Comm145i Rhetorical Criticism – Case Study Topic Choice Worksheet

This case study must study one visual medium (i.television, film, literature). You will select one culture that is depicted in this medium.   You will want to study one genre of popular culture in order to look for influential symbols, characters, messages etc.

I am going to be broad in how we define the culture here: gender-specific (Pick one stereotype), racial-specific (Pick one stereotype), roles of mothers or fathers, professions (teachers, cops, doctors, etc), veterans, people with limited abilities, social classes, religious groups, LGBTQ, Blondes, French Artists, British Spies (ok maybe off track but also have some fun with it – the goal is to examine how the media portrays a specific group of individuals)

Prohibited topics: Disney Films, Teen culture, Romantic Comedies – These are too common.

Once you have picked your culture then you need to come up with a research question that narrowly tailors your point of focus. This question will be answered at the end of your study.

Previous examples of successful questions:

How have the traits of surviving female “Damsels” protagonists in horror movies changed from decade to decade?

How do female sports comedies place a woman in a position of power even when coached by male figures? (Female Athlete vs Male Coach)

How has the film industry represented the value of power and success in royal figures in modern-day periodical pieces?

How has the film industry represented patriotic war heroes in Western Films?

Comm 145I Case Study Topic Choice Worksheet
Step 1: Identify a Research Question that will be answered by the end of conducting your
study. Please note that a strong research question looks at a narrowed culture and studies
one aspect, character trait, theme or message that the media is using to portray that
culture.
Write question here:
Step 2: Please list 4 films, television shows, comics or literature books that you will study
to answer your research question above. Please note you will need to gain access to these
four artifacts on your own so think ahead. You will need to watch/read to answer your
research question. It works best to stay consistent with one medium (i.e. only films or
comics etc)
Artifact names:
1.
2.
3.
4.
Step 3: You will need to study the artifacts consistently so that each is looked at in the
same way as one another. To do that you need to create some guiding questions. When you
watch/read the artifacts you will use the same questions and therefore can draw accurate
comparisons.
Please list at least 5 guiding questions. If you need a sample Problem Set 5 asks to do this
by posing the guiding questions for you.
Guiding Question1:
Guiding Question 2:
Guiding Question 3:
Guiding Question 4:
Guiding Question 5:
Step 4: To make this paper theoretical you will need to apply two of the theories we have
studied in this class. You will look at the artifacts in two ways. You may rely on any of the
theories discussed in the textbook or in our class.
Check the two theories you will be using:
___Social Context
____ Narrative
___Feminist
____ Marxist/Dominant Ideology
___ Agenda Setting
____ Cultural Identity
___ Muted Group
____ Other from textbook (Please list)
1
Running head: I AM YOUR FATHER
I Am Your Father: A Review of the
Father-Son Relationship in Science Fiction Film
San Jose State University
COMM 145I Section 80
Professor Gina Firenzi
December 6, 2018
Abstract
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I AM YOUR FATHER
This case study reviews 4 series of science-fiction films: Back to the Future, After Earth, the Star
Wars trilogy, and the Harry Potter movie series. The films were reviewed to monitor the
narrative and ideology characteristic messages portrayed within the cinematic relationships
between fathers and sons. Upon reviewing the narratives, it is clear that the films all depict a
pre-established relationship struggle, resulting in the sons aiming to bridge the interrelation with
their father. The sci-fi father is portrayed as an anti-model due to an emotional moral gap with
the audience, yet, is commonly characterized as the dominant role. This status of power
continuously exemplifies the objective, once met in the storyline, creating both meaning to the
resolution and providing empathetic closure between father and son, which the audience can
relate to.
I Am Your Father: A Review of the
3
I AM YOUR FATHER
Father-Son Relationship in Science Fiction Film
Filmmakers are frequently sending messages of a diminished connection between the
father-and-son relationships within sci-fi movies. The consistent narrative centralized around the
son and their disregarding powerfully characterized father, depicts the struggle many adolescents
feel like they face in real-world comparisons. Various studies have been conducted on how
