English Essays
The preconceived notion that the journey is a long and arduous trip to a distant destination, with impact of elephantine proportions, is eloquently challenged by Leunig’s stark comic of the ordinary man’s day. Daily Journeys is a series of drawings detail the “various journeys” intricately threaded in the simply pleasant or simply mundane activities of day to day. There is no one journey, rather hundreds, of varying lengths, that can overlap, be continuous, or sequential, as conveyed through the composer’s repetitive use of the words “The journey from.”
Leunig presents the complex perspective of life being the vehicle for multitudes of journeys, through the amplification of smaller journeys. The reader is lead to observe these smaller journeys, and reflect upon their significance in the bigger picture. The opportunity for a journey is always prevalent. It chances upon our acknowledgement, that it is up to us to seize the day.
A journey of rewards is not without difficulties. The idea that each holds trials and triumphs is highlighted by the contrasting shift between dark and light tone in frames. “The journey between waking up in the morning and first cup of tea is precarious and immensely sad. It requires courage.” A man unwilling abandons the embryonic warmth of his bed, and nervously approaches the dangerous spontaneity of a new day. Yet a glimmer of hope is embodied in the optimistic imagery of a rising sun in the background. The familiarity of the bed resembles that of a womb, or rather, home. The consequence of leaving it is a great affliction that is commonplace with all.
The ideas of dark and light are akin to those explored in Shakespeare’s The Tempest. Gonzalo contemplates the utopian appeal of the island, “How lush and lusty the grass looks! How green!” By the play’s resolution, Gonzalo grows weary, “…guide us out of this fearful country!” Leunig engages in an imaginative journey when he portrays the day as a metaphor for life. In The Tempest, the island exists as representation of a place removed from society, where conflicts can be resolved.
Leunig and Elliot are artists that understand the power of simplicity in a narrative. The characters of Harvie Krumpet are clay figures, cute but realistic enough for empathy. They are largely mute, engaging silently with the audience, and allowing the omniscient narrator to tell the story.
Harvie Krumpet is far from a formulaic journey of an ordinary man cursed with perpetual bad luck. Elliot subverts audience expectations consistently in his satirical treatment of the underdog.
When the German invade his homeland, Harvie takes the risk of migrating to Australia. However, the journey is not easy, nor is its rewards instantaneous. In the course of his life, Harvie is afflicted with Tourette’s syndrome, has the misfortune of being struck by lightning, twice, becomes sterile through testicular cancer and is diagnosed with Alzheimer’s disease. Harvie finds happiness in marrying his nurse, Valerie, and together they adopt a girl without limbs. The heightened ideal that ‘love conquers all’ is reciprocated in the union of Miranda and Ferdinand in The Tempest. Love is the force that reconciles Prospero and Alonso, “Is she the goddess that brought us thus together?” and returns Naples to Prospero. The happiness dissipates soon after Valerie dies, and when Harvie is placed in a nursing home, he slips into a deep depression. One night, a conversation with a woman halts Harvie from suicide. In his constant struggle with life and to understand what it means, he comes to a realisation about life.
We feel his pain, engage in his passions and are liberated by his enlightenment. When the audience witnesses Harvie’s journey, they contemplate their own life, and wonder whether its all fate, or whether we can seize the day. Harvie Krumpet conveys the message that the journey is what you make of it. The personal interpretation is as significant as the convergence. The short film concludes with a quote - “Life is like a cigarette, smoke it to the butt.”
“And so the various journeys continue,” each unique in the way they can shape the individual. Imaginative journeys allow us to explore the fantastical dimensions of composers, thus altering our perspectives on the world. The risks will be forever imminent, but partaking on the journey is by far more rewarding.
Frontline
You are a keynote speaker at a conference for young writers and directors. The title of the presentation is “Visions and Versions of Telling the Truth”. In your presentation, explore how and for what reason composers, writers, directors, playwrights create their particular visions and versions. Refer to your prescribed text and at least two related texts.
Welcome aspiring writers and directors. All of you might share a common desire to share your visions with the world, be they through paper, film or play. But before you rush into this wonderfully exciting world, I, Professor Eisenbart would like to tell you the truth, about telling the truth.
[screen: Visions and Versions of Telling the Truth]
Simple? Telling the truth requires clarity of vision and a definitive idea of the particular version you wish to construct. Every medium has its limits. However, great power is in your hands, if you learn to master your art. While the truth is deceivingly simple, that is never the case. The difficulty in approaching a subject without bias or prejudice is primarily due to our subconscious predispositions. Contradictory to popular belief, there is no whole truth. You will not find it. The perceived idea of truth is in actuality an amalgamation of different perspectives, often conflicting. The truth is a construct of the visions of the composer, which ultimately creates a version of the truth.
In my analysis, I will be drawing from Frontline and South Park, which both parody news reporting programs to expose the excesses of the media, and the article Static from the newsfront, which discusses the components that govern the media. These texts demonstrate the techniques composers use to create their truths.
[screen: still of Frontline team]
Rob Sitch’s Frontline series entertains and educates the public on the complexities inherent in the world of media presentation. His characters are imagined caricatures of stereotypical ‘media types’ through whom we observe the operations of a current affairs show. In “Playing the Ego Card”, journalists are portrayed as egocentric creatures, so self absorbed they become blind to the truth, and prone to manipulation. Brian flatters Mike’s ego “You know how hard it is to host this program”, and fools him into departing for a story. Marty, disappointed with Brooke’s promotion, seeks to sabotage her by alerting Mike of her incentives “When you’re working the jungle, she’ll be working the room.” While their relationship appears friendly, the tensions between Brooke and Mike are evident in the juxtaposition of their contrasted attire of red and black, as they sit awkwardly behind the anchor desk designed for one. Mike’s insecurities are heightened by the synonymous responses of the doctor, weatherman and cleaner - “She’s a smart woman.” Brian, the architect of this disorder, is not exclusively immune to the powers of his own ego when he claims Emma’s story as his own. In Sitch’s exaggeration of journalistic personalities, he confronts the audience with the reality of his portrayal. Shaw says “When a thing is funny, search it carefully for a hidden truth.” Frontline illustrates the power of humour combined with dramatic technique in exposing the truth.
Furthermore, Frontline pursues the reality of an industry unconcerned with its audience. Rather, the hunger for ratings interferes with the presentation of the truth.
