Who hasn’t had the experience of chancing upon an unexpectedly empty passageway in a subway station or an airport and thinking, “Maaaan, they should really use this place for a sci-fi movie!”
I’ll bet you that Serafín Álvarez has experienced that feeling. He’s been running his blog Sci-Fi Corridor Archive since 2012, and in that time he has posted pictures of notable and not-so-notable corridors from a whopping 192 science fiction movies spanning the entire history of sound-enabled cinema (the earliest movie in the set is Yakov Protazanov’s Aelita, from 1924).
There really is something about corridors that seems to describe sci-fi in a way that wouldn’t be true of, say, westerns, gangster movies, gladiator movies, musicals, pirate epics, and hard-boiled crime flicks. Indeed, the image of a hermetically sealed passageway that clearly connects two other chambers floating precariously in space is very close to the heart of the sci-fi that we all know and love.
In fact, I would argue that the witty 1999 classic Galaxy Quest was more or less commenting on this fact, seeing as how a good portion the scenes you probably remember best seem to take place in anonymous hallways.
Star Wars Episode IV: A New Hope, 1977
2001: A Space Odyssey, 1968
Flash Gordon, 1980
Tons more excellent sci-fi corridors after the jump…....
In every generation there is a moment when some writer, artist, politician or whatever comes forward to announce that their generation is at the start of a revolution—some seismic shift in culture and society that will change everything for the better—forever. It’s rather like the way each generation appears to think it is the first to discover sex or sexuality and flaunts it through clothes, songs or horrendously written books.
A case in point is this roundtable discussion with a young Harlan Ellison from sometime in 1969-70, when the author declared “We’re in the midst of a revolution.”
It’s a revolution of thought, that is as important and as upending as the industrial revolution was—sociologically speaking. We’re coming into a time now when all the old “-isms” and philosophies are dying. They don’t seem to work any more.
All the things Mommy and Daddy told you and told me were true were only true in the house—the minute you get out in the street, they aren’t true any more. The kids in the ghetto have known that all their lives but now the great white middle class is learning it and it’s coming a little difficult to the older folks—which is always the way it is.
We are no longer Kansas or Los Angeles or New York—it’s the whole planet now. They got smog in the Aleutian Islands now; they got smog in Anchorage, Alaska; they got smog at the polar icecaps—can you believe it, smog at the polar icecaps. There is no place you go to hide anymore. So the day of thinking that the Thames or the English Channel or the Rocky Mountains is going to keep you safe from some ding-dong on the other side doesn’t go anymore. A nitwit in Hanoi can blow us all just as dead as a nitwit in Washington.
We’re beginning to think of ourselves not as just an ethnic animal, or a national animal, or a local or family kind of animal—we are now a planetary animal. It’s all the dreams of early science-fiction coming true.
That Ellison could have made this speech in nineties or the noughties, or indeed any decade, only shows how each generation discovers certain truths that are eternally consistent.
Humans, he continues, are now aware of a bigger picture and that by not taking responsibility for our actions—whether thoughtlessly throwing away a cigarette butt or garbage—is “screwing up the ecology.” Which is apposite considering the news of some scientists claiming Earth is on the brink of its sixth extinction.
But Ellison—in sunglasses looking like a Jordanian revolutionary—is only warming up to his theme—the importance of speculative fiction (or that dreaded word “science-fiction”) in imagining (shaping) the future. He has a very valid point—but again one that is made generation to generation-six years before this the writers of previous generations C. S. Lewis, Kingsley Amis and Brian Aldiss held an informal chat on the same subject where they agreed:
...that some science fiction really does deal with issues far more serious than those realistic fiction deals with; real problems about human destiny and so on.
