Figure 11: Transportation- Minority Report‟s, 2002 (http://weburbanist.com)..............................................14 Figure 12: The Tyrell Corporation‟s 700-storey headquarters pyramid resembles a Mayan temple/Blade Runner 198221 (http://www.imdb.com)...............................................................................................................16 Figure 13: Billboards, Coca-Cola's red logo and Japanese woman /Blade Runner 1982 (http://www.imdb.com)...................................................................................................................................................16 Figure 14: Using real cityscapes in Code 46, 2003(http://affr.nl/reviews/bldgblg_on_code_46.html)..........18 Figure 15: Shanghai - Dubai in Code 46, 2003(http://affr.nl/reviews/bldgblg_on_code_46.html)................18 Figure 16: The buildings in Code 46, 2003(http://affr.nl/reviews/bldgblg_on_code_46.html)..................19 Figure 17: The designing process - in Liquid Sky, 1982 (http://www.core.form-ula.com)...........................20
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Figure 18: The construction area- in Liquid Sky, 1982 (http://www.core.form-ula.com).............................21
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‘The Postmodern Perception of Reality in the Cities of Science Fiction Films’ INTRODUCTION Science fiction presents a world that threatens to undermine some of the major categories into which we organize our life‟s .For example, the cyborg is neither human nor machine, but something in between as more human than human that threaten to undermine our fundamental difference between human and machine. The difference is not always easy to tell. Gender boundaries can also be made unstable in these cases, especially when humanity is shown to be a subject to construction or reconstruction.1 In other words lines are blurred and the important distinctions become unclear. Reality is sometimes a question in this blurred condition, especially in science fiction cinema that deals with the subject of virtual reality that is computer-generated worlds as if they were real. They are often presented as seductive fantasies that can come to seem more real than reality itself. The presented world that the things is kind of science fiction has much in common with what has been described as a postmodern condition. The concept of the postmodern is tricky but appearance of the boundaries as blurred or confused is a generally characteristics of the post-modernism. 2
Chapter 1 The postmodern ideology in the science fiction Science fiction is a genre of fiction dealing with the imaginary but it can be more or less plausible. The blur between the boundaries of imagination and the possibilities of the imagination actually leads to variety of ideologies. In the other words, the degree of plausibility of the science fiction contains many of ideologies in it. In general, modernism comes to mind first as mentioning of the science fiction films. Also futurism follows this ideology. Because the science fiction works as an ideology in a sense that it offers some predictions about the future. Therefore, previously it was
1Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 53
2Ibid.
1
thought only as reconciled with the futurism or the modernism but, in fact the perfection of modernism and the over high-technology brought the futurism don‟t support the realistic perception of science fiction is realized.3 Postmodernism has no single or easily-identified definition. If we start by defining the postmodernism we can say that, it includes past and modern in it. It is neither past nor modern. It doesn‟t belong to any specific term in a sense. Postmodernism doesn‟t carry specific acts that need to be done according to past or now. Postmodernism is a fine point of intersection between past and now but not only interstice between them.4Also it has own creation, reflection and presentation. It can be said that it generally means more idea or concept rather than a specific term or act. It means more discussions, more opinion or more observation. Actually, as a result, it becomes easier to define postmodernism through rather than the words. The main point is actually plausibility. It is the integration of science fiction and postmodernism, because science fiction is an opinion which is created by the observation of the past. Moreover, the merging of it with the discussions of the future is not related with the any term belongs and any specific ideology. 5If this issue is judged from that direction is given, science fiction can be called a part of postmodernism. 1.1. What is postmodern architecture? Postmodern architecture began as an international style the first examples of which are generally cited as being from the 1950s, but did not become a movement until the late 1970s and continues to influence present-day architecture. As with many cultural movements, some of Postmodernism's most pronounced and visible ideas can be seen in architecture.6 The functional and formalized shapes and spaces of the modernist style are replaced by diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most
3Ibid.
culture 11
4Ibid. 5J.P.
Telotte, Science Fiction Film (Cambridge: the University of Cambridge, 2001), part 1, 54-60.