science-fiction film contributes to learning, emotion, perception, and understanding of real-world
circumstances and definitions. However, these case studies have failed to address the effects of
relationship foundation messages within these films. Thus, this case study aims to establish the
initial groundwork of narrative and dominant ideology themes being perceived by the audience
from these on-screen father-and-son relationships.
Context
Artifact 1: The Star Wars trilogy – Star Wars (1977-1983)
As the center of this case study focuses on the representation of the father and son
relationships in modern sci-fi movies, I felt it was appropriate to review one of the most
significant relationships in sci-fi history. The relationship between Darth Vader and Luke
Skywalker depicts an important underlining narrative as it moves from an estranged relationship
of opposite beliefs to an enlightenment of compassion and goodwill. Coming out in 1977,
creator George Lucas aimed to target an audience of 12-14-year olds, however, it was also
designed to appeal to an audience of all ages.
Artifact 2: Back to the Future (1985)
This movie artifact was chosen because it was one of the popular blockbusters of the 20th
century that helped to modernize and popularize sci-fi movies. As part of the narrative, was an
important display of how the main character, Marty McFly, viewed his father and their
4
I AM YOUR FATHER
relationship. By time traveling, Marty was able to grasp an understanding of how his father
came to be the person he was today. This significance is important as we review the
representation between father and son, allowing us to dissect the teenager mentality portrayed in
film. Likewise, the film had a target audience of teenagers and young adults.
Artifact 3: Harry Potter Series (2001-2011)
This artifact of the case study is going to be reviewed for the relationship of two
characters, Draco Malfoy and his father, Lucius Malfoy. I found it interesting the sacrifice and
depths a person will go through to satisfy their family member. In the films, both father and son
sought social and political advancement and went to different depths to achieve such a status.
Although each’s agenda was different, it is important to understand the significance of reasoning
and persuasion. The films had a target audience of 9-12-year olds and teenagers but because of
its popularity, the artifact has resulted in appealing to all ages.
Artifact 4: After Earth (2013)
This artifact was chosen for review because of its substance in relation to the importance
of recognizing relationship faults. Kitai grew up under vast pressure to follow in his father,
General Cypher Raige’s, footsteps. Recognizing a vast void in their relationship they encounter
a life-threatening experience together. This encounter puts their trust in one another through an
excruciating test for survival. It’s important to view how environment and personal recognition
shape changes in relationships. The target audience of the movies is directed at males between
12-17 years of age.
Literature Review
I AM YOUR FATHER
5
The marriage of science and fictional storylines have resulted in the birth of a populous
film genre known as science-fiction, or sci-fi for short. The widespread emergence of the film
genre continues to capture audience attention in our society. With the advancement of
technology this increased audience engagement has prompted researchers to begin reviewing
rhetorical components of the film genre.
One particular study conducted by Barriga, Shapiro, and Fernandez (2010), experimented
on the impact of science-based movies and their audiences. Participants were shown four movie
clips, each containing two incorrect science facts. Subjects were then presented with a series of
questions pertaining to the realism of science facts. The study concluded that participants
displayed a higher level of confidence pertaining to science related questions when they
perceived an understanding within a centralized component of the movie’s plot (Barriga,
Shapiro, & Fernandez, 2010). The study enlightened the groundwork for an established
relationship between science fiction and real-world beliefs. When reviewing the relationship
component, my findings correlate with this notion. I found audiences reach a definitive
connection between character relationships when the relationship is a centralized portion of the
plot.
In another study, Young and Carpenter (2018) reviewed the relationship of exposure
between science fiction films and public attitudes. Exploring public opinion on developing
robotic weapons and connecting respondent familiarity with science fiction movies, the
researchers statistically concluded a connection. “The more sci-fi one consumes, either as a
simple count of franchise consumption or relative to consumption with other popular culture