Harlan Ellison is one of those very rare writers who is always inspirational or thought-provoking in everything he writes or says. Like most people, I came to his work through TV before having the greater pleasure of reading him. His seminal episodes of Outer Limits, “Demon with a Glass Hand” and “Soldier” (which James Cameron later used as a basis for Terminator), or his script for Star Trek or “The Sort of Do-It-Yourself Dreadful Affair” and “The Pieces of Fate Affair” on The Man from U.N.C.L.E. stayed with me long after viewing and were cause for my seeking out his fiction. This interview comes from just after Ellison had edited the classic volume of speculative fiction Dangerous Visions, which he hoped might lead to a revolution in the mind of its readers.
It probably did, but the revolution is always moving, changing, evolving.
The conclusion of Harlan Ellison’s talk, after the jump…
No one I know was ever really sure they had seen Blackstar Warrior, the legendary (emphasis on the “legend” part there) “Blaxploitation Star Wars” series made sometime in the 1980s, but most claimed to have heard of it. What they had heard proved equally elusive—rumors, half truths, strange clues, on-line interviews, comments seeded on forums, long conversations at sci-fi cons that mulled over dreams of half-remembered episodes that may or may not have been seen.
Then the evidence started to arrive.
One day, clips from a documentary appeared on YouTube that told the tale of writer/producer Frederic Jackson Jr. and his attempts to make the first blaxploitation science-fiction movie in the 1970s—Blackstar Warrior—about a hip African-American spaceman Tyson Roderick who has been described as “James T. Kirk’s evil twin… a ruthless and daring sexual egomaniac,” who was “unapologetic, tough as nails yet tender-hearted.” A man who mixed the coolness of Shaft and Superfly with the leadership of Captain Kirk.
To produce his dream movie, Jackson Jr. sold his car wash business, but just as he was about start filming everything fell apart when police raided the BSW studio set and arrested Jackson Jr. and his crew for allegedly stealing costumes from the Star Wars set. It has been claimed that to avoid prosecution Jackson Jr. sold his movie script to George Lucas. Though there is no proof this ever happened, some Blackstar Warrior conspiracy theorists claim parts of Jackson Jr.‘s script ended up in The Empire Strikes Back—citing the inclusion of black character Lando Calrissian as proof. But still no one was ever really sure
From such inauspicious beginnings, Blackstar Warrior morphed from a potential blockbuster movie into a cult TV series, which first aired at 10am on a Saturday morning, September 29th 1979. Leonard Roberts starred as Tyson Roderick, with Mindie Machen as his blonde-haired pneumatic robotic partner, Alphie.
The ‘truth’ about ‘Blackstar Warrior,’ after the jump….
I’m always annoyed at how difficult it is to convince someone to check out a silent film. Why is it like pulling teeth to get folks to experience some of the most dynamic, expressive, and yes, entertaining movies of all time? Case in point, Aelita: Queen of Mars, the first Soviet science fiction film and an absolutely captivating watch from beginning to end.
Based on a novel by Alexei Tolstoy (writer, Nazi apprehender, and distant relative of that otherTolstoy ),Aelita: Queen of Mars is set primarily in post-war Moscow and (you guessed it) Mars. After receiving a mysterious message from outer space, Soviet Engineer Los builds a spaceship. Cut to Mars, where the Emperor Tuskub maintains absolute power, and keeps the Martian proletariat in cold storage when not using their labor. His daughter Aelita has been watching Los through a telescope. She’s fascinated with Earthly ways of life and infatuated with Los, but she’s forbidden from using the telescope, as Tuskub is suspicious of her fascination with the aliens.
When Los comes home one day to catch his wife Natasha friendly with their tenant, a black market criminal, he shoots her in a fit of rage. Disillusioned with his marriage, he sets off for Mars in his ship, taking with him the dynamic revolutionary adventurer, Gusev, who just so happened to be hanging around. When they arrive they’re immediately thrown in prison, along with Aelita as a conspirator. I don’t want to give anything away, but let’s just remember that Soviets were really into revolutionary uprisings. There’s even a scene where a hammer and sickle are smithed, though it’s actually the hammer and sickle being smashed out of shape, shot in reverse for a primitive (but impressive) special effect.
