Re-Imagined Futures in the Wake of 9/11: Ideology and Aesthetics in Battlestar Galactica
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Re-imagined Futures in the Wake of 9/11: Ideology and Aesthetics in Battlestar Galactica A thesis submitted to The University of Manchester for the degree of Master of Philosophy in the Faculty of Humanities 2012 Aalia N. Khalid School of Arts, Histories and Cultures Contents Figure List 3 Abstract 4 Declaration 5 Copyright Statement 6 Introduction 7 Chapter One: Socio-political Context and Battlestar Galactica 41 Chapter Two: Visual Design 73 Chapter Three: Audio Design- Music and Sound 115 Conclusion 148 Bibliography 153 Filmography 158 Teleography 160 Word Count: 54, 813 2 Figure List Figure 1: Adama Close-up page 90 Figure 2: Roslin Extreme Close-up page 91 Figure 3: Adama Close-up page 94 Figure 4: Enterprise Mid-shot page 95 Figure 5: Enterprise Mid-shot page 95 Figure 6: Ext. U. S. S. Enterprise page 99 Figure 7: U. S. S. Enterprise Int. Corridor page 100 Figure 8: Discovery One page 101 Figure 9: Int. Galactica Corridor page 102 Figure 10: Discovery One Int. Corridor page 103 Figure 11: Int. Galactica Engine Room page 104 Figure 12: Int. Adama’s Quarters page 105 Figure 13: Int. Adama’s Quarters Set page 105 Figure 14: Int. Solaris Space Station page 106 Figure 15: Int. Galactica’s Sickbay page107 Figure 16: Shadow-cast Faces page107 Figure 17: Int. CIC Low-lighting page108 Figure 18: Int. Galactica Corridor Low Lighting page108 Figure 19: Ext. U. S. S. Enterprise Bright page109 Figure 20: Ext. Galactica page110 Figure 21: Ext. Galactica Dilapidated page111 Figure 22: Ext. Galactica Hull Damage page111 3 Abstract The University of Manchester Aalia N. Khalid Master of Philosophy ‘Re-imagined Futures in the Wake of 9/11: Ideology and Aesthetics in Battlestar Galactica’ 2012 Science fiction has never been a stranger to post-war commentary. Since the world changing events of the attacks on American soil on September 11th 2001, new global discourses have reverberated throughout the world. Science fiction television’s response to the events of 9/11 has interestingly implemented these new ideologies and discourses into its narratives and its aesthetics in fascinating ways. I intend to examine the re-imaging of American science fiction television programme Battlestar Galactica (Syfy, 2004-9), and investigate how it exhibits and reflects post-9/11 discourses within its narrative and audiovisual design elements. Battlestar and its ideological and aesthetic elements are grounded and important within a socio-historical context; it appeared at a specific moment in history, in a post- 9/11 world where notions of Western civilisation were in decline, and emerged from an anxiety in Western culture concerning its relationship with the rest of the world. In a world which appears to be shifting away from an American-Euro-centric view, Battlestar, has decided to display these discourses through a nihilistic dystopia, ruined by terrorism, political and military corruption and religious polarisation. Battlestar’s critical success must be ascribed, not only to the very current and harrowing narratives it touches upon, but also to its innovative use of captivating production elements embedded within its audiovisual aesthetic; innovative cinematography, misé-en-scene and set design; and its use of non-Western musical influences. Within American science fiction’s past, associating the future of humanity with the music of cultures other than Western societies would perhaps be unthinkable. Thus, the very fact that these elements are featured in an American television programme is extremely remarkable and unusual, especially at this exact moment in American history. The non-Western influences within contemporary science fiction television, which form part of the core of the study, operate as signifiers laden with meaning and not just in terms of authorial intent. This study examines Battlestar’s audiovisual design in relation to the socio- political ideologies that were produced in America in this post-9/11 period. I demonstrate that many design elements such as set, lighting, CGI, special effects, music and sound design can be vital to a programme’s overall aesthetic interpretation. Battlestar contains several aural and visual tapestries of textures overlapping and interconnecting to produce deep and powerful meanings as well as creating beautiful and interesting atmospheres unfamiliar in American science fiction television to date. Battlestar showcases innovative aesthetic techniques and audiovisual complexity which contribute greatly to the programmes’ overall aesthetic, and in turn, its overall socio- political themes and ideological stance. 