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1998.
13

STUDIES AND RESEARCH

Aliens — An Interpretation

An interpretative study of Carpenter’s film Aliens

Anti-utopian-SF-action-horror film Aliens (skillfully directed by James Cameron) is not merely a sequel, second part of a series, but also a completed and complete work of art. A classical tradition of film storytelling, several genre and sub-genre paradigms, as well as director’s authorial interests have masterfully been melted into a single compact and ingeniously crafted structure, additionally supported by numerous elements developed on the basis of the film’s predecessor, Ridley Scott’s Alien.

First scenes of this sequel contain more or less all significant situations and motifs developed in the rest of the story, as well as the code, instructions for viewing. The viewer is therefore privileged by a deep insight into the nature of the film’s world and the destiny the characters can hope for. The heroin’s titanic combat thus becomes dramatic expression of her human loneliness. Furthermore, the convention of false happy ending not only supplies all the semantic potential and emotional impact it had in its horror genre origins, but is also an important segment of the narrative mechanism, creating the world of terrible and inevitable necessities.

However, Aliens is still a part of the serial that fuses some elements of genre, authorial and other structures into a new whole, only partially susceptible to the analytical procedures of authorial policy and genre criticism. In instances like this, we could talk of »series criticism« as being an analytical paradigm equal to the above mentioned. Needless to say, the essence of a great work of art (such as Aliens) can only partially be grasped by any single analytical procedure.



Nikica Gilić

Three Colors — Blue
SF in the Fifties
Peeping Toms

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