The film boasted groundbreaking sets and costume designs.
The acting is beautiful and romantic, the plot is grandiose and ambitious, and visually, it’s completely epic. Far from two-dimensional propaganda, the film is complex and nuanced: Natasha and Los’ tenant actually acknowledges the shortages and rationing of the Soviet Union, which is probably why the film eventually fell out of favor with the Soviet government. I cannot recommend this movie enough, as I re-watch it every few months. It’s available on YouTube in its entirety, below.
When someone whose opinion you respect—in this case Steve Silberman of Wired News—sends you a link and the note “I promise you, the weirdest story you’ll read today (mine)” you take it seriously in my line of work. In this article for his new Neurotribes blog, Tripping Cyborgs and Organ Farms: The Fictions of Cordwainer Smith, Steve tells the unusual tale of Paul Linebarger, psychological-warfare expert and spy for the U.S. government. Writing under the pen name Cordwainer Smith, Linebarger wrote some unusually prescient science fiction tales that depicted bizarre advances in science and predicting dystopian futures as disturbing as anything in Philip K. Dick’s oeuvre:
After Scanners, Linebarger’s most unnerving creation was “A Planet Named Shayol.” (Sh’eol or שְׁאוֹל — “the pit” or “the abyss” — was the ancient Hebrew name for the land of the dead.) The story is one of the most haunting visions of an utter hell outside of Dante, with plot points anticipating current developments in tissue engineering and the infamous Vacanti earmouse that caused a flap at M.I.T. in 1996.
Published in 1961, it’s even druggier than Scanners, with a hipster nurse who gets her patients stoned on the fictional equivalent of Transcranial Magnetic Stimulation and a cow-faced organ farmer proffering a synthetic opiate called super-condamine. Linebarger writes about strung-out states of mind so convincingly, it’s clear that his experiences in the hospital as a kid left an indelible impression. One might even say that these experiences — along with his perpetual dislocation as the son of a spy — made the body itself, and all of culture, seem like an elaborate prosthesis imposed on the essential man. Ich bin ein Scanners, waiting for the next cranch.
Read more of Tripping Cyborgs and Organ Farms: The Fictions of Cordwainer Smith (NeuroTribes)
By the time Montreal-born filmmaker Arthur Lipsett made his nine-and-a-half-minute long dystopian short 21-87 in 1963, he was well-aware of the power of abstract collage film. His short from two years earlier, Very Nice, Very Nice was a dizzying flood of black & white images accompanied by bits of audio he’d collected from the trash cans of the National Film Board while he was working there. And wildly enough, it got nominated for a Best Short Subject Oscar in 1962.
But with 21-87, the then-27-year-old Lipsett was not only using moving images, he was also refining his use of sound. And it got the attention of the young USC film student George Lucas, who’d fallen in love with abstract film while going to Canyon Cinema events in the San Francisco Bay area. 21-87’s random and unsettling visions of humans in a mechanistic society accompanied by bits of strangely therapeutic or metaphysical dialogue, freaky old-time music, and weird sound effects, affected Lucas profoundly, according to Steve Silberman in Wired magazine:
’When George saw 21-87, a lightbulb went off,’ says Walter Murch, who created the densely layered soundscapes in [Lucas’s 1967 student short] THX 1138 and collaborated with Lucas on American Graffiti. ‘One of the things we clearly wanted to do in THX-1138 was to make a film where the sound and the pictures were free-floating. Occasionally, they would link up in a literal way, but there would also be long sections where the two of them would wander off, and it would stretch the audience’s mind to try to figure out the connection.’
Famously, Lucas would later use 21-87 as the number Princess Leia’s cell in Star Wars. But although his success allowed him freedom at the NFB, Lipsett’s psychological problems would lead him to commit suicide in 1986, two weeks before he turned 50.
After the jump, compare with Lucas’s equally bewildering short Electronic Labyrinth: THX-1138 4EB!