6“Postmodern
Architecture” entry; Wikipedia‟s entry on August 2009 http://en.wikipedia.org/wiki/Postmodern_architecture
2
obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of building which had been abandoned by the modern style.7 1.2. What are the features of the postmodern architecture in the science fiction movies? Cinema and architecture has a complex relationship that gives life to each other. Both of these arts contain reality and plausibility in it. One always provides benefits to the other. Architecture gives believability, sets the mood, character, time and place of the action for the movies.Also, film provides a starting point of the realizing visions that can never existed and experienced for architecture. This is the new world that has not occurred in reality. In professional life, architecture cannot always act as a real mirror for the society or the context of real life. Sometimes the real world affects the design and the building process financially, politically, ecologically, etc.8These cause misunderstanding or wrong results for the architectural work. In the medium of movies, architects can create pure architecture, without worrying about such things like weatherproofing, contract bidding, or building codes.9 Actually a movie provides ideal conditions of what architecture can be about. As with various genres of movies, architecture contributes to the science fiction films. Imagination is the major part of both of them. Also the persuasiveness is the basic characteristic in the science fiction films. The movies receive support from different ideologies of the architecture. We can see that most of the science fiction films have clues of the postmodern architecture. The science fiction cinema also heavily began to influence the thinking and vision of postmodern architects. The films are relying on the visualization the postmodernist architects provided for their own ideas and creation. The films can only simulate the experience of walking through architectural space and can enhance any real or virtual architectural narrative. Science fiction movie is such a
7“Postmodern
Architectureâ€? entry; Wikipediaâ€&#x;s entry on August 2009 http://en.wikipedia.org/wiki/Postmodern_architecture
8Mark
Shiel and Tony Fitzmaurice, Cinema and the city: film and urban societies in a global context. (UK: Blackwell Publishers Ltd., 2001, 3rd ed.)part 2, chapter 8
9David
Terrance Fortin, Architecture and Science-Fiction Film: Philip K. Dick and the spectacle of Home (USA: Ashgate Company, 1988) part 3, p.205
3
platform that visual product of postmodern architecture can be exhibited .Because; the science fiction movie is the best way to show the blurred characteristic of the postmodern architecture. In science fiction movies, as in the postmodernist perception, there is a blurred relationship between the past and the future or it can be said past can be linked with real or future can be linked with the virtuality.10 In other words, the lines between real and virtual in science fiction architecture are the part of the postmodernism. 1.3. The postmodern architecture in the portraying the city of the future In the science fiction films, how the city is portrayed in the future is the integral subject of the architecture and the social life.Because; just the architectural representation is not enough for the perception of time and space. People give the emotion and time line to spaces. It means humanity has an important role in the city of the future. In science fiction generally humanity is shown as reconstruction or construction subject likea cyborg, an alien, a machine, etc. Also the strict gender boundaries represented are blurred. But there is still some norm and value that are related with the existing. But also they are not real ones. This heterogeneity produces postmodern condition in the city of science fiction films. In addition, the thing that gives a form to the city of the science fiction film is confusion engendered by previous ideologies. But this normalization is such a main tool of postmodernism.11In other words ,texture of the city in the science fiction film necessarily accept the postmodernist idea of the architecture for portraying the time, space and social life that are required for the plausibility of the science fiction film. 1.4. Design of the postmodern city of the future in science fiction While, the city of the future is designing for the science fiction film, the filmmakersbasically have two options.Either they start to design of the city from scratch, set the backdrops and special effects or they try to modify and frame the elements of the existing environment that is disparatelyrecognizable.This condition carries a part of the idea of postmodernism that is
10Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 49
11Ibid.
4
reconstruction or construction.12Because, the city that is used in the science fiction film can have real environment but it should be supported with something to be science fiction or the city can have the virtual environment but it should be supported with something to be plausible.The refractions in here are the clues of theblurred boundaries in postmodernism.
Chapter 2 A close look at futuristic movies that carry the postmodernist impression The imaginary ideology in the science fiction changes that started developing throughout the 1960‟s and 1970‟s and then the postmodernism came into full effect in the 1980‟s.13 according to history of science fiction movie.It would be wrong to limit postmodernism effect, only the years because even today,the many sci-fi film cannot avoid carrying postmodernist influences. If we look at the examples of the postmodernist science fiction movies, in generally 1960‟s-1970‟s-1980‟s-made films such as Blade Runner, Metropolis etc. appears.However, the science fiction aspects of thinking are very similar to configuration of postmodernism. So we can see in the examples. 2.1. Examples of movies Blade Runner (1982), Liquid Sky (1982),The Matrix (1999), Star Wars: Episode I - The Phantom Menace, (1999), Star Wars: Episode II - Attack of the Clones, (2002),Equilibrium (2002),Minority Report‟s (2002),Code 46(2003)
Chapter 3
12Ibid. 13M.
