(Krakauer, 1999, p. 2)
The main thread of narrative within this essay will be dealing with the portrayal of utopia and dystopia within film and the dogma such ideology can inspire. Also, using modern and classic literature as reference, remembering that most ‘big idea’ or ‘utopian’ films owes their inspiration to the likes of More or Orwell. There are numerous films that deal with these themes, however two in particular, one dystopian in nature, Ridley Scott’s decadent, down-beat and dark ‘Blade Runner,’ starring Harrison Ford, and the other utopian, Sean Penn’s beautifully shot and viciously expansive ‘Into The Wild,’ starring Emile Hirsch. These two films are the antithesis of each other visually, yet metaphorically they address similar issues. René Descartes was the first to clearly identify the mind with consciousness and self-awareness and ‘distinguished this from the brain, which was the seat of intelligence.’
Therefore for the purpose of this analysis, utopia and dystopia are proposed as a duality.
Using the mechanism of idealism, expressed through the medium of film, both ‘Scott’ and ‘Penn’ bring to life a fictional projection of finite eventuality. In other words, they are expressing a subjective view of the future, using imagination to visualise and bring to life a ‘zen’ like concept such as ‘utopia.’ This kind of a concept is riddled in dogma, made up of preconception and artist projection. It can be difficult to remain objective as semiotics, the visual language used in the analysis of the films aesthetic and existential matters such as ‘participation,’ ‘observation’ or ‘duality,’ are all subjective areas. Defining and extracting issues of utopia and dystopia is made easier through image analysis, drawing on visual reference for direct comparison, allowing for analysis of material in terms of semiotics and symbiosis.
In communication theory, a language is a semiotic process through which thought may be conveyed, but a language system enables a response to that thought using the degrees and kinds of signs and signifiers made by the language. Film uses not only words, but also different kinds of shots, angles and speeds; therefore, while the audience can react to a film's semantic intent, that audience cannot address its concerns regarding the film in the same language the film used to convey its argument. Christian Metzs argument is that while the means by which film expresses itself to its audience constitutes a language, it cannot constitute a linguistic system. Metzs argues that:
“one might call language any unity defined in terms of its matter of expression literary language, in this sense, is the set of messages whose matter of expression is writing; cinematic language is the set of messages whose matter of expression consists of five tracks or channels: moving photographic image, recorded phonetic sound, recorded noises, recorded musical sound, and writing. Thus cinema is a language in the sense that it is a
technico-sensorial unity graspable in perceptual experience.” (Stam, 1992, p124)
Therefore, in dissecting these images, there is an open dialogue between the observer, information and interpretation. The language used and ‘signs’ recognized maybe abstract, but relevant none the less.
Into The Wild – Sean Penn
“Is there anybody out there?…… Guess not!”
(Krakauer, 1999, p. 45)
Within the image above, Penn has chosen the perfect location, utilising cool, calming colours that create a sense of the merging together of surroundings. Chris is stood on top of the bus; the immense scale of the natural objects and matter that surround him dwarfs these man-made, artificial objects. In an abstracted sense, this could demonstrate the director Sean Penns’ appreciation of mans position within the ‘biosphere,’ or within the film could represent Chris’ respect for the environment he has placed himself in. The fact that Chris, is compositionally positioned slightly off centre also illustrates cohesion with surroundings. Notice the scale of his body against the trees, ultimately similar in scale and size suggesting a balance between man and his environment. It also hints at a naivety, innocence and almost fallacy in his purist pursuit of happiness. As it is written in the film, within a novel by Tolstoy,
“Happiness is only real when shared.”
Translated literally, “In nature”, ‘Into the Wild’ by title is a reference to Jack London's ‘The Call of the Wild,’ but also a great tradition of American writers including John Steinbeck.
“I’ve decided I’m going to live this life for some time to come. The freedom and simple beauty is just too good to pass up.”
(Krakauer, 1999, p. 104)
Faced with consumerism, materialism and excess, in a world, which refuses to compromise and after being subjected to its rules until the end of his studies, this young rebellious energy embodies an alternative, which takes a very strong role in American lethargy. Within this fragmented narrative of ‘boy becoming man,’ Chris is essentially embarking on an immense physical and mental journey seeking enlightenment and harmony, culminating in his arrival at Alaska, which he envisions as his physical ‘Utopian Ideal’. Chris is slowly discovering the meaning of his approach by his determination to reject attachments, whether the desperate love of a young girl or the protection of a surrogate father. This character refuses the cynicism of the adult world, having too long endured the effects in his family circle, baring similarities to the hero of ‘The Catcher in the Rye’ by ‘JD Salinger’, whose author has lived in seclusion for several decades.
Utopia, in its most common and general meaning, refers to a hypothetical perfect society. It has also been used to describe actual communities founded in attempts to create such a society. The adjective ‘utopian’ is often used to refer to good but (physically, socially, economically, or politically) impossible proposals, or at least ones that are very difficult to implement.