[screen: still of sleazy bathroom re-enactment]
In “Add Sex and Stir”, a story investigates the dismissal of a netball player due to poor form. Brian’s usual misogynistic comment reveals a harsh truth “Women’s sport… natural enemy of ratings,” that is, until sex is added to the equation. Brooke fabricates an alternate version by editing her interview footage. Consequently the juxtaposition of a new question, “How many of the team were gay?” with a sleazy bathroom re-enactment, substantiates an unfounded claim that the player was dropped for refusing lesbian advances. The technique is successful because audiences are more inclined to believe what they see, rather than question the accuracy of what is being presented. While Emma questions such unethical methods, Brian is unsympathetic towards tarnished reputations, when ratings are to be gained. “Add Sex and Stir” offers Sitch’s version of the media’s incredible power in manipulating the truth, and thus the perceptions of its fickle audience. We are positioned to accept Sitch’s ‘documentary’ of Frontline, just as its fictional audience is persuaded by re-enactments.
In South Park, Trey Parker similarly uses humour in his representation of the truth. He takes advantage of the innocence associated with children, using their uncorrupted view to uncover the truth of society.
[screen: still of boys in news hair and corporate suits]
In the episode “Quest for Ratings”, the boys enter the cut throat world of television when they decide to play news reporters. When their show is threatened by “Animals Close-Up With A Wide Angle Lens” their teacher tells them they must “learn how important ratings are” or risk cancellation. The boys attempt to appeal to audiences “panda bears for the preschoolers… hot girls for the sixth graders.” Their inventive stories stir the school community, mirroring the controversial methods used to gain ratings in “Add Sex and Stir”. Assuming Emma’s role, Jimmy is the lone voice of reason, “It is our journalistic responsibility to give students the facts… we took an oath to never jeopardise our integrity,” to which Cartman retorts “We’re in the fourth grade, we don’t know what ethical means.” We must contemplate, are real journalists aware of conventional morality either?
Desperate for ideas, the boys “take way too much cough medicine” to evoke inspirational hallucinations. While disorientated, they discover their rival’s inane show about cute animals is popular because “half the school is high on cough medicine.” The “most incredible report” is introduced by apocalyptic images that coerce viewers into believing “they have to watch the news or they’ll die.” On a solemn set, Cartman presents distressing footage of intoxicated children at school, “even in the girls’ bathroom”, where our reporters have crawled through air vents in their dedication to seek out the truth. The administration’s refusal to comment is twisted to appear as a refusal of responsibility. A pandemoniac police arrest, coloured with flashing blue-red sirens conveys a dramatic scene. ‘Sexy Action News’ nonsensically suggests a ban on cough medicine, while footage shows the outlook of a cough epidemic. Given the opportunity to uncover the real truth, our junior reporters exaggerate their story for greater ratings. In “Quest for Ratings”, Parker distinguishes the difference between a child failing responsibility, and an adult consciously rejecting moral duty. His child like distortion of the media reflects the inconsistencies present in reality.
[screen: image of article]
In Static from the newsfront, David Marr analyses Richard Altson’s confrontation with the ABC over its reporting of the Iraq war. Over two years, 68 complaints were filed against “biased… anti-American coverage.” The article establishes its objectivity through presentation of all perspectives, those of the government, journalists and tribunals. By specifying the credentials of the tribunal, Marr emphasises the rectitude of the inquiry “Senior ABC Executive… General Manager of Channel Seven… law professor.” However, he notes only “a distinguished former journalist of this paper,” and the head of AFTRS possess a “background in journalism”, dismissing the others as inadequate reviewers. Bureaucrat Maddock explains, “Racing stewards don’t have any experience as jockeys either.” Rather than reassure, his comment highlights the insensitivities of the government on “how war reporting works”.
The Australian Broadcasting Authority found “a range of perspectives and views were presented”, but “the language and presentation styles” showed an inclination towards “particular views.” “What views?” is Marr’s incredulous response. He concludes “this was all about the stance the ABC was expected to take in relation to the US and its leadership in the war”, alluding to the pressures of a government funded station. The photograph of Alston’s mocking face before the ABC logo further antagonises his position. Marr exposes the prejudice of all parties involved, through his concise reproduction of the evidence. The government’s enforcing of propaganda, the journalists’ sensationalised stories, and the tribunal’s underqualified board, all contribute to the media’s failing to the truth.
Overall, the texts discussed demonstrate how various mediums and techniques are used to convey visions and versions of the truth. Now that I have empowered you with the tools you need - out into the world! As one determined man once said, “The truth is out there.”
Emma/Clueless
The composer’s context influences how the values of the time are embedded in the text. In Clueless, Amy Heckerling appropriates Jane Austen’s literary classic Emma, into a contemporary film about teenagers in an American high school. An examination of how social class, gender roles and marriage are reflected in the texts reveals how changes in context lead to changed values.
Both composers produce a satirical social commentary on the hierarchy of classes in a limited community. In Emma, Austen probes the world of an isolated society governed by the strict decorum of Regency England. Her ‘novel of manners’ explores the consequences when such rigid codes are imposed. Established and wealthy, Mr Knightley exists as the epitome of the aristocratic gentleman, in which Austen conveys the model behaviour - conservative, eloquent, and a pleasing countenance, in which one is courteous and charitable. Only through a series of misconstrued events does Austen allow her naïve protagonist to realise the importance of these qualities. When Emma openly insults Miss Bates at Box Hill, Knightley later scolds “How could you be so unfeeling to a woman of her character, age and situation?” His opinion becomes the catalyst for Emma’s transformation. “Agitated, mortified, grieved,” she acknowledges “The truth of his representation.” Emma’s role as lead female in a limited community bears one of influence, and with that, great responsibility to maintain model behaviour. Thus, the values of Austen’s context are reflected in Emma.
Heckerling’s approach to social class in Clueless is a contrast. The landscape of Beverly Hills is lined with palatial mansions and towering palm trees that seem to gleam in eternal sunshine. The montage of these images introduces a wealthy and culturally imperial nation. Here, financial assets remain an indicator of class. A high school is the limited community. Popularity represents the highest social standing that is attained by way of connection and exterior appearance. This is best witnessed during Cher’s adoption and makeover of Tai. The invigorating anthem of “I want to be a supermodel”, ironic in its blatant promotion of materialism, light-heartedly tracks a transformation characterised by midriff tops, make-up, and inheritance of Cher’s mannerisms. Tai’s easy ascension to prime status reflects a seemingly fluid social structure. However, a clear hierarchy emerges as the relationship between the popular kids and the loadies develops. When Tai insults Travis, she does so in mimicry of Cher. “I’ve created a monster!” alludes to Frankenstein’s horrifying tale. Similarly, in imprinting her traits on Tai, Cher is better positioned to realise her faults. When Josh urges Cher to use her popularity for good, he mirrors Knightley’s role as moral educator. Both main characters subsequently acquire self knowledge by conforming to the conventional morality of their respective contexts.
