On
Star Trek, African Americans were
underrepresented among guest actors, who were just as likely to be part-Asian
actresses like France Nuyen (Wikicommons)
Only
six years separate the production of Logan's
Run (1976) from that of Blade Runner
(1982), yet those intervening years form a watershed in how science fiction imagined
the future. The first movie depicts the year 2274. The setting is futuristic, and
the people so beautiful that one significant detail may go unnoticed. Eventually,
the penny drops—everyone is white! The future looks very different in the second
movie. We’re only in the year 2019, and whites are already a minority in Los
Angeles; indeed, if we exclude the replicants, there don't seem to be many left.
This
change in our imagined future is especially noticeable if we compare pre-1980
movies with post-1980 remakes. In The
Time Machine (1960), the future is inhabited by two races: the Eloi and the
Morlocks. Both are descended from present-day humans, but only the Eloi still
look human. Not only that, they have fair skin and blonde hair. It's the year
802701, and those folks are still around! The Eloi look a lot different in the
2002 remake: they are now a dark-skinned people of mixed Afro-Asian descent, in
contrast to the pale Morlocks. This physical difference is absent from the
original film and the book itself, which repeatedly describes the Eloi as
fair-skinned: "[I was] surrounded by an eddying mass of bright,
soft-colored robes and shining white limbs" (Wells, 1898, p. 24); "I
would watch for [Weena’s] tiny figure of white and gold" (Wells, 1898, p.41); "I looked at little Weena sleeping beside me, her face white and
starlike under the stars" (Wells, 1898, p. 57). In the remake, the only
people who look approximately white are the Über-Morlocks ... and they feed on
human flesh. A fair-skinned viewer would be torn between two conflicting
responses: a desire to identify with the Über-Morlocks as People Who Look Like
Me and a desire to hate them as morally worthless. This situation is almost the
reverse of the original story line: the Time Traveller is misled by the
familiar appearance of the Eloi and develops affection for them, even love,
only to realize that they are as different from him as the hideous Morlocks.
Even
before 1980, we see some awareness in sci-fi that whites would, one day, no
longer have societies of their own. Star
Trek (1966-1969) led the way in this direction; nonetheless, the ship’s
crew looks overwhelmingly white, partly because the American population was
still overwhelmingly white during those years and partly because of the small pool
of African American actors. Very few of the latter appear in guest roles, which
were just as often filled by part-Asian actresses like France Nuyen, born of a
Vietnamese father and a Roma mother (Elaan
of Troyius), or Barbara Luna, of mixed Filipino and European descent (Mirror, Mirror). This was the 1960s,
when antiracism was still taking shape and partly driven, apparently, by a desire
to see exotic-looking women.
All
the same, those years saw a general tendency to raise the visibility of African
Americans on both the big screen and the little screen. Sci-fi was no
exception, particularly by the 1980s. In the Alien series (1979, 1986, 1992), the casts are multiracial, although
whites still predominate. Just as significantly, the taboo against a non-white
killing a white is broken, albeit in a seemingly acceptable way:
In
Alien itself the representative of
the company is an android named Ash (something white) - he is a white man who
is not human. This is revealed when an African-American crew member pulls off
Ash's head: the black man reveals the nothingness of the white man and destroys
him by depriving him of his brain, the site of his spirit. The crew bring this
severed head back to temporary electronic life to find out how the alien can be
destroyed. He tells them that it is indestructible and one of the crew realizes
that he admires it. 'I admire its purity', he says, adding in a cut to an
extreme, intensifying close-up, 'unclouded by conscience, remorse or delusions
of morality.' Purity and absence of affect, the essence of the aspiration of
whiteness, said in a state of half-life by a white man who has never really
been alive anyway. (Dyer, 2000)
It
is really only with Blade Runner
(1982) that popular culture began to acknowledge the imminence of white demise.
We think of the 1980s as the Reagan Era, a time when White America pushed back
after a long retreat during the previous two decades. In reality, the retreat
picked up speed. The endgame was already apparent to anyone who gave it much
thought, like Blade Runner's
scriptwriters. Thus, in the year 2019, we see whites inhabiting a world that is
no longer theirs, with some like Sebastian living alone within the decaying
shell of their past—the grand but neglected building where most of the action
takes place. The least pathetic white is Rachael, a replicant. She also seems the
least WASP-looking with her dark hair and her family photos, which suggest
a southern European, Armenian, or Jewish origin. The photos themselves are a
lie—like the loner Deckard she has no real collective identity, but she does
have an imagined one.
We
now come to a common theme of love stories: how a fallen man is redeemed by the
love of a woman. Here, the fallen man is Deckard—a remnant of a White America
in terminal decline. The woman is Rachael, who wants to give him a future of
love, marriage, and family, even though this prospect is no more viable than
her own imaginary past.