Keith Booker, Historical Dictionary of Science Fiction Cinema (USA: Scarecrow Press, 2010) p.441-442
5
Manifestation of the Postmodern Architecture in Science Fiction Films 3.1. Pastiche Pastiche can be regarded as a function of postmodernity and the part of the fantasy world of the postmodernism. But it is like an imitation of real one. „In the Jameson‟s book has more critical view of pastiche, describing it as "blank parody" especially with reference to the postmodern parotic practices of self-reflexivity and intersexuality‟.14 Fredric Jameson says „By this is meant that rather than being a jocular but still respectful imitation of another style, pastiche in the postmodern era has become a "dead language", without any political or historical content, and so has also become unable to satirize in any effective way‟. 15The important part of this decision for the pastiche is dead language. This is an imitation which is emptied of its content. There are many examples of the science fiction films that are used pastiche in architecture design. For example, The Star Wars series of films by George Lucas is often considered to be a pastiche of traditional science fiction serials. This is the evidence of using the postmodern architecture in science fiction films.
Figure 1: The architecture of the city planet Coruscant(Star Wars: Episode II - Attack of the Clones, 2002)
The architecture of the city appears wildly futuristic. There is no sign to show the historical feelings. The entire city is seen as covered with aluminum material. The city has highly vertical impression. 14M.
Keith Booker, Postmodern Hollywood (Con.: Praeger Publisher, 2007) p.118.
15Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 15
6
Planet landscape has no natural vegetation and this show the human power on the nature. The man controls the planet. The main transportation is provided in the air.16This city is completely reconstruction face of the postmodernity. Becausethe city has the virtual environment but it is supported with something to be plausible. There is no existing building that comes from the past. But we can see the oval form on the buildings and the gathering part of the city is covered with dome. These properties are familiar from somewhere. These similarities do not irritate our mind, because the similarities are connectedwith a boundary between the reality and virtual perception. Also these donâ€&#x;t carry any specific property. It means dead language. As Jameson said the imitation is respectful to the real one and also creates blank parody. The situation matches up with pastiche theme of the postmodernism.17
Figure 2: The Royal Palace of Theed, Naboo (Star Wars: Episode II - Attack of the Clones, 2002)
Naboo is a highly peaceful city. Naboois also known very cultured humans. This small city is located on the lots of rivers.18The city is seen very classical although being a part of the science fiction film. The buildings are influenced from the Roman architecture. Also the city has horizontal impression.19The sculptures, the building materials, symmetrical usages are quite familiar from 16the
Internet Movie Database; IMDb, Star Wars: Episode II - Attack of the Clones, (2002), directed by George Lucas, written by George Lucas, ed. by Ben Burtt and George Lucas.
17Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 15
18the
Internet Movie Database; IMDb, Star Wars: Episode II - Attack of the Clones, (2002), directed by George Lucas, written by George Lucas, ed. by Ben Burtt and George Lucas.
19Ibid.
7
Roman architecture. This city likes an imitation example of roman city. But it is not built for roman people, roman term or giving the impression of roman term. This is just dead imitation and meaningless. This imitation doesn‟t belong any term. In other words this example is the epitome of pastiche.
Figure 3: OtohGunga (Star Wars: Episode I - The Phantom Menace, 1999)
OtohGunga is an underwater city. The first impression, the symmetry and the bubbles are evidence. The roundness of the glass spheres influence the wholeness of the space. The connection bubbles show us Gung a‟s social belief. People live together with nature and the materials come from the nature.20 According to general impression the city in the dark water is seen as influenced from the art nouveau architecture. Because using the iron and glass and inspired of the nature support the idea.21But it is not real art nouveau. It likes a blank imitation of the idea. The boundaries between the imitation and the real one are blurred. Therefore there is a hidden example of pastiche.
20the
Internet Movie Database; IMDb, Star Wars: Episode I - The Phantom Menace, (1999), directed by George Lucas, written by George Lucas, ed. by Ben Burtt and Paul Martin Smith.
21“Art
Nouveau” entry; Wikipedia‟s http://en.wikipedia.org/wiki/Art_Nouveau
8
Figure 4: Tatooine planet. (Star Wars: Episode I - The Phantom Menace, 1999)
Tatooine is a city like a desert. There is lack of architecture in this city because there are not enough natural resources to build.22We can see the real examples of this imitation in the real world. But in here, the city is not a desert and it doesnâ€&#x;t carry any claim to be a desert. This is just an imitation that not carries any aim of the real desert.