Marriage is a predominant theme in Emma, reflective of its importance for women as the only means to ascend in status and gain financial security. Emma is a rare exception, having “none of the usual inducements of women to marry”. Women were otherwise subjected to having their identity and consequence determined by marital status, solely formed on their relationship with men. Jane Fairfax is defined as a rival, Miss Bates, an old maid, and Miss Hawkins, a new wife. “Elton may talk sentimentally, but he will act rationally” He is disposed to marriage as he is to a business contract. Following Emma’s refusal, he hastily marries a Miss Hawkins of ten thousand pounds. Austen’s subsequent antagonising of the Eltons reflects her negativity towards a union based on financial gain and void of love.
Society dictates a woman should be seen to be accomplished in the skills that make her refined, and ultimately, an attractive marriage partner. It is unsurprising that Emma, in a context consumed by marriage and little else, decides to pursue matchmaking as an idle pastime. The significance of marriage in the lives of Austen’s characters reflects her time.
Marriage was permanent in Austen’s context. The sanctity of marriage is somewhat compromised in modern America, where divorce is commonplace. Heckerling satirises the disposable nature of wives in the consumerist society of Clueless when Mel quips “You divorce wives, not children.” The juxtaposition of the scene where Cher and Josh kiss, with the image of an anonymous wedded couple, forebodes a union, which is comically dismissed by Cher’s indignant voiceover, “As if! This is California, not Kentucky.” Nether the less, through the film’s conclusion, the value of marriage perpetuates. The matching of characters with their social equals emphasises society’s belief that the individual is not complete without its counterpart. In the changed context of Clueless, women’s lib has introduced the opportunities of education and occupation - yet Cher resolves to enhance her school report by uniting two lonely teachers. Heckerling comments on the changing attitudes towards marriage and its place in modern society.
Form follows function. Emma was written for the literate high class. Austen’s omnipresent voice allows for authorial comment while she follows the story through Emma’s perspective. Hence, readers are inclined to make Emma’s mistakes, and therefore less likely to judge her too harshly.
Clueless appropriates Emma for an image saturated society. Film’s customary subjectivity is subdued by Cher’s voiceover that captures the contradiction between event and perception. Heckerling renders an intelligent teen movie by allusion to Emma, as well as cultural references to literature, film and music. She plays upon Emma’s lack of commitment “Emma had been meaning to read more ever since she was twelve”, with Cher’s manner of quoting literary greats despite being clueless about their true prestige.
An examination of how social class, gender roles and marriage are received in Emma and Clueless reveals the significance of context on the values reflected in the texts.
Gwen Harwood
Interpretations of text can shift and change with time and place. Gwen Harwood intended to “bring order and delight into the passing stream of experience.” Instead her works have become the subject of meticulous study - its elements deconstructed and appropriated into new readings. Using the examples of “Prize-Giving” and “At Mornington,” it can be demonstrated the role of context in forming multiple critical appraisals.
In articulating a genuine response, the background of the poet must be considered. In “Prize-Giving,” Harwood pursues the Romanticised “role of artistic imagination in transcending the concrete reality of our lives,” by selection of a mundane occurrence as the setting for Eisenbart’s transformation. The progression of images “professor… honoured guest… academic dress,” distinguishes his individually superior status. Harwood’s allusions to art and music as symbols of prestige reflect her personal values. Hence, “Rodin’s Thinker” is adequately matched with “Mozart.”
The cultural reference to a “girl’s school speech night” is easily recognizable in the context of a student of twenty-first century Australia. The underestimation of youth by the adult can be read into the silent but profound exchange between Eisenbart and the girl. Eisenbart translates as “grey-beard,” alluding to connotations of old age, perceived wisdom and traditional thought, that align his character with the “establishment.” In contrast, the girl’s independent nature is conveyed through the imagery of her incidental illumination and endowment with “titian hair.” During the opening prayer, she defiantly raises her head to mock Eisenbart, symbolizing the rebellious figure many adolescents aspire to emulate. A reading in this context perpetuates the triumph of the individual against the institution.
“Prize-Giving” can be embraced as a parable of female empowerment over traditional gender roles. The poem’s dual structure complements the interchange of roles. Harwood’s initial positioning of Eisenbart as a predator “superb in silk and fur” and the girls as insignificant “insects” reflects an earlier social attitude. When the girl with titian hair mirrors Eisenbart’s illustrious gesture “in mockery of his own,” she initiates a challenge to his authority. We witness her youthful exuberance dominate “felt its voltage fling his hand from calm age and power,” her “strange eyes” force a confrontation “against reason dark,” and her resolute transformation into a “master” succeed in trapping the “sage fool… in a copper net of hair.” Furthermore, the girl’s flirtatious manner “hitched a stocking, winked at nearby friends” and physical affect on Eisenbart “rose-hot dream” signals an expression of sexual freedom common to the ideals of the contemporary feminist movement. The inversion of power is resolved through the poem’s most provoking image - Eisenbart’s reflection suspended upside down into a trophy. Ironically, the presenter is given the appropriate gift of self knowledge. The feminist perspective considers “Prize-Giving” a poem of gender and power.
Similarly, the Christian reading explores the theme of power in “Prize-Giving”, although its perspective is limited in comparison with the feminist emphasis on gender roles. The Christian allegory within “Prize-Giving” examines our innate lust for power through the character of Eisenbart. The humorously climatic image of the Professor posing as “Rodin’s Thinker” epitomises his role as a caricature of arrogance and pomposity. His inevitable humiliation and resignation to that of “a sage fool” complies with Christian morality. It is ironic his downfall is induced by the girl’s “arrogant hands.” Religious moral is reinforced through “curious harps” which sound a revelation of self in Eisenbart.
“At Mornington” was inspired by a visit Harwod obliged to her “very dear friend” Thomas Kiddell. The relation of the deeply personal experience is effectively conveyed through an intimately conversational tone “we stand by your parent’s grave in silence.” In the poem, Harwood considers notions of space and time attributed to Modernism. She is able to “traverse a lifetime in a moment,” through the juxtaposition of “early childhood” memories and the harsh reality of death. Harwood’s concern of human subjects - love, life and death - becomes the element that renders her work universal and timeless.