Rachael
offers the possibility of developing true emotions [...] The two dark 'whites'
[Rachael and Gaff] offer something definite, real, physical to the nothingness
of the indifferently fair white man. In the first version, Deckard and Rachael
escape, the film ending with a lyrical (if naff) flight away from Los Angeles
and perhaps Earth: the dark woman's discovery of true feeling (she weeps)
redeems the fair - truly white - man's emptiness. This ending is absent from
the 'director's cut'; the dark woman cannot redeem the fair man (Dyer, 2000)
Blade Runner is a film noir
with no happy ending in the traditional sense. Even if the two of them did
escape to build a life together, it's hard to see how this new life could
evolve into anything more than two deracinated individuals with no past and no
clear future. Can Rachael have children? Doubtful. It's also doubtful whether
Deckard would want to settle down and become a family man. What would he do to
support a family? Go back to hunting replicants?
The
film does not address these questions. Nor should it. Whether you are for or
against, white demise is something to be addressed collectively, and not at the
level of individuals. This point is made in the writings of Richard Dyer and
other postmodernists who welcome a future of collective death and feel that
whites should come to terms with it:
Whites
often seem to have a special relation with death, to yearn for it but also to
bring it to others. [...] I have been wary of dwelling on the fearfulness - sometimes
horrible, sometimes bleak - of the white association with death. To do so risks
making whites look tragic and sad and thus comes perilously close to a
'me-too', 'we're oppressed', 'poor us' position that seems to equalise
suffering, to ignore that active role of whites in promulgating inequality and
suffering. It could easily be taken as giving us a let-out from acknowledging
the privilege and effortless power of even the most lowly of those designated
as white. Yet, if the white association with death is the logical outcome of
the way in which whites have had power, then perhaps recognition of our
deathliness may be the one thing that will make us relinquish it.
This
sounds ominous. It strangely resembles what some people wrote in the 19th
century about the disappearing American Indian and the disappearing Australian
Aborigines. It was all for the best, some argued. As "savages"
declined in numbers and disappeared, their lands would be resettled and better
societies created. Today, whites are being seen in this light. Their departure
from existence will purportedly bring an end to inequality and suffering, thus
making the world a better place.
So
goes the narrative, and few seem to be challenging it, no matter how outrageous
it becomes.
Conclusion
Imagined
reality often foretells the real thing—not because the imaginers have a special
knack for prediction, but because they end up playing an active role in shaping
the future. The death of White America was already being imagined over three
decades ago by people who, ultimately, had become reconciled to that fate and even
looked forward to it. Moreover, this endgame seems to have struck a responsive
chord among the public. As Dyer (2000) argues, "the death of whiteness is,
as far as white identity goes, the cultural dominant of our times, that we
really do feel we're played out."
References
King,
C.R. and D.J. Leonard. (2004). Is neo white? Reading race, watching the
trilogy, in M. Kapell and W.G. Doty (eds). Jacking
in to the Matrix Franchise: cultural reception and interpretation, (pp.
32-46), A&C Black.
https://books.google.ca/books?id=ETf0her6UDgC&printsec=frontcover&hl=fr&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Dyer,
R. (2000). Whites are nothing: Whiteness, representation and death, in I.
Santaolalla (ed.) "New"
Exoticisms: Changing Patterns in the Construction of Otherness, (pp.
135-155), Rodopi
https://books.google.ca/books?id=ew0q5AxMfkEC&printsec=frontcover&hl=fr&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Wells,
H.G. (1898). The Time Machine, online
edition
http://www.literaturepage.com/read/thetimemachine.html
4 comments:
Enjoy eating fruit bats with ebola then asshole. Without Whites the ants will rule the Earth and the other primordial hominoid refuse that pollutes the World have not a snowball's chance in Hell of survival without White technology and innovation.
This is your best essay and I enjoyed reading it.
Logan's Run is White because up to that point everything was white. You couldnt find a movie or book with non-European characters, there was nothing outside of Western civilization. That is how it was. Hard to imagine it now.
Regarding Blade Runner, Whites have abandoned Earth and migrated to outworld colonies. Only unfit Whites like Sebastian and the police force remain in Los Angeles. And Third World immigrants. Elysium shows the same ravaged Earth with mixed colored population, with whites escaping to a garden city in the sky. Here, Los Angeles is a Mexican refuse dump.
[Laughs] the white race is observably not declining, and science fiction books/programs was merely playing social catch-up in acknowledging that different races exist and are able to co-exist. If anything, it also demonstrated that while the white race built societies, it tore others down in the process. Because superiority.
Time Machine isn't the only remake which changed the colour of it's cast, 1,000,000 years BC (with Raquel Welsh) was remade into 10,000 BC (directed by Roland Emmerich) which had a mainly mulatto casting:
http://en.wikipedia.org/wiki/10,000_BC_(film)
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