War of the Worlds by Steven Spielberg - Essay Example

Name: Course: Tutor: Date: War of the Worlds by Steven Spielberg Introduction War of the Worlds, is an American science fiction film directed by Steven Spielberg. The film was produced in 2005 and is an adaptation of H.G Well’s novels War of the Worlds (1898). Basically, the film focuses on the life of Ray Ferrier, a divorced man living separately from his two children. The film begins when Ferrier is visited by his ex-wife, Marry Ann who drops off their two children, Rachael and Robbie and later leaves to visit her parents in Boston. Later, Robbie takes off with his father’s car without asking for his permission. As Ferrier goes out to search for his son, he notices an eccentric wall of cloud that begins to emit electromagnetic pulses which look like lightening. As a result, all electronic devices such as cars in the area are disabled. Robbie is forced to return, after his father’s car fails to function. While Ferrier visits the local mechanic in an attempt to find a solution to his car, lightening strikes and a big hole appears in the ground where a gigantic machine with three long legs appears. The Tripod machine opens fire producing destructive heart rays that vaporize the people standing by and destroying every visible thing. As the Tripods continue to destroy the town, Ray manages to escape. He tries to protect his children from the attacks by fleeing with them to join his ex-wife in Boston (War of the Worlds 2005). This paper will examine how this film reinforces or challenges status quo and whether a signature style is evident in this film with reference to the film’s semantic and syntactic elements. In this case reinforcing status quo will refer to adhering to the set conventions or the current state of affairs in science fiction genre whereas challenging status quo will refer to going beyond the set conventions of the science fiction genre. A critical look at the semantic and syntactic elements incorporated in this film, it is evident that the War of the Worlds mainly reinforces status quo since most of the semantic and syntactic elements incorporated in this film imitate the classical science fiction genre in a highly reflexive way. Reinforcement of status quo Altman’s (1989), sentiments on the semantic –syntactic model provides a suitable approach that can be used in the study of film genre. According to Altman, a genre constitutes of semantic and syntactic traits that distinguishes the genre of one film from the other (Moine, Fox & Radner 74). “War of the Worlds” epitomizes a science fiction genre. The semantic and syntactic elements incorporated in the film evidently portray similar characteristics with science fiction films. This film reinforces the status quo of this genre mainly because it adheres to the set conventions of the science fiction genre. By critically looking at the semantic aspects of the film, one can clearly classify “War of the Worlds” as a science fiction film. Tellotte (2001) notes that the science fiction genre incorporates speculative science –based representations of phenomenon that are not real, unaccepted or confirmed by mainstream science. In most cases the science fiction films depict unreal or unconfirmed phenomenon such as time travel, alien worlds, robotic images, extraterrestrial life forms and highly advanced technologies. Most of these films centre on alien invasion (Tellotte 34-43). For example, renowned science fiction films produced in the 1900’s such as “Metamorphosis: The Alien factor” (1990), “The Deadly Spawn” (1983), “ShadowZone” (1990) and “Alien 3” (1992) among many other films focus on alien invasion, and the existence of extraterrestrial life forms and highly advanced technologies. The props used in these films include super natural and futuristic elements like robots, space crafts, aliens, extraterrestrial life forms, interstellar space travel and cyborgs among other technologies. Generally, these films and many others produced during these era incorporate semantic elements incorporating super natural and futuristic elements. In addition to this, the settings, plot lines, props and technical cinematographic elements incorporated in these films adhere to the conventions of the science fiction genre set out in the early years of silent cinema. The semantic elements depicted in these films typify the early science fiction films like “A Trip to the moon” (1902) by George Melies. Similarly, the “War of the Worlds” reinforces the status quo of the genre since it generally features semantic elements that are conventionally used in science fiction films. For instance, the film’s plot line is based on the concepts of science fiction genre. Generally, the film focuses on aliens in form of Tripods invading the earth and destroying every visible thing that they find. The plot line of this film has similar aspects to previously produced science fiction films such as “Metamorphosis: The Alien factor” (1990), “The Deadly Spawn” (1983), and “Alien 3” (1992) among many others. Just like the “War of the Worlds” these films depict the invasion of aliens or extraterrestrial life forms in the earth. These supernatural beings destroy the earth, while man attempts to subdue them in order to bring order, sanity and peace on earth. As a result, this film reinforces the status quo of the science –fiction genre. Moreover, the props and technical cinematographic elements that Spielberg incorporates in the “War of the Worlds” (2005) typify the conventions of the science –fiction genre. In this film, Spielberg employs props such as Tripods which are supernatural in nature this reinforces the status quo of this genre. Furthermore, he uses imagery, animation