The youth cannot fully comprehend middle age without experience. Harwood provides the medium in which they can begin to understand a more mature outlook on life. The poet’s use of child-like description “like a doll” and the familiar concept of “father’s arms” as a source of perpetual comfort and security, effectively engages a younger audience.
A Christian reading improves upon the significance of the father by equating him to a God figure, interpreting “At Mornington” as an exploration of faith. The instance in which the persona leaps from “father’s arms” into the sea signifies a temporary departure from the familiar structure and order of religion. The sea represents a world of experience in which the persona recklessly enters unassisted and unguided. It is full of possibility “walk on water… matter of balance” and danger “rattling shells.” God is “half comforting, half angry,” mirroring the belief of redemption. In the final stanza, the poem returns to the metaphor of “father’s arms,” in which the persona now feels “secure” when contemplating death. In a Christian context, death is rejoiced at as one’s reunion with God.
Water is used as an extended metaphor for life throughout “At Mornington.” It possesses connotations of birth - of experience “taken to the sea’s edge for the first time,” and of life “drying face of land rose out of earth’s seamless waters.” In death, we return to the earth “the waters that bear me away forever.”
A psychoanalytical approach to “At Mornington” highlights the significance of the persona’s dream as a representation of subconscious thought. The motif of water is continued, yet is it contained within a pitcher. “There is still some water left.” In the dream the persona contemplates the preciousness of life and recognizes it is not yet exhausted. “We have one day… more than enough to refresh us.”
In reference to the poems “Prize-Giving” and “At Mornington” it is evident the role of context in affecting how texts can be interpreted in a variety of readings.
Alien
How has Alien presented technology as alien?
Technology is humans’ manipulation of the physical environment with tools and machines. This past century, technological change has increased rapidly. It is at a rate that is overwhelming, where people are discovering they are incapable of coping in a world of constant change. In Ridley Scott’s “Alien”, the threat and isolation of technology is grotesquely exaggerated in the near future. The “Nostromo” is essential to the crew’s survival and capability of space travel. “Mother”, the computer is aptly named for her authoritative and maternal characteristics. Android Ash materialises our concerns on the ethics of artificial intelligence. The Alien is the embodiment of our fears on what technology will become.
“Nostromo” is a simulated metaphor for Earth. The ship is vital for survival. In all its artificiality, it provides oxygen, sustenance, gravity, ‘eyes’ (screens), sleeping pods, space suits, as well as communication systems. Technology, adept at creating a substitute for Earth, by no means surpasses it. Kane moans, “I feel dead,” as he awakens from sleep, illustrating his discomfort. Parker exclaims “… the food ain’t that bad!” Evidently, “Nostromo” is seen as essential. Its integration has furthered humans’ dependency on technology, in which they can now not live without.
“Nostromo” is a vehicle towards a foreign existence. Through manipulation of the physical environment, it brings humans to a place where they were not meant to venture - space. The name of the ship originates from a book by Joseph Conrad, about a crew who haul ore out of a turbulent, foreign country. Upon discovering silver, they falter towards the corrupting influence of money. The parallels between the two texts are evident in their themes of exploring a foreign existence, where those blinded by riches fall to a tragic end. In the opening shots, we are plunged into endless black depths accommodating a myriad of stars. Scott achieves in removing our sense of security by suspending us in a ship exploring a lonely expanse. The camera pans the length of the battered exterior, encrusted by dark sludge, emphasising its extravagant, melancholic beauty. Inside, the camera explores the oily corridors of the engine rooms. The appearance of the “Nostromo” is reminiscent of the Alien, like technology masquerading an organism. In contrast, the living quarter’s distressed ivory walls inspire ideals of cleanliness and futurism. The ship is ambient with echoes of metallic clangings and unnatural squeals. As she slowly ‘awakes’, the systematic beeping, humming and whirring of computers orchestrate a composition of artificial sounds. These sounds create a nostalgic and claustrophobic atmosphere. Conclusively, “Nostromo” removes the human from natural habitation into an alien environment. This environment is the epitome of isolation, removed from life or anything familiar.
“Mother” is the formidable authoritative figure of “Nostromo”. Knowledge is power, and because of this, the crew have limited control over “Mother”. When Ripley, in desperation, attempts to abort the self-destruct, she calls out in vain. “Mother, I’ve turned off the cooling system. Mother? You bitch!” Various times, Dallas goes to “Mother” for help, only to be received with “does not compute”. She does what she likes. Her importance is reinforced through the flashing orange sirens that demand attention and the devotion Ash displays of her. Our inability to control our creations, and the possibility of our creations controlling us is a realistic fear. Scott’s portrayl of “mother” is that of an advancing threat.
We do not question a mother’s love. Society assumes that “mother knows best”. In accordance with SPECIAL ORDER 937, “Mother” intercepts the route of “Nostromo”, and brings the crew to the Alien. Or rather, to ‘face their fears’. “Mother” is associated with warmth, and this is exemplified in her room, which is illuminated with the orange glow of flashing memory banks. The perversity of a maternal computer is alien, when a mother is so readily associated with the natural.
The first law of robotics states that an android cannot harm a human or let a human be harmed. Ash, disguised as a science officer is a hidden threat. He admires the Alien, and under SPECIAL ORDER 937 he is to gather the specimen. His secretive nature and ambiguous demeanour are clues to his betrayal. After attempting to kill the crew, he is questioned about the Alien. “I can’t lie to you about you chances, but you do have my sympathies.” He grins evilly and Parker incinerated him with a flamethrower. The idea of artificial intelligence can be both creative and destructive. Ash was an alien.
The Alien is the embodiment of our fears on what technology will become. Scott takes advantage of our fears of monsters in the dark by using minimal lighting and deceitful shadows to create a haunting set. The Alien is likened to a parasite, infecting hosts with eggs. The underlying sexual themes include Kane’s pregnant-like incubation of the Alien and the phallic symbolism of the Alien’s large head. The motif of a line of horizontal blue light is used when the crew approached the Alien. Instances include the encounter of the derelict ship and as Dallas searched for the first Alien. Humans manipulate their environment through use of technology. The Alien is able to adapt to his environment by replacing his skin cells with silicon to protect against the elements. In the escape pod, he lies unnoticed and camouflaged among metal pipes. The Alien is presented as beyond human control. As the tagline suggests, “… what seven human beings are suffering from will soon, all too soon, be shared by us.”
