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GENRE:

Science fiction is defined as the literature of ideas and philosophies which answers questions such as ‘what if’ or ‘what will happen....’ The genre mainly focuses on the change that human life will go through by the use of advanced futuristic technologies, innovation and societal shifts. It usually focuses on the dystopian society and explores the already existing, unexplored parts of the universe (Kuggun). The genre closely is linked to the laws of science and should not be completely unbelievable since that would venture on to the genre of fantasy. Thus, the literature should be believable and somewhat real. The science fiction films usually center around, scientific, imaginative and comic- strip like narratives. The expert film production and special effects aid the filmmakers into making movies that portray advanced technologies and their effect on humans of the given time period. They often portray sinister knowledge that the human should not be aware of which can possibly harm them if they come into contact with its existence. These films are complete with distant planets in space, super heroes, unexplainable ominous forces, dark villains and etc.

Strange organisms or mutant monsters, created in space or earth by mad scientists or nuclear war villains are seen to be unleashed on the human race; A common theme that comes to one’s mind when thinking about science fiction movies. Science fiction possesses a prophetic nature which is that it predicts the future events that may take place by seeing the everyday advancement of technology today. Usually, the films express the anxiety present within the contemporary society regarding the impact of technology. They may provide an overall dark and grim outlook of the future society we may be subjected to live in due to after effects of Armageddon like war or events that may take place. The dystopian society is a common theme that is chosen for science fiction movies (Dirks)

When looking at the narratives for the science fiction movies, it is important to recognize the different paradigms that may be chosen for the films. There are commonly four different paradigms that are chosen before a science fiction film can be shot, which largely determines whether it would be successful or not.

Firstly, there is paradigm replication. These films replicate already existing plot structures, techniques and technology and use them to create films that the audience has already accepted before. These movies take minimal risk and do not challenge the thinking of the audience. Secondly, there is paradigm redefinition. These films take minor risk when it comes to the narrative of the work; however, they change the film within the genre. For example, a generic super hero movie with a twist- exploring the main character emotionally, which changes the way the audience, views the superhero. Lastly, paradigm advancement and increased paradigm advancement, takes the most risk when it comes to filmmaking. These films are usually way ahead of their time of release and challenge the way technology is incorporated into the story telling. These two paradigms are concerned with the making of science fiction films. They alienate the mainstream population liking of their time (Edictive).

All science fiction films have common artistic visuals, which are also known as the ‘aesthetic’ of the film. Depending on the theme of the film, there are three different techniques used to express the feeling of the characters and the narrative. Grounded science fiction uses natural lighting, focusing on mainly earth tones such as dull tones of brown, orange and yellow lighting to give a warm sunlit effect. Paranoia science fiction thrillers, these films focus on the characters fretful state and anxiety about their past and present. Therefore, dark tones of greys, black and faded earth tones are used to depict the scenes. Lastly, neo noir science fiction, focus on strong back lights, strobe lights, search lights, smoke and heavy contrast (Rowling)

By looking at the themes, narrative and aesthetic characteristics above, it can be determined that the movie ‘Forbidden World’ is a classic science fiction movie. The plot of the movie centers in the far off future, at a hereditary research station situated on the remote betray planet of Xarbia, an examination group has made a test life form they have assigned "Subject 20". This life form was worked out of the engineered DNA strain, "Proto B", and was proposed to fight off a cosmic system wide nourishment emergency. In any case, Subject 20 changes quickly and wildly and slaughters the greater part of the research facility subject creatures previously casings itself inside an examination corner. After Subject 20 hatches from its casing, it starts murdering the work force at the station, beginning with the lab tech accused of purging the subject lab of the dead creature test subjects.

Proficient troubleshooter Mike Colby, joined by his robot right hand SAM-104, is brought in to explore the issue. After Colby settles in, his choice to end Subject 20 to avoid promote passings is met with look into disapproved of mystery and protection. The staff of the station incorporates the head of research, Gordon Hauser, his right hand Barbara Glaser, lab associate Tracy Baxter, the station head of security and Cal Timbergen, the head of bacteriology.

As Subject 20 keeps on murdering the greater part of the station team, the explanation behind the misleading is uncovered. Subject 20's hereditary plan joins human DNA, and its strategy for murdering is to infuse its prey with the Proto B DNA strain which at that point continues to evacuate every single hereditary contrast inside particular cells. The outcome is that the casualty's living body gradually disintegrates into coagulated heap of unadulterated protein which Subject 20 devours for sustenance. After its last transformation, where the animal advances into a tremendous creepy crawly like being with an expansive mouth loaded with sharp teeth, the animal is killed when it eats Cal's growth ridden liver, its body hereditarily self-destructing from inside. Mike and Tracy are the main survivors.