22the
Internet Movie Database; IMDb, Star Wars: Episode I - The Phantom Menace, (1999), directed by George Lucas, written by George Lucas, ed. by Ben Burtt and Paul Martin Smith.
9
Figure 5: Libria, 2035: The Architecture of Equilibrium (2002)
Equilibrium presents a vision of a world in peace. The war is far away from this world. There is no human feeling, no art, and no music. There are no feelings because these feelings are never inherent. The city named as Libria. Libria has representation of the authoritarian and totalitarian city that is influenced by Nazi and Fascist architecture. The city of Equilibrium has an order, symmetry, monumental, bare and functional buildings like the Rohbau style that was so favored by Hitler and his architect Albert Spear. Also cubism and minimalism is effective part of the architecture of Libria the leader of the world is a dictator named the Father who has power on the group of clerics like Ninja. The Father applies the emotional control with the chemical. The Libria presents extreme control.23 The state is suppressing emotional feeling and the city architecture is formed also according to this situation. The buildings has very simple facade that devoid of any feeling. The bland, smooth, and characterless surface of these buildings relies on echoing Hitler‟s words.Also the citizens of the city are worshiping and meditationing in open plazas and squares all together. In the architectural urban planning has the core design of Berlin. 24All this approach for the science fiction is related with the postmodernism .Because; the similarities are meaningless. The
23“Equilibrium” entry; 24the
Wikipedia‟s entry on December 2012, http://en.wikipedia.org/wiki/Equilibrium_ (film)
Internet Movie Database; IMDb, Equilibrium (2002), directed by Kurt Wimmer, written by Kurt Wimmer, ed. by Tom Rolf and William Yeh.
10
city is not Berlin or the people are not Nazi and Fascist. The order in the film is just the reflection of the realties. Therefore the relations with the realities match the pastiche of postmodernism.25 3.2. Flattening Affect Fredric Jameson says that technology, violence, drugs, and the media lead to detached, emotionless, unauthentic lives. It is also known blunted affect or flattened affect. It refers to a decrease in or a low level of an individual's emotion, shown as a wooden quality to one's emotions or a near absence of emotionality. It can also be described as a restricted range and intensity of emotional expression. Affective flattening is one of the "negative symptoms" of schizophrenia.26
Figure 6: New York in Liquid Sky (1982)
Figure 7: People live in Liquid Sky
The new theme arise from the newfound curiosity .This is rephrasing of the past in the science fiction.27 Actually the flattening affect add emotional expression in to the visualizations of the city by lack of emotion. For example in Liquid Sky depicts a New York where drugs and sexual promiscuity are the norm. This point is taken from the glamorizing of the act and the blurring of the differences between genders.28The city becomes a source of possibilities and pleasure for all genders and races. The city plays an important role on the fear of the other is turned into an 25Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 4
26Ibid. 27David
Terrance Fortin, Architecture and Science-Fiction Film: Philip K. Dick and the spectacle of Home (USA: Ashgate Company, 1988), p.59.
28„Farewell
Liquid Sky.â€&#x; posted on November 13, 2007, http://www.core.form-ula.com/2007/11/13/farewell-liquid-sky/
11
embrace of its difference humanity is no longer defined by strict norms and values .It gives an open-mindedness and tolerance towards the robot, the alien, the black, the woman and the homosexual. The space that covered with the glamorous material is such a liberated area. The parameter of the covering shows us as the effect of the drugs. This all apathy is actually a reflection of the reality of the emotion from the past. Also the reflection shows itself on the architecture. 3.3. Hyper reality Jameson says „The hyper real is characterized not as the surreal or the unreal, but as the more real as real‟. In hyper reality, it is the relationship between the real and its simulations. Also according to Baudrillard it is far from troubling the distinction between real and copy. The first order simulacrum‟s (near-perfect) resemblance to the original actually sustains it, precisely by retaining an emphasis on resemblance. The second-order and what follows it, resemblance is displaced by operative/ operational equivalence. 29 The hyper real realities that created by technologically are more desirable than the real world because the real world is depicted as a desert. Either real world that you believe or the unreal world is the more real than real. It is your choice.