“Alien” presents technology as alien - a threat, a means of isolation and bringer of our destruction. The message is that we must be wary of the acceleration of technology. Its eradication would cause widespread misery. The answer is that we must achieve a balance between the advancement of technology and the rate of human response.
Leunig presents the complex perspective of life being the vehicle for multitudes of journeys, through the amplification of smaller journeys. The reader is lead to observe these smaller journeys, and reflect upon their significance in the bigger picture. The opportunity for a journey is always prevalent. It chances upon our acknowledgement, that it is up to us to seize the day.
A journey of rewards is not without difficulties. The idea that each holds trials and triumphs is highlighted by the contrasting shift between dark and light tone in frames. “The journey between waking up in the morning and first cup of tea is precarious and immensely sad. It requires courage.” A man unwilling abandons the embryonic warmth of his bed, and nervously approaches the dangerous spontaneity of a new day. Yet a glimmer of hope is embodied in the optimistic imagery of a rising sun in the background. The familiarity of the bed resembles that of a womb, or rather, home. The consequence of leaving it is a great affliction that is commonplace with all.
The ideas of dark and light are akin to those explored in Shakespeare’s The Tempest. Gonzalo contemplates the utopian appeal of the island, “How lush and lusty the grass looks! How green!” By the play’s resolution, Gonzalo grows weary, “…guide us out of this fearful country!” Leunig engages in an imaginative journey when he portrays the day as a metaphor for life. In The Tempest, the island exists as representation of a place removed from society, where conflicts can be resolved.
Leunig and Elliot are artists that understand the power of simplicity in a narrative. The characters of Harvie Krumpet are clay figures, cute but realistic enough for empathy. They are largely mute, engaging silently with the audience, and allowing the omniscient narrator to tell the story.
Harvie Krumpet is far from a formulaic journey of an ordinary man cursed with perpetual bad luck. Elliot subverts audience expectations consistently in his satirical treatment of the underdog.
When the German invade his homeland, Harvie takes the risk of migrating to Australia. However, the journey is not easy, nor is its rewards instantaneous. In the course of his life, Harvie is afflicted with Tourette’s syndrome, has the misfortune of being struck by lightning, twice, becomes sterile through testicular cancer and is diagnosed with Alzheimer’s disease. Harvie finds happiness in marrying his nurse, Valerie, and together they adopt a girl without limbs. The heightened ideal that ‘love conquers all’ is reciprocated in the union of Miranda and Ferdinand in The Tempest. Love is the force that reconciles Prospero and Alonso, “Is she the goddess that brought us thus together?” and returns Naples to Prospero. The happiness dissipates soon after Valerie dies, and when Harvie is placed in a nursing home, he slips into a deep depression. One night, a conversation with a woman halts Harvie from suicide. In his constant struggle with life and to understand what it means, he comes to a realisation about life.
We feel his pain, engage in his passions and are liberated by his enlightenment. When the audience witnesses Harvie’s journey, they contemplate their own life, and wonder whether its all fate, or whether we can seize the day. Harvie Krumpet conveys the message that the journey is what you make of it. The personal interpretation is as significant as the convergence. The short film concludes with a quote - “Life is like a cigarette, smoke it to the butt.”
“And so the various journeys continue,” each unique in the way they can shape the individual. Imaginative journeys allow us to explore the fantastical dimensions of composers, thus altering our perspectives on the world. The risks will be forever imminent, but partaking on the journey is by far more rewarding.
Frontline
You are a keynote speaker at a conference for young writers and directors. The title of the presentation is “Visions and Versions of Telling the Truth”. In your presentation, explore how and for what reason composers, writers, directors, playwrights create their particular visions and versions. Refer to your prescribed text and at least two related texts.
Welcome aspiring writers and directors. All of you might share a common desire to share your visions with the world, be they through paper, film or play. But before you rush into this wonderfully exciting world, I, Professor Eisenbart would like to tell you the truth, about telling the truth.
[screen: Visions and Versions of Telling the Truth]
Simple? Telling the truth requires clarity of vision and a definitive idea of the particular version you wish to construct. Every medium has its limits. However, great power is in your hands, if you learn to master your art. While the truth is deceivingly simple, that is never the case. The difficulty in approaching a subject without bias or prejudice is primarily due to our subconscious predispositions. Contradictory to popular belief, there is no whole truth. You will not find it. The perceived idea of truth is in actuality an amalgamation of different perspectives, often conflicting. The truth is a construct of the visions of the composer, which ultimately creates a version of the truth.
In my analysis, I will be drawing from Frontline and South Park, which both parody news reporting programs to expose the excesses of the media, and the article Static from the newsfront, which discusses the components that govern the media. These texts demonstrate the techniques composers use to create their truths.
[screen: still of Frontline team]
Rob Sitch’s Frontline series entertains and educates the public on the complexities inherent in the world of media presentation. His characters are imagined caricatures of stereotypical ‘media types’ through whom we observe the operations of a current affairs show. In “Playing the Ego Card”, journalists are portrayed as egocentric creatures, so self absorbed they become blind to the truth, and prone to manipulation. Brian flatters Mike’s ego “You know how hard it is to host this program”, and fools him into departing for a story. Marty, disappointed with Brooke’s promotion, seeks to sabotage her by alerting Mike of her incentives “When you’re working the jungle, she’ll be working the room.” While their relationship appears friendly, the tensions between Brooke and Mike are evident in the juxtaposition of their contrasted attire of red and black, as they sit awkwardly behind the anchor desk designed for one. Mike’s insecurities are heightened by the synonymous responses of the doctor, weatherman and cleaner - “She’s a smart woman.” Brian, the architect of this disorder, is not exclusively immune to the powers of his own ego when he claims Emma’s story as his own. In Sitch’s exaggeration of journalistic personalities, he confronts the audience with the reality of his portrayal. Shaw says “When a thing is funny, search it carefully for a hidden truth.” Frontline illustrates the power of humour combined with dramatic technique in exposing the truth.
Furthermore, Frontline pursues the reality of an industry unconcerned with its audience. Rather, the hunger for ratings interferes with the presentation of the truth.