Blade runner, another 1980s classic cult movie incorporated the aesthetic prevailing in all 80s science fiction movies- grim, junk, post-apocalyptic havoc. Misery and lawlessness was one of the main themes surrounding the sci-fi films at the time. The movie is set in the futuristic Los Angeles, filled with urban decay and threat of other worldly androids prevails. As it can be seen, that the threat of ‘robots’ taking over the planet in the future and replacing the human race was one of the topics that the people at the time were anxious about. This is because post 80s technology was developing every day. The plot of the movie focuses on, 2019 Los Angeles, former police officer Rick Deckard is detained by officer Gaff and brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered beings known as replicants and "retire" (kill) them, is informed that four are on Earth illegally. Deckard starts to leave, but Bryant ambiguously threatens him, and he stays. The two watch a video of a blade runner named Holden administering the "Voigt-Kampff" test, which is designed to distinguish replicants from humans based on their emotional response to questions. The test subject, Leon, shoots Holden on the second question. Bryant wants Deckard to retire Leon and the other three Tyrell Corporation Nexus-6 replicants: Roy Batty, Zhora, and Pris.

Bryant has Deckard meet with Eldon Tyrell so he can administer the test on a Nexus-6 to see if it works. Tyrell expresses his interest in seeing the test fail first and asks him to administer it on his assistant Rachael. After a much longer than standard test, Deckard concludes Rachael is a replicant who believes she is human. Tyrell explains she is an experiment who has been given false memories to provide an emotional "cushion."

Searching Leon's hotel room, Deckard finds photos and a synthetic snake scale. Roy and Leon investigate a replicant eye-manufacturing laboratory and learn of J. F. Sebastian, a gifted genetic designer who works closely with Tyrell. Deckard returns to his apartment where Rachael is waiting. She tries to prove her humanity by showing him a family photo, but after Deckard reveals that her memories are implants from Tyrell's niece, she leaves his apartment in tears. Meanwhile, Pris locates Sebastian and manipulates him to gain his trust.

A photograph from Leon's apartment and the snake scale lead Deckard to a strip club where Zhora works. After a confrontation and chase, Deckard kills Zhora. Bryant orders him also to retire Rachael, who has disappeared from the Tyrell Corporation. After Deckard spots Rachael in a crowd, he is attacked by Leon, who knocks Deckard's pistol from his hand and attempts to kill Deckard, but Rachael uses Deckard's pistol to kill Leon. They return to Deckard's apartment, and, during an intimate discussion, he promises not to track her down; as she abruptly tries to leave, Deckard restrains her, forcing her to kiss him.

Arriving at Sebastian's apartment, Roy tells Pris the others are dead. Sympathetic to their plight, Sebastian reveals that because of "Methuselah Syndrome", a genetic premature aging disorder, his life will also be cut short. Sebastian and Roy gain entrance into Tyrell's secure penthouse, where Roy demands more life from his maker. Tyrell tells him that it is impossible. Roy confesses that he has done "questionable things", but Tyrell dismisses this, praising Roy's advanced design and accomplishments in his short life. Roy kisses Tyrell, then kills him. Sebastian runs for the elevator, followed by Roy, who rides the elevator down alone. Deckard is later told by Bryant that Sebastian was found dead.

At Sebastian's apartment, Deckard is ambushed by Pris, but he kills her as Roy returns. Roy's body begins to fail as the end of his lifespan approaches. He chases Deckard through the building, ending on the roof. Deckard tries to jump to an adjacent roof but is left hanging between buildings. Roy makes the jump with ease, and as Deckard's grip loosens, Roy hoists him onto the roof, saving him. Before Roy dies, he delivers a monologue about how his memories "will be lost in time, like tears in rain". Gaff arrives and shouts to Deckard about Rachael: "It's too bad she won't live, but then again, who does?" Deckard returns to his apartment and finds Rachael asleep in his bed. As they leave, Deckard notices an origami unicorn on the floor, a calling card that recalls for him Gaff's earlier statement. Deckard and Rachael leave the apartment block.

Both of the two films outlines above, support the common characteristics and definitions of what a science fiction movie should contain. Therefore, there is no doubt that they are fan favorites of those who closely follow the science fiction genre. The filmmakers decided to adopt the advanced paradigm and challenged the way the audience perceived movies at the time, they were both set in the distant future at the time of their release.