artifacts, the likelier one is to oppose autonomous weapons” (Young & Carpenter, 2018). Again,
we witness a science fiction film displaying a correlation of artifact relationships, however, there
I AM YOUR FATHER
6
is also an interpretation of messages which contributes to enhancing the connection. While most
of the research is targeting an artifact connection, it is apparent that personal relationships can
also be intertwined into similar outcomes. The research states, “There are a range of factors that
we can control for which may likely influence an individuals’ attitude” (Young & Carpenter,
2018). This framing is closely related to my study of relationships across the science fiction
genre. Particularly when cross-examining the films, relationship artifacts become more
noticeable and distinguished trends within our case study.
Simis et al. (2015) conducted a study shaped around audience perception pertaining to
gender related roles of scientists in science fiction movies. As I have found within the case
study, a rhetorical review of portrayals is distorted and inconsistent in science fiction film.
Research analysis revealed, “Audiences find a woman scientist in a stereotypically maledominated field (like experimental physics) plausible” (Simis et al., 2015). As opposed to male
counterparts, the atypical portrayal of females was more believable in regard to perception and
key role indicators received by the audience. This study embellishes the gender related
relationship portrayals which sci-fi film makers choose to rhetorically exemplify in their work in
order to engage and build credibility with their audience. More so, it is interesting how such
gender related portrayals contribute to how sci-fi storylines are shaped; pertaining to male
relationships and their character development.
According to Ozturk (2018), “Science-fiction movies can be used as a teaching tool due
to their entertaining nature and their reflection on the relations between science, technology, and
society” (p. 1577). By analyzing the audience’s understanding and receptiveness to film,
research can take personal differences into consideration and create productive content. The data
from Ozturk’s study found that because of the vast reflections which science-fiction movies
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I AM YOUR FATHER
include, there is a positive impact on learning processes (Ozturk, 2018). He even suggests
teachers integrate science fiction film into curriculums, describing, “Plan classes to create a
fertile ground for teacher candidates to try new things to increase their self-efficacy perceptions”
(Ozturk, 2018). Finding that technological advances in sci-fi film can assist in strengthening
interpersonal relationships is parallel with what my case study concluded. The idea solidifies
that science fiction can create and shape value from its depicted personal relationships,
particularly in this study as we follow the father and son relationship.
Although previous research lacks the redundancy of directly analyzing trends of direct
rhetorical review of characterization and relationship portrayal, it is quite apparent we can
interpret a connection. Reviewing the studies, we witness a correlation between science fiction
film and real-life perception. We also solidify a link of values being inhibited through rhetorical
messages. Yet, there is a need for additional studies to address a review of personal and
emotional relationship messages in sci-fi movies. It is ideal we signify additional in-depth
rhetorical analysis with these on-screen relationships and the audience’s interpretation of the
messages.
Findings
Case Study Part 1: The Relationship Narrative Between Father-and-Son
Reviewing the relationship cannons between father and son from within the concept
themes of the artifacts, reveals a common narrative theme from all four films. First, it is openly
depicted for the portrayed son character to headline a more dominant role in the film from which
the relationship plot is centralized. Thus, we view the relationship shaping from the son’s
perspective-point. Back to the Future depicts this in great detail. Although Marty McFly’s
father, George McFly, obtains a centralized role well into the film; as Marty trails his adolescent
I AM YOUR FATHER
8
father back in time, it is Marty’s interpretation of George’s character which we see displayed.
Similarly, Draco Malfoy in Harry Potter, exemplifies this concept theme. His father Lucius
Malfoy is a main villain in the films, yet it is Draco whom portrays the primary centralized
character of the two. Again, in After Earth, although the storyline equally involves both Kitai
and his father General Cypher Raige, it is Kitai’s inhibitions which become the main focus of the
film. Now, some may argue the Star Wars trilogy does not follow this same centralization, as