Figure 8: The Matrix (1999)-Red pills
The concept of the City in The Matrix and its sequels is an archetype of the hyper reality theory proposed by Jean Baudrillard and developed by Umberto Eco; that is that the virtual "city"
29Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 4
12
constructed by the machines controlling the society is more convincing and realistic to its inhabitants than the "real world" 30
Figure 9: The Real World in the Matrix (1999)
The city has the harsh, gray, uninteresting landscape that is implemented to make sure the unknowing inhabitants of the Matrix. The people does not examine their living space because of the lacking an alternative.31 The city is an inhabitant-unique environment but nobody sees the city in the same way. The visualization of the City as gray and unnatural in The Matrix is a result of the red-pills experience outside of the Matrix. There are two worlds in this film. One of them is unreal world that is seen more real than real, the other one real world that nobody wants to see. In the unreal world, everything is normal such as environmental, people or buildings but the actually in the real world the intelligent machines are controlling the world where is a simulated prison for humanity.32 3.4. Time Bending „Time travel provides another way to shape reality and play "what if" games with society. It is like a between the reality and imaginary world .This situation usually is used as mind bending in science fictionâ€&#x;. 33 Minority Report is shown as a most credible science fiction film in the recent years. Because this movie grounds the futuristic science fiction is based on the intelligence of the present. Washington 30the
Internet Movie Database; IMDb, The Matrix (1999), Directed by Andy Wachowski (as The Wachowski Brothers)Lana Wachowski Andy Wachowski (written by) (as The Wachowski Brothers)
31Ibid. 32Ibid. 33Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 4
13
of 2054 is mounted according to tree main zones. The first one is said "bedroom community"that has developed vertically. This area is located across the river. The second one is "the Washington Capitol area" that monuments still exist. The area is the source of pride. The third one is "the decaying part of the city" that is not support with the technological advances afforded by the richness. Also the grass in the city is still green and historic row houses that has row materials are still standing.34This situation is the best part of the postmodernist approach because there is a harmony between the reality and imaginary world.
Figure 10: Minority Report’s (2002) Washington D.C. in the year 2054
Figure 11: Transportation- Minority Report’s (2002)
There is also interesting transportation solution that is settled by the magnetic levitation vehicles. These are jerking on the facade of the most of the new buildings. There is a complementation between the transportation way and the new buildings. The new high rise buildings are covered reflective and metallic material. This is the demonstration of the loose of the privacy. The vertical 34„Here
Today, Drawn Tomorrow: 16 Future Visions of 10 Cities.‟ posted on September 7, 2010. http://weburbanist.com/2010/09/07/here-today-drawntomorrow-16-future-visions-of-10-cities/
14
facades of the buildings that have transformation system combine with the diagonal and horizontal highways and this creates a network of the transportation that is formed three dimensional. The system shows the gravity will be defeated by time. Although all these highlights are happening, the old road network still exists.35It is like a between the reality and imaginary world as Jameson said.36 The main idea of the city future is understood from the billboards that covers lots of buildings. It means the companies are predominating on the society. This is also a clue of postmodernism. 3.5. Simulation of the Cities Recognizable cities actually are evidence of the postmodernism in science fiction films. All the examples of the science fiction film that are given have familiar perception from somewhere that we cannot understand despite of being science fiction. The reason of this is sense that is learned. The recognizable cities are giving a sense from the real ones, already everything is changed. Because the futuristic utopia plays into postmodernism's hands from somewhere such as existing rules, norms and values.37 Orders of Simulacra Symbolic Order: Society is organized as a fixed system of signs distributed according to rank and obligation (e.g. in the feudal era a peasant couldn't become the King). The question of reality doesn't arise: the meaning of signs is already established in advance (by God or power structures).38 First Order of Simulacra: The Early Modern period, from the Renaissance to the Industrial Revolution. A competition for the meaning of signs starts. Simulacra aim to restore an ideal image of nature. Fakes and counterfeits enter the scene: baroque angels, concrete chairs, theatre, and fashion. But true originals underlie the fakes.39 Second Order of Simulacra: From the Industrial Revolution up till the middle of the 20th century. Mass production of copies or replicas of a single prototype: cars, planes, fridges, clothes, books.
35Ibid. 36Jean
37M.
Baudrillard, "Simulacra and Simulations" (France: Editions Galilee, 1981), p.166.
Keith Booker, Postmodern Hollywood (Con.: Praeger Publisher, 2007) p.118.
38Ibid. 39Ibid.
15
Liberation of energy through the machine (Marx's world). Copies more or less indistinguishable. Reproduced things aren't counterfeits: they're just as "real" as their prototype (though we can still recognize the prototype).40 Third Order of Simulacra: The present age - dominated by simulations, things that have no original or prototype (though they may parallel something). Era of the model or code: computers, virtual reality, opinion polls, DNA, genetic engineering, cloning, and the news media make the news, Nike sneakers as status symbols, Disneyland. The death of the real: no more counterfeits or prototypes, just simulations of reality - hyper reality. Information replaces the machine as the basic mode of production.41 All of the science fiction films are actually related with simulacra according to some presentation of the future city.