The term ‘Utopia’ was first coined by Sir Thomas More. He created the word "utopia" to suggest two Greek neologisms simultaneously: ‘outopia,’ meaning no place, and ‘eutopia,’ meaning good place.
“the soul of man is immortal, and that God of his goodness has designed that it should be happy; and that he has therefore appointed rewards for good and virtuous actions, and punishment for vice, to be distributed after this life.”
(More, 1551, p.4)
Chris’ mental and physical ideal lies within truth, his utopia is honesty, the cornerstone of trust. He is evidently attempting to satisfy his internal needs, expressing them in external space. The film ends in finite cataclysm as it draws to a close. Chris poisons himself unintentionally having collected and eaten inedible berries. He withers away and dies.
“Rather than love, or money, faith, fame and fairness…. Give me truth.”
(Krakauer, 1999, p. 86)
Spiritual awakening and the reaching of ‘utopia’ and happiness for Chris was coming to the realisation that ‘happiness is only real when shared.’ He then forgives, and in turn realises love for his parents in his final seconds of life. This is the strongest sense of utopia the film offers. One comprised of lessons learned internally. Utopia, in Into The Wild, could be perceived as a state of mind, and according to More, Chris is ‘rewarded’ in his final moments with the image, feeling and truth of his parents loving embrace accompanied by the citation,
“What if I were smiling, and running into your arms. Would you see then, what I see now?”
(Krakauer, 1999, p. 186)
To summarise, Sartre wrote,
“our point of departure is, indeed, the subjectivity of the individual…….because we seek to base our teaching upon truth…. Before there can be any truth whatever, then, there must be an absolute truth, and there is such a truth which is simple, easily attained and within the reach of everybody; it consists of one’s immediate sense of one’s self.”
“What is at the very heart of existentialism, is the absolute character of the free commitment, by which every man realises himself in realising a type of humanity - a commitment always understandable, to no matter whom in no matter what epoch.”
(Sartre, 1948, p.47)
Blade Runner – Ridley Scott
“If we admit that human life can be ruled by reason, then the possibility of life is destroyed.”
(Sartre, 1948, p.21)
Blade Runner imagines an overcrowded, rapidly decaying post-industrialist society, characterised by a class system defined between pastiche consumerism and exorbitant wealth. Classic traits of Dystopia: a futuristic, fictional society that has degraded into a repressed and controlled state, whose reality is comprised cleverly under the guise of the utopian ideal of a ‘big idea’ society.
Expressionist and film noir elements of Blade Runner serve more than simply a formal function. Historically, both styles have conveyed malaise and disillusionment. However, expressionism generally has conveyed an active, outraged sense of justice or ethical idealism, while film noir's underlying point of view has been more amoral, cynical and resigned. Blade Runner attempts to bring these elements together in an ideological amalgamation that has influenced Science Fiction from its introduction to popular film culture. In reference to Blade Runner, uncertainty, unreliability, questions about reality and identity are apparent yet at times shallow. This is in the stylization, architecture, characters, multi-ethnic and multi-cultural society. With regards to semiotics and communication theory, Ridley Scott releasing Blade Runner five times spanning twenty years has allowed a multitude of different analyses to be conceived. Therefore there are numerous narratives the film investigates, that lead the observer to draw various conclusions about Blade Runner’s motives.
Depicted in the Los Angeles of Blade Runner, simulation is completely dominant as the effect of the existence and operations of the simulacrum. Los Angeles, reproducible and mass-manufactured evidenced in the omnipresent advertising, marketing and commerce. The Replicants affirm the fiction of the real. The real is superseded by and replaced with simulations. These copies take the place of what they initially imitated.
Blade Runner’s existentialist framework provides a different narrative, however it is closely intertwined with themes already explored. Philip Mairet states
‘Philosophical variations can never be wholly explained by reference to surrounding social and historical conditions, important as these are to the full understanding of the item, for ideas often spread across geographical boundaries and periods of time; they germinate anew wherever they find individuals with the mentality and sensibility favorable to their growth.’
(Mairet, 1973, p.10)
Throughout Blade Runner the main Replicants, Roy, Rachael and Deckard, are all seeking the meaning of their existence. Subject to the extreme disillusionment that has prevailed as to the political and social systems that man had previously relied on, their discredit extending to all the cults and systems of objective thinking that had been associated with them, they all struggle to find identity. Roy begins as a mercenary, ruthless and cunning, eventually over a period of time, within which he ‘met his maker,’ (creator) and has a systematic voyage of self-discovery that culminates in him saving Deckard’s life, and ultimately overcoming his objective thought for one of balance, enriched with emotion and thus justifying Mariet’s ideas of social and historical conditions influencing the temperament and thinking of an individual.
Deckard’s crisis runs deeper. He surrenders his thinking to the artifice of rationalism, that in the beginning make him neglect or deny fundamental forces of his inner life that turn into highly destructive forces. His inner conflict develops into one of existential stasis. His predicament is perfectly described by Jean Paul Sartre as
‘what is at the very heart of existentialism the absolute character of free commitment by which every man realises himself in realising a type of humanity, a commitment always understandable - and its bearing upon the relativity of the cultural pattern that may result from such absolute commitment.’