Darth Vader carried such a vast and dominant role, even spilling over to become an iconic
symbol is our cultural society. However, the lack of centralization was apparent as Kottke notes,
“Darth Vader was only on screen in the original Star Wars movie for 8 minutes and for a little
under 34 minutes in the whole original trilogy” (Kottke, 2018). This emphasizes how Luke
Skywalker, along with the other son roles, was central to the relationship narrative.
When surveying the film artifacts, we also find a common ground pertaining to the
arrangement of the narrative. Each piece reflects a storyline which aims to unearths the son’s
struggles to satisfy the relationship. After learning that Darth Vader is his father in The Empire
Strikes Back, Luke carries this burdened grief to the next series, Return of the Jedi. Even while
Darth Vader attempts to kill him through a heated exchange of a light saber battle, Luke pleads,
“Search your feelings, father. You can’t do this, I feel the conflict in you. Let go of your hate”
(Lucas & Marquand, 1983). In similar fashion, while time traveling in Back to the Future, Marty
encounters his father’s teenage self and begins to understand the reasoning for what develops
into George’s push-over ways as an adult. Even though there was not a present relationship
struggle, Marty excavated compassion witnessing his dad’s weaknesses in adolescence. This
contributed to the persistence to keep his family intact and solidify his father’s fate. Marty
eventually manipulates history, resulting in allowing George to be the confident and strong
I AM YOUR FATHER
9
fatherly figure he needed. We see signs of the same nature in Harry Potter and After Earth, as
both narratives follow the struggle of the son attempting to follow their father’s footsteps in
search of acceptance from their respective predecessor. Kitai is able to achieve this by
overcoming the burden of disappointment that follows him, earning his father’s undoubted
acceptance as an equal in their relationship. Similarly, although Draco initially fails his own
mission of killing Hogwart headmaster, Albus Dumbledore, as he struggles with the hardship of
the deed. The hit is eventually carried out and even though Draco bears the aftermath of
conflictions, in his father’s eyes he has fulfilled his duty.
With the acceptance of George McFly’s quirky fatherly character in Back to the Future,
the style of the fatherly narrative from the sci-fi films can be witnessed as offensive. These
character origins display messages of being stern, direct, and cold within their character
presentation and points of views. Darth Vader and Lucius Malfoy both don mysteriously dark
wardrobes with a personality to match. The same cloudy personality with unwelcoming
politicizing views is found in Cypher from After Earth. The messages of hidden personal
conflicts from within these father characters contributes to their on-screen character displays of
uninvited attributes. The storylines support their offensiveness as a vulnerability struggle, with
each of the three characters similarly suppressing their inner-conflicts throughout the plot.
A final component to the father-son narrative reveals a delivery pattern shown to be
influential and essential to the on-screen relationship in sci-fi films. The production editing of
the artifacts, both in the narrative and the spacing, constantly reflects a void between the father
and son. All four films affirm a lack of initial connection within the father-son relationship.
This is exemplified in the on-screen spacing of the characters. There is no physical embracement
between the father and son, until an objective is met. In Star Wars, that objective is Darth Vader
I AM YOUR FATHER
10
saving Luke and killing Darth Sidious, then requesting to see his son with his own eyes before
his death. In After Earth, only after Kitai defeats the Ursa, is he then embraced by his proud
father. In Back to the Future, Marty McFly witnesses the affection shared by his “new” parents
and immediately attempts to mimic the same loving nature with his own girlfriend, Jennifer.
Draco may never have felt this physical embracement from Lucius during Harry Potter,
however, we witness his behaviors only being executed with hopes to accomplish such views of
pride from his father. Audiences themselves, embrace the overcoming of these objectives, as it’s
fulfilling to witness father and son achieve resolution. Unfortunately, such a fulfillment is
portrayed as necessary in order to establish a solidified father-son connection.
Case Study Part 2: How the Characterization of the Father Contributes to a Marxist
Perspective
The role and characterization of the father amongst the science fiction films, carries a
familiar identification in the portrayals. As the previous case study unveiled, being that the