Figure 12: The Tyrell Corporation’s 700-storey headquarters pyramid resembles a Mayan temple. (Blade Runner 1982)
Figure 13: Billboards, Coca-Cola's red logo and Japanese woman (Blade Runner 1982)-Chinese simulation of Los Angeles in Blade Runner (1982)
40Mark 41Jean
Poster. Jean Baudrillard: selected writings. (2nd ed.) (California: The Lealand Stanford Junior University, 2001) Chapter 7 p.175.
Baudrillard, "Simulacra and Simulations" (France: Editions Galilee, 1981), p.169.
16
Jean Baudrillard explains the simulation "Simulacra are copies of things that no longer have an original (or never had one to begin with)."42 The film offers vision of future Los Angeles. The city is portraying actually in a contradiction. Because there are high rises buildings, pyramids and glass towers intermingle with revival architecture, historical buildings, and the debris of past urban sprawl. This variation create postmodernist image because of the first order of simulacra.43 New structural elements extend through the old buildings to support new construction. The film utilizes such historical Los Angeles buildings as the Bradbury Building, Union Station and the Yukon Hotel. We can see in the dark and rainy city is surrounded by continuous massive skyscrapers. In the center of the city mega structures are located. These are have class structures vertical way and represent of the power. This is related with the symbolic order of the simulacra. Flying cars circulate between the buildings. The buildings covered with billboards. This shows the importance of the advertising and the marketing for the city.44 Coca-Cola's red logo and a Japanese woman say something in Japanese reveals how the world has been dominated by post-modern consumer culture.Labor force of Blade Runner scientists, genetic engineers, policemen, private detectives or owners of Chinese noodles counter.45 Another characteristic of the representations of this city is the proliferation of waste. The waste is a direct result of a capitalism gone wrong of the 1970s, so permeates the streets of several city representations in the 1980s, such as Los Angeles in Terminator (1984), Detroit in Robocop (1987), New York in Liquid Sky and Escape from New York (1981), the NY-Los Angeles hybrid of Blade Runner (1982) or the retro-futuristic and gothic metropolis of Brazil (1985).46In all cases, waste represents of the in evitable fact of the modern life. It is a proof that modernist ideology of a sterile
42Mark 43Jean
Poster. Jean Baudrillard: selected writings. (2nd ed.) (California: The Lealand Stanford Junior University, 2001) Chapter7 169-188
Baudrillard, "Simulacra and Simulations" (France: Editions Galilee, 1981), p.170.
44the
Internet Movie Database; IMDb,Blade Runner (1982), directed by Ridley Scott, (based on the novel "Do Androids Dream of Electric Sheep?" by Philip K. Dick) 2nd ed. Gillian L. Hutshing (2007 final cut version)
45J.P. 46
Telotte, Science Fiction Film (Cambridge: the University of Cambridge, 2001), part 1, p.54-60.
„Architectural Representations of the City in Science Fiction Cinema.â€&#x; posted on June 30, 2005. http://www.yume.co.uk/architectural-representations-of-thecity-in-science-fiction-cinema
17
and hygienic future is obsolete.47 This term of the science fiction also related with the second order of the simulacra. Therefore,the 1980s are accepting the new beauty of the postmodern new condition and heterogeneity. Also the best example of the simulacra in Blade Runner is Chinese simulation of Los Angeles. The postmodern world consists of simulacraâ€&#x;s.For example, Chinese town is in the USA. It is like a pastiche.48But it is actually simulacra. Because in Chinese town, there is Chinese food, Chinese culture, the red roofs and decorated of buildings in China and Chinese architecture. But in reality there is nothing like these examples in the China. Nobody says there is Chinese food in China or sees the Chinese is difference.Therefore, Chinatown or Chinese food has never been or has never happened. These are not copies, are simulacra of the Chinese. Thus,it does not create the original copy, creates a perception about the original copy.
Figure 14: Using real cityscapes in Code 46(2003)
Figure 15: Shangai - Dubai in Code 46(2003)
In Code 46 gives beautiful images from Shanghai, London and Dubai to create a post-modernist and exotic view of the city. The modern city is affected from the impact of technology on individual freedom. In the near future, the system is established for the world as a city states. The in 47Fredric 48Mark
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 4
Poster. Jean Baudrillard: selected writings. (2nd ed.) (California: The Lealand Stanford Junior University, 2001) Chapter7 p.170.