[screen: still of sleazy bathroom re-enactment]
In “Add Sex and Stir”, a story investigates the dismissal of a netball player due to poor form. Brian’s usual misogynistic comment reveals a harsh truth “Women’s sport… natural enemy of ratings,” that is, until sex is added to the equation. Brooke fabricates an alternate version by editing her interview footage. Consequently the juxtaposition of a new question, “How many of the team were gay?” with a sleazy bathroom re-enactment, substantiates an unfounded claim that the player was dropped for refusing lesbian advances. The technique is successful because audiences are more inclined to believe what they see, rather than question the accuracy of what is being presented. While Emma questions such unethical methods, Brian is unsympathetic towards tarnished reputations, when ratings are to be gained. “Add Sex and Stir” offers Sitch’s version of the media’s incredible power in manipulating the truth, and thus the perceptions of its fickle audience. We are positioned to accept Sitch’s ‘documentary’ of Frontline, just as its fictional audience is persuaded by re-enactments.
In South Park, Trey Parker similarly uses humour in his representation of the truth. He takes advantage of the innocence associated with children, using their uncorrupted view to uncover the truth of society.
[screen: still of boys in news hair and corporate suits]
In the episode “Quest for Ratings”, the boys enter the cut throat world of television when they decide to play news reporters. When their show is threatened by “Animals Close-Up With A Wide Angle Lens” their teacher tells them they must “learn how important ratings are” or risk cancellation. The boys attempt to appeal to audiences “panda bears for the preschoolers… hot girls for the sixth graders.” Their inventive stories stir the school community, mirroring the controversial methods used to gain ratings in “Add Sex and Stir”. Assuming Emma’s role, Jimmy is the lone voice of reason, “It is our journalistic responsibility to give students the facts… we took an oath to never jeopardise our integrity,” to which Cartman retorts “We’re in the fourth grade, we don’t know what ethical means.” We must contemplate, are real journalists aware of conventional morality either?
Desperate for ideas, the boys “take way too much cough medicine” to evoke inspirational hallucinations. While disorientated, they discover their rival’s inane show about cute animals is popular because “half the school is high on cough medicine.” The “most incredible report” is introduced by apocalyptic images that coerce viewers into believing “they have to watch the news or they’ll die.” On a solemn set, Cartman presents distressing footage of intoxicated children at school, “even in the girls’ bathroom”, where our reporters have crawled through air vents in their dedication to seek out the truth. The administration’s refusal to comment is twisted to appear as a refusal of responsibility. A pandemoniac police arrest, coloured with flashing blue-red sirens conveys a dramatic scene. ‘Sexy Action News’ nonsensically suggests a ban on cough medicine, while footage shows the outlook of a cough epidemic. Given the opportunity to uncover the real truth, our junior reporters exaggerate their story for greater ratings. In “Quest for Ratings”, Parker distinguishes the difference between a child failing responsibility, and an adult consciously rejecting moral duty. His child like distortion of the media reflects the inconsistencies present in reality.
[screen: image of article]
In Static from the newsfront, David Marr analyses Richard Altson’s confrontation with the ABC over its reporting of the Iraq war. Over two years, 68 complaints were filed against “biased… anti-American coverage.” The article establishes its objectivity through presentation of all perspectives, those of the government, journalists and tribunals. By specifying the credentials of the tribunal, Marr emphasises the rectitude of the inquiry “Senior ABC Executive… General Manager of Channel Seven… law professor.” However, he notes only “a distinguished former journalist of this paper,” and the head of AFTRS possess a “background in journalism”, dismissing the others as inadequate reviewers. Bureaucrat Maddock explains, “Racing stewards don’t have any experience as jockeys either.” Rather than reassure, his comment highlights the insensitivities of the government on “how war reporting works”.
The Australian Broadcasting Authority found “a range of perspectives and views were presented”, but “the language and presentation styles” showed an inclination towards “particular views.” “What views?” is Marr’s incredulous response. He concludes “this was all about the stance the ABC was expected to take in relation to the US and its leadership in the war”, alluding to the pressures of a government funded station. The photograph of Alston’s mocking face before the ABC logo further antagonises his position. Marr exposes the prejudice of all parties involved, through his concise reproduction of the evidence. The government’s enforcing of propaganda, the journalists’ sensationalised stories, and the tribunal’s underqualified board, all contribute to the media’s failing to the truth.
Overall, the texts discussed demonstrate how various mediums and techniques are used to convey visions and versions of the truth. Now that I have empowered you with the tools you need - out into the world! As one determined man once said, “The truth is out there.”
Emma/Clueless
The composer’s context influences how the values of the time are embedded in the text. In Clueless, Amy Heckerling appropriates Jane Austen’s literary classic Emma, into a contemporary film about teenagers in an American high school. An examination of how social class, gender roles and marriage are reflected in the texts reveals how changes in context lead to changed values.
Both composers produce a satirical social commentary on the hierarchy of classes in a limited community. In Emma, Austen probes the world of an isolated society governed by the strict decorum of Regency England. Her ‘novel of manners’ explores the consequences when such rigid codes are imposed. Established and wealthy, Mr Knightley exists as the epitome of the aristocratic gentleman, in which Austen conveys the model behaviour - conservative, eloquent, and a pleasing countenance, in which one is courteous and charitable. Only through a series of misconstrued events does Austen allow her naïve protagonist to realise the importance of these qualities. When Emma openly insults Miss Bates at Box Hill, Knightley later scolds “How could you be so unfeeling to a woman of her character, age and situation?” His opinion becomes the catalyst for Emma’s transformation. “Agitated, mortified, grieved,” she acknowledges “The truth of his representation.” Emma’s role as lead female in a limited community bears one of influence, and with that, great responsibility to maintain model behaviour. Thus, the values of Austen’s context are reflected in Emma.
Heckerling’s approach to social class in Clueless is a contrast. The landscape of Beverly Hills is lined with palatial mansions and towering palm trees that seem to gleam in eternal sunshine. The montage of these images introduces a wealthy and culturally imperial nation. Here, financial assets remain an indicator of class. A high school is the limited community. Popularity represents the highest social standing that is attained by way of connection and exterior appearance. This is best witnessed during Cher’s adoption and makeover of Tai. The invigorating anthem of “I want to be a supermodel”, ironic in its blatant promotion of materialism, light-heartedly tracks a transformation characterised by midriff tops, make-up, and inheritance of Cher’s mannerisms. Tai’s easy ascension to prime status reflects a seemingly fluid social structure. However, a clear hierarchy emerges as the relationship between the popular kids and the loadies develops. When Tai insults Travis, she does so in mimicry of Cher. “I’ve created a monster!” alludes to Frankenstein’s horrifying tale. Similarly, in imprinting her traits on Tai, Cher is better positioned to realise her faults. When Josh urges Cher to use her popularity for good, he mirrors Knightley’s role as moral educator. Both main characters subsequently acquire self knowledge by conforming to the conventional morality of their respective contexts.
