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.”


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:


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


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


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


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:


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:


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


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:

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


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:


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.

The Colour Out of Space Opera: What is structuralist anthropology, and why should I care?

So, to recap: this is a blog post series, based on a 60-minute talk I gave in 2018, on how designers working on space operas secretly use structuralist anthropological concepts to establish character and mood quickly and unobtrusively, and to differentiate locations easily. You can read the introduction here.

51uTBkmKh2L._SX311_BO1,204,203,200_By this point, a few people are probably asking what “structuralist anthropology” is, and, yes, why it’s at all relevant. So: this post will be the quick-and-dirty, oversimplifying, explanation (if you want longer and more complicated, I recommend Claude Levi-Strauss’ Structural Anthropology, Edmund Leach’s Social Anthropology, Needham’s introduction to his edited volume Right And Left, and Pierre Bourdieu’s essay The Berber House. Yes, there are a lot of French names there– the reason will become obvious in a second. Please also note that the use of Amazon links is indicative only– I’d encourage you to use your local library if you can).

Structuralist anthropology emerged in the 1950s, initially in France (see my recommended reading list above), but with the UK and other places (such as India and South Africa) following close behind (what about North America? While it wasn’t uninfluential, at the time the US and Canada were largely dominated by an emerging culturalist anthropology developed from the works of Franz Boas and his student Ruth Benedict, so took a slightly different approach. Again, longer and more complicated).

The defining characteristic of structuralist anthropology is, essentially, the idea that culture is sort of like language: that people have cultural traits, but underlying these is a sort of “grammar”, which informs the ways in which people possess and express these traits. The initial idea the structuralists had was to drill down through these and identify what’s universal to all humans. While they did identify some things that seem to be common to all human cultures, the problem was that they were expressed differently, sometimes quite radically differently, all over the place: for instance, marriage, as an institution, is arguably universal, but the idea that “marriage is always (or even usually) between one man and one woman” is wrong, dead wrong, and the idea that every person in a given society should, ideally, be married, is also not a given.

Eventually, having figured this out, the structuralists instead wound up focusing on comparison and context: looking at the different ways different cultures address the issues humans face around the world, though without losing sight of the initial premise about culture as a kind of language, with an underlying grammar.

One key point to raise here is the idea of binary oppositions. Structuralists fairly rapidly turned up the fact that human societies love developing informal classifying systems (what we call “native categories”, and incidentally I’ve written about this too), which often revolve around oppositions between categories: nature-culture, raw-cooked, female-male, left-right, yin-yang, etc. But again: this is complicated and problematic, and these binary systems are far from universally expressed or interpreted (“left”, for instance, is “sinister” in the UK, but “sacred” in Japan). Many of my readers might find that list I just gave familiar and even self-evident, but that’s because my blog stats show most of you are from the UK and the USA, or secondarily from Australia and Canada, where all of those are, well, your native categories.

See how this works?41B4G4DQ8ZL._SX294_BO1,204,203,200_

An example from the literature is the idea, analysed in an essay by Sherry Ortner, that “Female is to Male as Nature is to Culture”: this spawned an entire (very good) edited volume by Carol McCormack and postmodernist living legend Marilyn Strathern, coming to the conclusion that this wasn’t universal, and, even in places where it is, the meanings of “nature” and “culture” and their symbolic relationships to gender aren’t necessarily the same. Furthermore, that it changes over time: what European people in the 18th century understood by making that sort of opposition isn’t what Europeans mean now.

What has all this got to do with space opera? Hang on to your tricorders, we’re going back in….


The Colour Out Of Space Opera: What Is A Space Opera?

The following blog post series is based on a talk I gave at Eastercon in 2018. While normally the talks I give at conventions usually wind up becoming either academic papers or magazine/fanzine articles, this one involves way too much visual content– videos, photos, links to outside sites– to work in this format. However, including visual content and meta-content is of course what blogs do best.

If you’re interested, you can watch a video of the full talk here, and before I begin I would like to thank Caroline Mullan for asking me to give it, and Tony Keen for coming up with the title.

The subject of this series is the use of colour in space opera, and how colour and style are used to cue and direct the viewer, even without them necessarily realising it. According to structuralist anthropology, humans tend to view the world, unconsciously, according to certain classification systems (e.g. nature versus culture, raw versus cooked…), and the colours used in many space operas need direct our minds in certain ways.


For the present purposes, I’ll be defining space opera as an ongoing series based on or around a spaceship and its travels. If all television series are, to paraphrase the old saying, either Gilligan’s Island or The Fugitive, then space operas are the SF version of The Fugitive: rather than waiting in one place for the action to come to them, the protagonists go to where the action is. This a bit of a rough-and-ready working definition, as there are certain series, like Babylon 5 and Star Trek: Deep Space Nine, which tend to get considered “space opera” despite being based on and around a space station. However, in some ways they are exceptions which prove the rule: DS9 is not only part of a wider, more conventionally space-operatic, franchise, but after the introduction of the Defiant it fits much more in a space-opera mould, whereas Babylon 5, by virtue of being an epic saga spanning multiple star systems, manages to get the distance aspect as well.

My examples here will mainly draw on Star Trek, Blake’s 7 and Battlestar GalacticaStar Trek is in some ways the archetypical space opera; as for the latter two, as well as representing some of the different directions space opera can go in, they are also series that I know something about, having written a book or two on them (that was the word from our sponsor. We can now resume the programme).

The nature of space opera has certain knock-on effects on production. One of them is the need to establish character fairly quickly and easily for anyone new coming in (particularly for programmes like original Star Trek, which don’t follow a story-arc structure but are made up of mostly stand-alone episodes), and even for regulars (as space operas tend to have constantly-changing guest casts). Mood also has to be established quickly, and not too blatantly.

The other main point is that you need to differentiate locations easily and cheaply. If a series is going to a different planet almost every week, building a whole new set is out of the budget even for a series like original Battlestar Galactica (at the time the most expensive television programme ever made). Locations tend to be affected by geographic proximity: you want to film somewhere within easy commuting distance of the studio (hence the frequent use of Vasquez Rocks in Star Trek, original Battlestar Galactica and other California-made series, and Kamloops in the 2003-10 Vancouver-made Battlestar Galactica).

Given this, it’s not too surprising that colours are frequently used to establish character and mood, and to turn a small number of sets and locations into a dazzling array of new planets.

Next post, I’ll be giving you a brief guide to what structuralist anthropology is, and what it’s got to say about all this.