18
and out of the cities is controlled with a document is called the "buck". 49The people who do not have buck cannot travel between the cities. The system offers new visions about concerns for overpopulation created by the modern city. The leader of the city is shown as a people that are break away from modernity toward the rural, the nostalgia, the freedom and the primitive lifestyle.50 The undamaged spaces of the cities are represented with the inserting spaces of desert or fenced-in island. The fugitives and exiles are living in the desert outside of the towns. Dubai and Shanghai certainly don‟t have utopian ambience. Otherwise the film is a science fiction film; it is using the real cityscapes rather than the struggling of the geographical realities. In the film, existing locations are used because of not to be alienated from the realities but also these are such an existing locations that support and give clues from the future. The effects of environmental damage are shown the approach to Shanghai from the airport by using the highway near Dubai. The characters inhabit modern spaces are represented sleek, modern, cold.51
Figure 16: The buildings in Code 46(2003)
In this film you cannot have any idea where you are, but everything around you looks familiar. This situation likes simulacra that are made by using reality. Because,perhaps Shanghai really is in the middle of a desert; perhaps Dubai really does look like Hong Kong. Also the postmodernism is
49„Architectural Representations of
the City in Science Fiction Cinema.‟ posted on June 30, 2005. http://www.yume.co.uk/architectural-representations-of-thecity-in-science-fiction-cinema
50Ibid. 51„SCIFI IN
REEL ARCHITECTURE: Design of Cities in Science Fiction Films.‟ PhD diss., http://ws.elance.com/file/scifi_architecture.pdf
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distinguished itself between blurred relation of the rich and poor, desert and greenery, big and small or real and surreal.52
Chapter 4 The effects of the visual plausibility on the architecture reality The postmodernist idea that is used in science fiction films supports the visual plausibility. Because postmodernism is an opinion comes from the observation of the past and the merging it with the discussions of the contemporary not related with the any term belongs any specific ideology.53 The main theme can be used by architects in reality. They can be influenced from the postmodern science fiction films. In reality, the science fiction films are providence for the contemporary architecture. These are like architecture design process. The postmodern science fiction encourages the architects through the new ideas and designs. At the same time, the developments of the technology helps architects dream up new structures and visions.
Figure 17: The designing process - in Liquid Sky (1982)
The technology provides a condition for observation and own ideas that are the main properties of the postmodernism. It certainly provides a new level of visualization, realism and entertainment for science fiction cinema. Special effects start to dominate the filmmaking process of science fiction. But visual effects sometimes can lead to exaggerated and artificial images can devoid of meaning
52„Architectural Representations of
the City in Science Fiction Cinema.â€&#x; posted on June 30, 2005. http://www.yume.co.uk/architectural-representations-of-thecity-in-science-fiction-cinema
53Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 3
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and substance.54If it is used appropriately, the visualizations can be the less familiar or what could be. Also as shown designing process, catching between the reality and the virtuality is the point that should be very carefully.55
Figure 18: The construction area- in Liquid Sky (1982)
For example the structure is used as a roof in the Liquid Sky was constructed by Young Architects. The architects create the space in computer environment. The technology provides them a testing site. Also the construction is created for movie set is still used for the entertainment place.56 CONCLUSION To sum up, it can be said that both science fiction and postmodernism speak the same language according to the various components. The blurred boundaries in the components of the postmodernism come to light with science fiction movies visually and spatially. The similarities between the science fiction movies and postmodernism can be categorized and analyzed, although the lines are blurred and the important distinctions become unclear. Because each blurred boundary between the science fiction and reality lead one to the postmodern perception of reality that this thesis tried to explore.57 The plausibility is actually main point in science fiction. Therefore, with the best will in the world, the science fiction can‟t avoid theplausibility of reality. In addition, ıf this issue is judged from that
54Christine Cornea, Science Fiction 55
Cinema between Fantasy and Reality (Scotland: Edinburgh University, 2007),p.250-251
„Farewell Liquid Sky.‟ posted on Nov. 13, 2007, http://www.core.form-ula.com/2007/11/13/farewell-liquid-sky/
56Ibid. 57Fredric
Jameson, Postmodernism, or, The cultural logic of late capitalism (The United States of America: 1991 Duke University, 2003) culture 3
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given direction, science fiction can be called a part of postmodernism.58 This situation creates virtual reality of the postmodernism. As you can see from the experiences, a lot of important science fiction films are the examples of this assertion. Therefore the clues of the postmodern perception of reality can be seen on the science fiction films mentioned in this work. Also the reflections of the science fiction movies can be experienced as the new constructions therefore as new relations with the reality. That is to say, in this thesis, the attempt was not to give a definitive version of what postmodern is.The attempt is simplya specification of some references of the science fiction movies to the postmodernism to shed light on their inherent qualities.