Marriage is a predominant theme in Emma, reflective of its importance for women as the only means to ascend in status and gain financial security. Emma is a rare exception, having “none of the usual inducements of women to marry”. Women were otherwise subjected to having their identity and consequence determined by marital status, solely formed on their relationship with men. Jane Fairfax is defined as a rival, Miss Bates, an old maid, and Miss Hawkins, a new wife. “Elton may talk sentimentally, but he will act rationally” He is disposed to marriage as he is to a business contract. Following Emma’s refusal, he hastily marries a Miss Hawkins of ten thousand pounds. Austen’s subsequent antagonising of the Eltons reflects her negativity towards a union based on financial gain and void of love.
Society dictates a woman should be seen to be accomplished in the skills that make her refined, and ultimately, an attractive marriage partner. It is unsurprising that Emma, in a context consumed by marriage and little else, decides to pursue matchmaking as an idle pastime. The significance of marriage in the lives of Austen’s characters reflects her time.
Marriage was permanent in Austen’s context. The sanctity of marriage is somewhat compromised in modern America, where divorce is commonplace. Heckerling satirises the disposable nature of wives in the consumerist society of Clueless when Mel quips “You divorce wives, not children.” The juxtaposition of the scene where Cher and Josh kiss, with the image of an anonymous wedded couple, forebodes a union, which is comically dismissed by Cher’s indignant voiceover, “As if! This is California, not Kentucky.” Nether the less, through the film’s conclusion, the value of marriage perpetuates. The matching of characters with their social equals emphasises society’s belief that the individual is not complete without its counterpart. In the changed context of Clueless, women’s lib has introduced the opportunities of education and occupation - yet Cher resolves to enhance her school report by uniting two lonely teachers. Heckerling comments on the changing attitudes towards marriage and its place in modern society.
Form follows function. Emma was written for the literate high class. Austen’s omnipresent voice allows for authorial comment while she follows the story through Emma’s perspective. Hence, readers are inclined to make Emma’s mistakes, and therefore less likely to judge her too harshly.
Clueless appropriates Emma for an image saturated society. Film’s customary subjectivity is subdued by Cher’s voiceover that captures the contradiction between event and perception. Heckerling renders an intelligent teen movie by allusion to Emma, as well as cultural references to literature, film and music. She plays upon Emma’s lack of commitment “Emma had been meaning to read more ever since she was twelve”, with Cher’s manner of quoting literary greats despite being clueless about their true prestige.
An examination of how social class, gender roles and marriage are received in Emma and Clueless reveals the significance of context on the values reflected in the texts.
Gwen Harwood
Interpretations of text can shift and change with time and place. Gwen Harwood intended to “bring order and delight into the passing stream of experience.” Instead her works have become the subject of meticulous study - its elements deconstructed and appropriated into new readings. Using the examples of “Prize-Giving” and “At Mornington,” it can be demonstrated the role of context in forming multiple critical appraisals.
In articulating a genuine response, the background of the poet must be considered. In “Prize-Giving,” Harwood pursues the Romanticised “role of artistic imagination in transcending the concrete reality of our lives,” by selection of a mundane occurrence as the setting for Eisenbart’s transformation. The progression of images “professor… honoured guest… academic dress,” distinguishes his individually superior status. Harwood’s allusions to art and music as symbols of prestige reflect her personal values. Hence, “Rodin’s Thinker” is adequately matched with “Mozart.”
The cultural reference to a “girl’s school speech night” is easily recognizable in the context of a student of twenty-first century Australia. The underestimation of youth by the adult can be read into the silent but profound exchange between Eisenbart and the girl. Eisenbart translates as “grey-beard,” alluding to connotations of old age, perceived wisdom and traditional thought, that align his character with the “establishment.” In contrast, the girl’s independent nature is conveyed through the imagery of her incidental illumination and endowment with “titian hair.” During the opening prayer, she defiantly raises her head to mock Eisenbart, symbolizing the rebellious figure many adolescents aspire to emulate. A reading in this context perpetuates the triumph of the individual against the institution.
“Prize-Giving” can be embraced as a parable of female empowerment over traditional gender roles. The poem’s dual structure complements the interchange of roles. Harwood’s initial positioning of Eisenbart as a predator “superb in silk and fur” and the girls as insignificant “insects” reflects an earlier social attitude. When the girl with titian hair mirrors Eisenbart’s illustrious gesture “in mockery of his own,” she initiates a challenge to his authority. We witness her youthful exuberance dominate “felt its voltage fling his hand from calm age and power,” her “strange eyes” force a confrontation “against reason dark,” and her resolute transformation into a “master” succeed in trapping the “sage fool… in a copper net of hair.” Furthermore, the girl’s flirtatious manner “hitched a stocking, winked at nearby friends” and physical affect on Eisenbart “rose-hot dream” signals an expression of sexual freedom common to the ideals of the contemporary feminist movement. The inversion of power is resolved through the poem’s most provoking image - Eisenbart’s reflection suspended upside down into a trophy. Ironically, the presenter is given the appropriate gift of self knowledge. The feminist perspective considers “Prize-Giving” a poem of gender and power.
Similarly, the Christian reading explores the theme of power in “Prize-Giving”, although its perspective is limited in comparison with the feminist emphasis on gender roles. The Christian allegory within “Prize-Giving” examines our innate lust for power through the character of Eisenbart. The humorously climatic image of the Professor posing as “Rodin’s Thinker” epitomises his role as a caricature of arrogance and pomposity. His inevitable humiliation and resignation to that of “a sage fool” complies with Christian morality. It is ironic his downfall is induced by the girl’s “arrogant hands.” Religious moral is reinforced through “curious harps” which sound a revelation of self in Eisenbart.
“At Mornington” was inspired by a visit Harwod obliged to her “very dear friend” Thomas Kiddell. The relation of the deeply personal experience is effectively conveyed through an intimately conversational tone “we stand by your parent’s grave in silence.” In the poem, Harwood considers notions of space and time attributed to Modernism. She is able to “traverse a lifetime in a moment,” through the juxtaposition of “early childhood” memories and the harsh reality of death. Harwood’s concern of human subjects - love, life and death - becomes the element that renders her work universal and timeless.
The youth cannot fully comprehend middle age without experience. Harwood provides the medium in which they can begin to understand a more mature outlook on life. The poet’s use of child-like description “like a doll” and the familiar concept of “father’s arms” as a source of perpetual comfort and security, effectively engages a younger audience.