(Sartre, 1948, p.47)
The dogma within the ideal of utopia is beginning to emerge. Both Blade Runner and Into the Wild are expressing two halves of the same coin. Into the Wild presents us with real, physical and internal utopia, where as Blade Runner illustrates a fictional and physical dystopia. However, Blade Runner still leans heavily towards the characters finding of a mental ‘zen’, or some sort of balance and harmony internally. (‘Utopia’)
Most utopias fail to deal with a number of problems in the contemporary, globalised, multi-cultural society, which we actually inhabit. Dystopias can do this more easily. For example, there are very few comprehensive responses to discrimination or oppression of ‘lesser’ cultural groups in multi-ethnic or linguistic societies. One other interesting attempt is in LeGuin’s The Lathe of Heaven in which the protagonist telekinetically dreams (quite literally) of solution to problems in the world (very like our own) which he inhabits. His dream to address racism is to make every inhabitant of the world grey and without distinguishing features, not differentiated in terms of facial structure or coloration.
Not surprisingly, the narrator and the characters frame this amalgamation as an unsatisfactory solution.
Like More's Utopia and the walled-off Communist world, both literary and attempted filmic utopias depend on being isolated or being ‘islands’ either literally or operationally. Interestingly, this is a form of segregation of one group from others with varying access to resources. This focus on one main social problem gives the genre an important defining characteristic, which is that almost all utopian writing, and almost all intentional societies that have been attempted and even dystopias (totalitarian, oppressive or ‘perfectly unjust’ societies) are based on a ‘big idea’ or main ideology upon which the society is imagined or built. In terms of classic literature, 1984, George Orwell, Island and Brave New World, Aldous Huxely, from the likes of which these modern films owe their inspiration, a utopia can be either idealistic or practical, but the term has acquired a strong connotation of optimistic, idealistic, impossible perfection. Both Blade Runner and Into The Wild fall foul of these traits, as do other films such as Micheal Anderson’s Logan’s Run, 1976 or Peter Wier’s 1986 classic The Mosquito Coast.
Therefore within film, there are two main outlets for illustrating utopia and dystopia. These come as a tightly knit package or Duality. A projection of material and physical dystopia usually accompanied by internal and mental utopian narrative. Or external utopia expressed and achieved through internal sacrifice, ruin and dystopia. The majority accompanied with a ‘grass is always greener’ motif, making it incredibly difficult to draw any finite conclusions about the nature of utopia and dystopia within film. A subjective ideal that semiotics and imagination dictate can be achieved in a variety of different ways. Whether fictional, physical, psychological or literal, a utopian ideal is usually accompanied by nihilistic and tragic dystopian motifs and dystopian depictions of reality are realised through an undercurrent of utopian ideas and positive values.
Bibliography.
Baccolini, R & Moylan, T (2003) Dark horizons: science fiction and the dystopian imagination London: Routledge
Harvey D. (1989) The Space-time compression and the post-modern condition, Basil Blackwell: London
Jameson, F. (1985), Postmodernism and consumer society, in H Foster (ed.), Postmodern Culture, Pluto Press: London
Jaspers, K (2009) Man in the Modern Age London: Routledge
Krakauer, J (2007) Into the Wild London: Pan Books
Kumar, K (1987) Utopia and Anti-utopia in Modern Times Oxford: Blackwell
Mairet, P. (1973) An introduction to Existentialism and Humaninsm, Methuen
Manuel, Frank & Manuel, Fritzie (1979) Utopian Thought in the Western World Oxford: Blackwell
More T, (1516) Utopia Longman: London
Sammon, P. M. (1996). Future Noir: the Making of Blade Runner. London: Orion Media
Sartre J.P. (1948) Existentialism and Humanism, Les Editions Nagel: Paris
Stam, R (1992) New Vocabularies in Film Semiotics: Structuralism, Poststructuralism and Beyond London: Routledge
Internet sources
http://en.wikipedia.org/wiki/Blade_Runner Accessed on 28. 10. 10
http://en.wikipedia.org/wiki/Dystopia Accessed on 23. 10. 10
http://en.wikipedia.org/wiki/Into_the_Wild Accessed on 22. 10. 10
http://en.wikipedia.org/wiki/Utopia Accessed on 19. 10. 10
http://oregonstate.edu/instruct/comm321/gwalker/semiotics.htm accessed 3. 11. 10
www.filmsite.org/blad.html accessed on 3. 11. 10
www.goodreads.com/author/quotes/1235.Jon_Krakauer accessed on 2. 11. 10
www.imdb.com/title/tt0758758 accessed on 2. 11. 10
Roy, G (2004) Storyline The Internet Movie Database (iMDB)
Visual reference
Penn S. (2007) Into the wild: Paramount Vantage
Scott, R (1982) Blade Runner: The Final Cut (5-Disc Ultimate Collectors' Edition Tin) [DVD] Warner Home Video
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