and other visual effects which are some of the conventional features in the science fiction genre. For example, Spielberg blends mechanical and organic elements in the depiction of the Tripods. The Tripods were animated to have huge tank –like heads that are carried by flexible and thin legs. The movements of the Tripods take the form of terrestrial buoyancy such that they are able to walk on land and at the same time have an aquatic flow. The alien elements in the Tripods revolved around three features that they had, the Tripods had three eyes, three limbs with three fingers and were about 150 feet tall. In addition, instead of showing blood in the course of the Heat-Ray deaths, Spielberg uses the vaporization of bodies to further enhance the supernatural nature of this film. These props and technical cinematographic elements that Spielberg incorporates in this film typify the conventions of the science –fiction genre. Hence reinforcing the status quo of the science fiction genre, that is mainly based on the use of supernatural and futuristic semantic elements (War of the Worlds 2005). Additionally, the syntactic elements incorporated in the film evidently portray similar characteristics with science fiction films. For instance the narrative strategy employed in the film exemplifies a science fiction genre. The film begins with normalcy, Spielberg creates suspense to the audience by first of all showing an eccentric wall of cloud that begins to emit electromagnetic pulses which look like lightening. He later leads the audience through the confrontational aspect of the film when the Tripods emerge and begin to destroy the entire town and the military fights the aliens in order to protect the people. The film later culminates when the main characters, Ferrier and his children escape and survive the invasion. The narrative strategy of this film can be viewed as a cliché since it exemplifies typical science fiction films which first begin by normalcy, then followed by suspense, confrontations or attacks and subsequently victory. Through this narrative a signature style is evident in this film. Additionally, through this narrative strategy Spielberg reinforces status quo in the “War of the Worlds”. Other syntactic elements in the film that further reinforce status quo include the film’s image, sound and textual significance (Langford 157-200; War of the Worlds 2005). On the other hand, some syntactic and semantic elements of the “War of the Worlds” challenge the status quo of this genre. For instance, the setting of this film is rather unusual in the science fiction genre. “War of the Worlds” is set in a contemporary and post-modern setting. Unlike other science fiction films that mainly centre on scientific and super natural phenomenon, Spielberg has challenged status quo by incorporating the intricacies of the modern-day family life in the film. In this film he depicts human emotions and challenges. He also incorporates actual props such as the Boeing 747, huge commercial airliner that also transports cargos. By employing these elements he manages to challenge status quo and set a new signature style (Tucker 1; War of the Worlds 2005). Conclusion War of the Worlds, is an American science fiction film directed by Steven Spielberg. Generally, the semantic elements of the film imitate the classical science fiction genre in highly reflexive way. For example, the character functions, settings, plot lines, props and technical cinematographic elements among many other factors typify the science fiction genre. Furthermore, the syntactic elements of the film highly imitate the typical nature of the science fiction genre. For instance, the narrative structure, image, sound and textual significance of the film among many other factors typify the science –fiction genre. Thus the film generally reinforces status quo. However, some elements of the films challenge status. For example, the setting of this film is unusual. Furthermore, unlike other science fiction films that focus on super natural and futuristic elements, Spielberg has incorporated actual props and the intricacies of the modern-day family life in the film. This in turn makes the film to stand out. Nevertheless, a critical look at the semantic and syntactic elements incorporated in this film, it is evident that the “War of the Worlds” mainly reinforces status quo since most of the semantic and syntactic elements incorporated in this film imitate the classical science fiction genre in a highly reflexive way. Works Cited Langford Barry. Film genre: Hollywood and beyond. Edinburg: Edinburgh University Press. 2005, pp. 157-200. Moine Raphaelle, Fox Alistair & Radner Hillary. Cinema Genre. New York: Wiley & Sons. 2008, pp. 74- Tellotte JP. Science fiction film. Cambridge: Cambridge University Press. 2001, pp. 34-43. Tucker Ken. Smart Attack. Retrieved on February 23, 2012 from Vediography Alien 3. Dir. David Fincher. Perf. David Giler, Walter Hill & Larry Ferguson. 20th Century Fox. 1992. DVD. A Trip to the moon. Dir George Melies. Perf. George Melies and Victor André. Lobster Films. 1902. Film. Designing the Enemy: Tripods and Aliens. War of the Worlds DVD. Paramount Home Entertainment. 2005. Metamorphosis: The Alien factor. Dir. Glenn Takaijian. Perf. Matt Kulis, Patrick Barnes and Tarah Leigh. Movie Mogul Inc. 1990. DVD. ShadowZone. Dir. Cardone JS. Perf. Louise Fletcher, David Beecroft and James Hong. Fool Moon. 1990. DVD. The Deadly Spawn. Dir. Douglas McKeown. Perf. Charles George Hildebrandt. 21st Century Film Corporation. 1983. Film. War of the Worlds. Dir. Steven Spielberg. Perf. Tom Cruise, Dakota Fanning and Justin Chatwin. Paramount Home Entertainment. 2005. Film. Read More