A Christian reading improves upon the significance of the father by equating him to a God figure, interpreting “At Mornington” as an exploration of faith. The instance in which the persona leaps from “father’s arms” into the sea signifies a temporary departure from the familiar structure and order of religion. The sea represents a world of experience in which the persona recklessly enters unassisted and unguided. It is full of possibility “walk on water… matter of balance” and danger “rattling shells.” God is “half comforting, half angry,” mirroring the belief of redemption. In the final stanza, the poem returns to the metaphor of “father’s arms,” in which the persona now feels “secure” when contemplating death. In a Christian context, death is rejoiced at as one’s reunion with God.
Water is used as an extended metaphor for life throughout “At Mornington.” It possesses connotations of birth - of experience “taken to the sea’s edge for the first time,” and of life “drying face of land rose out of earth’s seamless waters.” In death, we return to the earth “the waters that bear me away forever.”
A psychoanalytical approach to “At Mornington” highlights the significance of the persona’s dream as a representation of subconscious thought. The motif of water is continued, yet is it contained within a pitcher. “There is still some water left.” In the dream the persona contemplates the preciousness of life and recognizes it is not yet exhausted. “We have one day… more than enough to refresh us.”
In reference to the poems “Prize-Giving” and “At Mornington” it is evident the role of context in affecting how texts can be interpreted in a variety of readings.
Alien
How has Alien presented technology as alien?
Technology is humans’ manipulation of the physical environment with tools and machines. This past century, technological change has increased rapidly. It is at a rate that is overwhelming, where people are discovering they are incapable of coping in a world of constant change. In Ridley Scott’s “Alien”, the threat and isolation of technology is grotesquely exaggerated in the near future. The “Nostromo” is essential to the crew’s survival and capability of space travel. “Mother”, the computer is aptly named for her authoritative and maternal characteristics. Android Ash materialises our concerns on the ethics of artificial intelligence. The Alien is the embodiment of our fears on what technology will become.
“Nostromo” is a simulated metaphor for Earth. The ship is vital for survival. In all its artificiality, it provides oxygen, sustenance, gravity, ‘eyes’ (screens), sleeping pods, space suits, as well as communication systems. Technology, adept at creating a substitute for Earth, by no means surpasses it. Kane moans, “I feel dead,” as he awakens from sleep, illustrating his discomfort. Parker exclaims “… the food ain’t that bad!” Evidently, “Nostromo” is seen as essential. Its integration has furthered humans’ dependency on technology, in which they can now not live without.
“Nostromo” is a vehicle towards a foreign existence. Through manipulation of the physical environment, it brings humans to a place where they were not meant to venture - space. The name of the ship originates from a book by Joseph Conrad, about a crew who haul ore out of a turbulent, foreign country. Upon discovering silver, they falter towards the corrupting influence of money. The parallels between the two texts are evident in their themes of exploring a foreign existence, where those blinded by riches fall to a tragic end. In the opening shots, we are plunged into endless black depths accommodating a myriad of stars. Scott achieves in removing our sense of security by suspending us in a ship exploring a lonely expanse. The camera pans the length of the battered exterior, encrusted by dark sludge, emphasising its extravagant, melancholic beauty. Inside, the camera explores the oily corridors of the engine rooms. The appearance of the “Nostromo” is reminiscent of the Alien, like technology masquerading an organism. In contrast, the living quarter’s distressed ivory walls inspire ideals of cleanliness and futurism. The ship is ambient with echoes of metallic clangings and unnatural squeals. As she slowly ‘awakes’, the systematic beeping, humming and whirring of computers orchestrate a composition of artificial sounds. These sounds create a nostalgic and claustrophobic atmosphere. Conclusively, “Nostromo” removes the human from natural habitation into an alien environment. This environment is the epitome of isolation, removed from life or anything familiar.
“Mother” is the formidable authoritative figure of “Nostromo”. Knowledge is power, and because of this, the crew have limited control over “Mother”. When Ripley, in desperation, attempts to abort the self-destruct, she calls out in vain. “Mother, I’ve turned off the cooling system. Mother? You bitch!” Various times, Dallas goes to “Mother” for help, only to be received with “does not compute”. She does what she likes. Her importance is reinforced through the flashing orange sirens that demand attention and the devotion Ash displays of her. Our inability to control our creations, and the possibility of our creations controlling us is a realistic fear. Scott’s portrayl of “mother” is that of an advancing threat.
We do not question a mother’s love. Society assumes that “mother knows best”. In accordance with SPECIAL ORDER 937, “Mother” intercepts the route of “Nostromo”, and brings the crew to the Alien. Or rather, to ‘face their fears’. “Mother” is associated with warmth, and this is exemplified in her room, which is illuminated with the orange glow of flashing memory banks. The perversity of a maternal computer is alien, when a mother is so readily associated with the natural.
The first law of robotics states that an android cannot harm a human or let a human be harmed. Ash, disguised as a science officer is a hidden threat. He admires the Alien, and under SPECIAL ORDER 937 he is to gather the specimen. His secretive nature and ambiguous demeanour are clues to his betrayal. After attempting to kill the crew, he is questioned about the Alien. “I can’t lie to you about you chances, but you do have my sympathies.” He grins evilly and Parker incinerated him with a flamethrower. The idea of artificial intelligence can be both creative and destructive. Ash was an alien.
The Alien is the embodiment of our fears on what technology will become. Scott takes advantage of our fears of monsters in the dark by using minimal lighting and deceitful shadows to create a haunting set. The Alien is likened to a parasite, infecting hosts with eggs. The underlying sexual themes include Kane’s pregnant-like incubation of the Alien and the phallic symbolism of the Alien’s large head. The motif of a line of horizontal blue light is used when the crew approached the Alien. Instances include the encounter of the derelict ship and as Dallas searched for the first Alien. Humans manipulate their environment through use of technology. The Alien is able to adapt to his environment by replacing his skin cells with silicon to protect against the elements. In the escape pod, he lies unnoticed and camouflaged among metal pipes. The Alien is presented as beyond human control. As the tagline suggests, “… what seven human beings are suffering from will soon, all too soon, be shared by us.”
“Alien” presents technology as alien - a threat, a means of isolation and bringer of our destruction. The message is that we must be wary of the acceleration of technology. Its eradication would cause widespread misery. The answer is that we must achieve a balance between the advancement of technology and the rate of human response.