Last night, I re-viewed George Lucas’ “THX-1138” (for the 20th time), and paired it with Phillip Noyce’s 2014 film treatment of “The Giver”. Both films portray differing versions of what I like to call the “escape trope” in science fiction dystopias: the main character’s whole motivation is to leave his society. In the first, THX is rejected by the dead society within which he is trapped in an unremarkable role, as soon as he is discovered to be non-compliant.
INTRODUCTION The film “2001: A Space Odyssey” is one of the best-known science fiction classics of all time. Over the decades since its initial release, this close collaboration between Stanley Kubrick and Arthur C. Clarke has become a focus of study for film students, philosophers, and futurists. Attention tends to center on Kubrick’s depictions of space travel and its impact on human life, or on Clarke’s exploration of questions like the nature of consciousness and the ontological conundrums raised in the film’s unique climax and conclusion.