4 Declaration No portion of the work referred to in this thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. 5 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements which the University has from time to time. This page must form part of any such copies made. iii. The ownership of certain Copyright, patents, designs, trademarks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property and/or Reproductions. iv. Further information on the conditions under which disclosure, publication and commercialisation of this thesis, the Copyright and any Intellectual Property and/or Reproductions described in it may take place is available in the University IP Policy (see http://documents.manchester.ac.uk/DocuInfo.aspx?DocID=487), in any relevant Thesis restriction declarations deposited in the University Library, The University Library’s regulations (see http://www.manchester.ac.uk/library/aboutus/regulations) and in The University’s policy on Presentation of Theses. 6 Introduction ‘Politics; as exciting as war, definitely as dangerous.’ -Commander William Adama, ‘Colonial Day’. Science fiction has never been a stranger to post-war commentary. One of the first ‘intelligent’ Hollywood science fiction films, The Day the Earth Stood Still (Robert Wise, 1951), released in the aftermath of the Second World War at a time of cooling relations with the Soviet Union, commented directly on the threat posed by the proliferation of nuclear weaponry. Since the world changing events of the attacks on American soil on September 11th 2001, new global discourses have reverberated throughout the world, echoing within different aspects of society and culture. These discourses even now have strong resonances within society, art and culture almost a decade later. Science fiction has frequently used metaphors to articulate horrors, anxieties and fears in humanity’s past and its present, which like a ripple effect, flow down from the pages of newspapers and history books, and from screens in our media, and eventually find themselves transformed and woven into the tapestry of our culture, our music and our art. Among other genres of film and television that have integrated these themes into their narratives, science fiction television’s response to the events of 9/11 has implemented these new ideologies and discourses in fascinating ways, both in its narratives and, as I will argue in this thesis, its aesthetics as well. My principal case study in this respect is the re-imagined Battlestar Galactica (Syfy, 2004-9), which responded directly and indirectly to the anxieties generated by 9/11 and the ensuing ‘war on terror’. Battlestar presents an utterly ruined future; a dystopia where humanity has been largely wiped out by acts of terrorism, where little hope remains. I will compare and contrast this, where appropriate, with other science fiction television case studies, primarily Star Trek: Enterprise (UPN, 2001-05), which, as well as being Battlestar’s televisual peer of the same era, also lies at the opposite end of the political spectrum to Battlestar. Whereas Battlestar presents a bleak, morally ambiguous dystopia, Enterprise, like all of its other Star Trek contemporaries, portrays a more conservative, optimistic, and, I would argue, rather conceited future, where humanity prevails when faced with any dilemma. As Lincoln Geraghty states, in his 2007 book, Living with Star 7 Trek: American Culture and the Star Trek Universe, ‘it [Star Trek] was to be a series that promoted individual success and achievement through space travel as well as promoting diversity and equality within a utopian future.’1 How and what do these respective programmes articulate about the events and historical context that they refer to and attempt to comment on? Although we have been presented with dystopic worlds in science fiction throughout film and television history, there has never been a dystopia quite like that of the world presented in Battlestar Galactica. There have been glimpses of tragic futures in films like Terminator 2: Judgement Day (James Cameron, 1991) and Bladerunner (Ridley Scott, 1982), but these worlds were not entirely without hope. It is rare for a piece of television, especially a piece of popular American science fiction television, to be absolutely and relentlessly dystopic, perhaps because of a fear of audience rejection. Both Battlestar and Enterprise, two post-9/11 science fiction television programmes with differing ideological sensibilities, have met with contrasting critical reactions. Battlestar has remained a critically acclaimed series, whereas Enterprise has met with more negative reviews.