The Colour Out of Space Opera Part Five: Blake’s 7 and the Colour Coded Universe

Welcome back to The Colour Out of Space Opera, a serial essay on colour symbolism, structuralism, and their uses in space opera television series (links to parts one, two, three and four for those of you just joining us).

This instalment: Blake’s 7. Like original Star Wars, and both series of Battlestar Galactica, there’s a clear nature/culture divide. Because it’s 1978, we get organic, warm nature on the side of our protagonists (they’re not exactly heroic), with their partly-living ship and green-clad leader:

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And cool, technological culture is on the side of our antagonists, with a minimalist aesthetic straight out of Gary Numan’s stage performances:

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In Season Four, our heroes take on a more technical/cultural aesthetic (more on why next episode) but it’s worth noting that they still keep touches of nature symbolism, for instance the lush houseplants around Xenon Base:

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What Blake’s 7 also does, though, is something else you see colour doing in space operas. Take a look at this picture from Forbidden Planet, and see if you can tell, based on it, anything at all about the characters’ individual jobs:

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Apart from the man at third from left, who’s clearly the cook (and also, just as clearly, going to be the comedy figure), nothing. You can’t tell at a glance who’s the doctor, who’s the captain, who’s the engineer, whatever. Which is problematic enough in Forbidden Planet, where your audience only has to keep everyone straight for ninety minutes, but it’s likely to be absolute murder for a television space opera, where casual and intermittent viewers will be tuning in all the time, and to keep them from tuning out again just as quickly, you need an easy way of differentiating characters and jobs. But you also can’t make it obvious and laboured, or you’ll alienate your regular viewers. Hence:

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With the addition of a simple colour palette, it’s plain just from looking at the picture that we’ve got three groups of people, differentiated somehow, but probably by function. After a few minutes of watching, viewers should be able to have a rough idea of what the classifications are (blue is science/medicine; yellow for command and navigation; red for engineering and getting shot at by aliens). Regular viewers, though, aren’t being constantly whacked over the head with the distinctions. Much better.

Blake’s 7 used this sort of device to differentiate its human characters according to the functions and emotions we associate with different colours. Take a look at Season One’s space-anorak getups: dark green for our Space Robin Hood, Blake; paler green for telepathic nature-girl Cally; brown for earthy strongman Gan; pink for femme-fatale Jenna; blue for computer-expert sociopath Avon (not pictured: Vila, the comedy thief, in orange):

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Later, when June Hudson takes over, she eschews the colour-palette symbolism, but does much the same sort of thing using clothing styles. Spot the Robin Hood, the femme fatale, the strongman, the telepath, the comedy thief, and the sociopath:

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Finally, in the Season Three surrealist tour-de-force Sarcophagus, the characters’ alignment with their archetypes (musician, magician, priestess, warrior and death-bringer) is again symbolised through their colours:

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Blake’s 7 does something else with colour and costume, though, which we’ll look more closely at next episode.

The Colour out of Space Opera Part Four: Nature/Culture in Battlestar Galactica

Welcome back to The Colour Out of Space Opera! It’s been a while since the last instalment in the series (sorry, it’s been a very busy summer for writing things, as you may have noticed), so if you need to get up to speed again, here are links to part one, two, and three.

This episode, I’m going to follow on from the discussion of Star Wars, and explore how nature/culture imagery is used in the costuming and styling of Battlestar Galactica and its spinoff Caprica.

Before I do, though: reader Taz, from AO3, messaged me with a very good question based on last instalment, namely, why is Palpatine’s dominant colour  purple?
My reply:

“Characters mixing red and blue are usually in an ambivalent relationship between rationality and emotion. Palpatine is himself rational, but he incites others to destructive rage— Anakin first, and later Luke.”

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More on this later in the series…

Anyway. Battlestar Galactica, like Star Wars and Firefly, references nature and culture in the way it styles its heroes and villains. This is not unexpected (while it’s not fair to call original BSG a ripoff of Star Wars, as some of its contemporary detractors did, it was certainly made with one eye on the popularity of a certain space-opera movie). What’s different, though, is that BSG does this less through colour than through styling. Our Colonial heroes’ closeness to nature is represented through clothing that evokes nature: warm earth-tones for flight uniforms and medical staff, silver and gold-trimmed dark blue velvet (evoking the night sky) for bridge personnel:

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Meanwhile, the Cylon bad guys are all culture, being mostly chrome and lights:

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And our ambivalent characters? Baltar, the human traitor, dons a Cylon-like helmet in “The Living Legend”,

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echoed in the uniforms of the humanoid Cylons in the Galactica 1980 story “The Night the Cylons Landed”:

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While cute cyborg-dog Muffit is a mix of natural fur and cultural metal, hinting that the humans and Cylons may not have as many differences as they think:

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The reimagined series picks up on this, giving us Colonials in green uniforms with lizard-like elements (which picks up on the idea that the Cylons, in the original series, were once a reptile race), and warm orange tones for the technical crew:

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While the interior of the Cylon basestars is again all minimalist decor and blinking lights:

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And yes, these elements do blend repeatedly. For instance the Battlestar itself has a retro-technological look, while the Cylons’ attack ships are literally natural, being intelligent animals armoured and sent out into space. Some of the Cylons (e.g. Leoben) wear natural fabrics and colours, while some of the humans’ palettes skew the other way (e.g. Gaeta). However, since the point of the series is to get the viewer questioning where the boundaries between human and Cylon are, if indeed there are any meaningful boundaries at all, this is to good effect.

Which brings us to the prequel series Caprica. In this series, nature and culture imagery, and indeed colours, are used throughout. The most obvious way is by differentiating the cool, technological world of the Graystone family:

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from the organic, emotional and violent life of the Adama family:

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However, it also does something more subtle. Watch how colour is used in the title sequence (go on, it’s only 45 seconds, I’ll wait):

Note that, in the title sequence, blue-grey, cultural, colours are used for both families. The point at which the reds and greens start to come in is when the viewer enters the online world. This sets up the subtext of Caprica itself as a repressed, restrained society, which, like Morbius in Forbidden Planet, is possessed of a dangerous, roiling id under the surface.

Finally, on that score, note the advert for Caprica Season two:

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The Temptation of Eve imagery is fairly obvious. Perhaps slightly less obvious is that Zoe, as Eve, is a cyborg woman represented in technological colours– biting into a very natural, and very red, apple. The threat to order in Caprica isn’t the Cylons: it’s their own repressed id.

Next episode: a different take on nature, culture and colour, with reference to classic British space opera Blake’s 7.

Royal Geographic Society Presentation: Doctor Who, The Mutants, and Postcolonialism

As well as presenting a paper at Worldcon last month, I also got to present one at the Royal Geographic Society’s annual conference, on Doctor Who’s serial “The Mutants” and its take on postcolonialism– a rare instance of a 1970s serial being post- rather than anti- colonial.

I’ve uploaded the draft paper to Academia.edu as usual; I couldn’t really record it this time, so there’s no accompanying video, sorry.

 

Worldcon Presentation: Colonialism in The Terror

I’m back! Between attending Worldcon, attending the Royal Geographical Society conference and teaching in Singapore, I’ve been busy of late. As a start on updating you on my activities, I include a video of me presenting my paper “Comparing Colonialisms in The Terror“, contrasting the treatment of colonialism in Dan Simmons’ 2008 novel and AMC’s 2018 adaptation. You can read the draft paper on my Academia.edu site here.