58Ibid.
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BIBLIOGRAPY
Baudrillard, Jean. "Simulacra and Simulations". France: Editions Galilee, 1981. Booker, M. Keith. Historical Dictionary of Science Fiction Cinema. USA: Scarecrow Press, 2010. Booker, M. Keith. Postmodern Hollywood. Con.: Praeger Publisher, 2007. Cornea, Christine. Science Fiction Cinema between Fantasy and Reality. Scotland: Edinburgh University, 2007. Everboon. „Farewell Liquid Sky.‟ Posted on November 13, 2007. http://www.core.form-ula.com/2007/11/13/farewell-liquid-sky. Fortin, David Terrance. Architecture and Science-Fiction Film: Philip K. Dick and the spectacle of Home. USA: Ashgate Company, 1988. Jameson, Fredric. Postmodernism, or, The cultural logic of late capitalism. The United States of America: 1991 Duke University, 2003. Poster, Mark.Jean Baudrillard: selected writings. (2nd ed.)California: The Lealand Stanford Junior University, 2001. Samson, Rachelle Ann F.. „SCIFI IN REEL ARCHITECTURE: Design of Cities in Science Fiction Films.‟ PhD diss., http://ws.elance.com/file/scifi_architecture.pdf. Shiel, Mark, and Tony Fitzmaurice. Cinema and the city: film and urban societies in a global context.UK: Blackwell Publishers Ltd., 2001.3rd ed. Steph. „Here Today, Drawn Tomorrow: 16 Future Visions of 10 Cities.‟ Posted on September 7, 2010. http://weburbanist.com/2010/09/07/here-today-drawn-tomorrow-16-future-visions-of-10-cities/ Telotte, J.P. Science Fiction Film. Cambridge: the University of Cambridge, 2001. The Internet Movie Database; IMDb, Blade Runner (1982), directed by Ridley Scott, (based on the novel "Do Androids Dream of Electric Sheep?" by Philip K. Dick) 2nd ed. Gillian L. Hutshing (2007 final cut version). The Internet Movie Database; IMDb, Code 46 (2003), directed by Michael Winterbottom, written by Frank Cottrell Boyce, ed. by Peter Christelis. The Internet Movie Database; IMDb, Equilibrium (2002), directed by Kurt Wimmer, written by Kurt Wimmer, ed. by Tom Rolf and William Yeh.
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The Internet Movie Database; IMDb, Minority Report’s (2002), directed by Steven Spielberg, written by Philip K. Dick, ed. by Michael Kahn. The Internet Movie Database; IMDb, Star Wars: Episode I - The Phantom Menace, (1999), directed by George Lucas, written by George Lucas, ed. by Ben Burtt and Paul Martin Smith. The Internet Movie Database; IMDb, Star Wars: Episode II - Attack of the Clones, (2002), directed by George Lucas, written by George Lucas, ed. by Ben Burtt and George Lucas. the Internet Movie Database; IMDb, Liquid Sky (1982), directed by SlavaTsukerman, ed. by Sharyn L. Ross, written by Marty Cassady. The Internet Movie Database; IMDb, The Matrix (1999), Directed by Andy Wachowski (as The Wachowski Brothers)Lana Wachowski Andy Wachowski (written by) (as The Wachowski Brothers) The occasional blogger. „Architectural Representations of the City in Science Fiction Cinema.‟ Posted on June 30, 2005. http://www.yume.co.uk/architectural-representations-of-the-city-in-science-fiction-cinema. Wikipedia; Wikipedia‟s “Art Nouveau” entry; Wikipedia‟s http://en.wikipedia.org/wiki/Art_Nouveau. Wikipedia; Wikipedia‟s “Equilibrium” entry; Wikipedia‟s entry on December 2012 http://en.wikipedia.org/wiki/Equilibrium_ (film). Wikipedia; Wikipedia‟s “Postmodern Architecture” entry; Wikipedia‟s entry on August 2009http://en.wikipedia.org/wiki/Postmodern_architecture.
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