This article was originally published on The Conversation on June 20, 2015. Read the original article. Russell Blackford is a Conjoint Lecturer at the University of Newcastle.
Philosophers and blockbusters
There are at least three reasons why philosophers take an interest in hugely popular cultural products such Hollywood blockbuster action movies. First is a kind of (non-objectionable) opportunism. At least some of these movies, etc., grapple with philosophical issues: usually moral issues, but sometimes metaphysical and epistemological ones, such as those relating to personal identity or to the problems of appearance versus reality. If these are brought to public attention in very popular forms, it provides an opportunity for philosophers to discuss - and perhaps clarify - them. There’s nothing wrong with that: the exercise may be enjoyable, and even educational, all round, though the various discussions that follow may not tell us much about the actual merits of the movie (book, video game, or whatever) that acted as the springboard.
Second, there might be more to the exercise than mere opportunism. If certain moral, metaphysical, and other philosophical ideas are being popularised, philosophers may well be qualified to discuss the merits of those ideas, whether to support them, to counter them, or to say something about them that is more nuanced and complex. Here, the creators of a movie such as Jurassic World are being treated as participants in an ongoing philosophical conversation. The movie is not used merely as a springboard; rather, its particular take on the issues is sought out, revealed, and perhaps endorsed or disputed (or some combination of these).
Third, we may be interested, in a more general way, in how artworks and cultural products engage with philosophical ideas. In that sense, our interests as philosophers may overlap with those of literary and cultural theorists, although we bring different training to the inquiry. For example, I am interested in the way Jurassic World conveys attitudes to technology, not merely as a springboard to discuss those attitudes, and not merely to discuss those particular attitudes on their merits - I am also interested in it as an example of how cultural products generally, movies in particular, and science fiction blockbusters even more specifically, represent technology. Perhaps there is something of general interest to say about this, and a new movie with such popular appeal might tend to confirm or undermine what we think we know.
In practice, we may be interested in all three of these aspects and perhaps others that don’t immediately come to mind. If I review Jurassic World, say, as I did briefly on my personal blog, I will tend to run these levels together to an extent. Still, philosophers might have something to say that is a bit different from what you’d expect from a conventional film critic (that said, philosophers often have rather broad educational backgrounds, including in cultural criticism; conversely, I’m sure that many film critics have studied philosophy to some extent or other - we don’t live in entirely separate intellectual silos).
The Jurassic formula
The Jurassic Park franchise has achieved immense commercial success, though the second and third movies were never as popular as the original Jurassic Park in 1993. Jurassic World is breaking box office records on a daily basis, most recently, as I write, the record for box office takings in the US domestic market in its first seven days of release. Something has clicked with the public, not only in the US but throughout the world. Part of that has to do with the fact that these movies are just plain fun - scary enough to make kids, or even adults, jump out of their seats, but not too confrontational to rule them out as family entertainment. They are expertly directed, employ impressive special effects (brought up to date in the latest movie - alas, the 1993 effects are looking a bit dated by now), and use charismatic actors such as Chris Pratt.
There is also a morality play element, often highlighting the characters' attitudes to technology. Many characters are killed swiftly - they are pretty much treated as dino fodder - but elaborate, and often humiliating, deaths are given to the characters who appear most venal or blinded by pride. (Perhaps the most humiliating death of all is given to the lawyer, Donald Gennaro, in the first movie.) Other characters are shown as having moral weaknesses, but they are punished (by their terrifying encounters with the rampaging dinosaurs) and ultimately redeemed. All of this is no doubt emotionally satisfying to a popular audience.
Thus, the dinosaurs are not portrayed simply as “bad guys” or monsters. To a large extent, they are more like instruments of fate, or something like karma, inflicting rewards and punishments. It is fair to say that the real monsters of Jurassic World and its predecessors are the human beings who exploit genetic technology in ways that are portrayed to us as greedy, vain, and irresponsible.
Attitudes to technology
The genetic technology used to reconstruct dinosaurs from fossilised DNA is fairly consistently portrayed as evil - the whole exercise in recreating the dinosaurs from ancient genetic material has something monstrous about it, or so the movies would lead us to believe. But there is an ambiguity here, a certain instability of attitude, because the dinosaurs themselves are not only dangerous and terrifying. Some of them are relatively harmless, and they are shown variously as fun, exciting, alluring, even sublime. This kind of allure associated with products of technology is almost inevitable in feature movies with a technophobic element (a point that I owe to the critic J.P. Telotte). After all, we, as moviegoers, are much like the audience of the Jurassic World theme park: we expect to be impressed and awed by the dinosaurs, not just scared by them.
This is a common feature in Hollywood’s science-fiction blockbusters. Even in the movies of the Terminator franchise, the original Terminator - a futuristic killing machine in human form, portrayed by Arnold Schwarzenegger - has its alluring aspects. A similar machine, also portrayed by Schwarzenegger, became a hero in the second movie of the franchise, Terminator 2: Judgment Day (1991). Terminators are scary and nasty, as we are shown, but they are cool.
We can see this element handled with a certain knowingness in Jurassic World, where the scary new dinosaur, Indominus rex, is not an attempt at recreating a beast from the Mesozoic Era, but has been genetically engineered as a theme park attraction that will be even more impressive than the likes of Tyrannosaurus rex. In the event, Indominus rex is depicted as an almost demonic creature, and it is notable for killing other dinosaurs for sport (recalling perhaps, the human big game hunters of the second movie in the series). At the same time, we are reminded that all of the dinosaurs created by advanced genetic science are, in more ways than one, unnatural. Not only are they products of human design and creation: they have been brought about in ways that make them imperfect (in some ways more dangerous) copies of the original animals that they mimic.
Still, the Indominus rex is even more - perhaps triply? - unnatural, with its deliberate “improvements”. To rub in the point, its enhanced abilities include extraordinary levels of stealth and cunning, as well as the cruelty that was asked for in its specifications.
Hollywood science-fiction blockbusters can often seem like works of anti-science fiction, expressing distrust of science and technology. Indeed, this can be seen in much science fiction in other media, going back to Mary Shelley’s Frankenstein, written nearly two hundred years ago.
But technology is also seen as impressive and attractive - and perhaps as simply inevitable - whatever dangers it brings to societies and individuals, and however much it may be misused in the service of vices such as greed and pride. This ambivalence continues in much contemporary science fiction with cyberpunk or dystopian emphases. Themes of danger, irresponsibility, and dehumanization are prevalent, but the result is often, for better or worse, also shown as something cool (and this may be exploited in publicity and merchandising).
The technophobic/technophilic ambivalence is especially prominent in many Hollywood productions, where moral lessons - valuable or otherwise - play a secondary role to SFX magic and sheer spectacle.