narrative seems to follow the son character, we commonly identity with the son as one of “us.”
Hence, we then begin to view the character of the father as one of “them.” Such an identification
surrounds the role of the father as an anti-model, based on the course of the narrative alone.
However, we commonly witness greater attributes contributing to this anti-model figure.
George’s personification in Back to the Future relays a corky and dim-witted character onscreen. Lucius Malfoy and Darth Vader, in their respective roles, display evil and malicious
characteristics. Cypher, in After Earth, shows signs of deep arrogance and overbearing
militaristic actions. All of these characterization components are nothing the audience wants to
be mimic and thus, the role within the artifacts pushes viewers away from the fatherly figure as
they seek other models, primarily the sons, to want to be like.
I AM YOUR FATHER
11
Although the audience commonly establishes an anti-model interpretation of the sciencefiction father, there is an emphasis on the power which the father typically holds. Such
economic power elevates the father’s status within the films. Now, this power was not initially
introduced in Back to the Future, yet, by the end of the movie it was prominent that George had
solidified such a feat. As an accomplished man, George entered his house, flipping off his
designer sunglasses and tennis attire, eventually scolding orders to his previous nemesis, Biff,
about properly waxing the family sports car. Similarly, Darth Vader was a well-known
apprentice to the highest ranking Sith Lord in Star Wars, aiming to single-handedly rule the
galaxy. In the same fashion, Lucius was right hand to the primary villain of the Harry Potter
series, Lord Voldemort, inciting fear wherever he went because of his association and political
power. Yet again, Cypher, the leader of the United Ranger Corps, held a prominent military
status among his civilization in After Earth, resulting in an idolization for him. Due to the
emphasis of power among the roles of the fathers, dominance is found to be restored at some
point in the films, establishing an apparent hegemony. Regardless of how the audience may feel
towards the role’s personalities, there is some aspect that leads viewers to be intrigued by the
power which the father characters possess.
“Give yourself to the Dark Side, it is the only way you can save your friends, exclaimed
Darth Vader (Lucas & Marquand, 1983). “Like I’ve always told you, you put your mind to it,
you can accomplish anything,” expressed George McFly after showing off his new published
book (Kennedy, Marshall, Spielberg, & Zemeckis, 1985). “You must realize that fear is not real.
It is a product of thoughts you create. Do not misunderstand me, danger is very real, but fear is a
choice,” marks Cypher (Walsh & Shyamalan, 2013). Lucius Malfoy laughed along as Lord
Voldemort stated, “It is Ms. Burbage’s belief that Muggles are not so different from us. She
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I AM YOUR FATHER
would, if given her way, have us mate with them” (Wigram & Yates, 2011). All of these quotes
directly come from or involve the sci-fi fathers. The messages have clear and precise
implications pertaining to the views of the character. When analyzing the artifacts, aligning with
the neo-Marxist perspective, such quotations, display privilege and the ideologies of a dominant
perspective. Across the board, this contributes to the theory of sci-fi fathers continuously
attempting to distinguish how the norm “ought to be,” in their characterization roles.
Conclusion
In closing, the audience perception of the narrative relationship between father-and-son,
has been recognized to display a plot consistency of connection struggles. In order to correct the
conflict, it is recognized the role of the son to independently initiate and seek a resolution with
the father. The character of the father in the films, also consistently displays dominant
ideologies over the other characters, more specifically the sons. Only when an objective is met,
by the son, does the father become a relatable model for the audience. This achievement also
offers closure to the film, as father-and-son solidify a satisfying connection and often redefine
the status quo within the film’s society. As many family relationships often face similar
struggles, with children attempting to live up to their parent’s expectations, it is important to
continue to examine the impact such films have on their audience. Despite the underlining
theme of the films, it is well recognized from this study and previous studies that the marriage of
science and fiction continues to contribute to audiences understanding non-fictional components
of the real-world. The basis of this understanding is highly valuable and commences the warrant
for further study.
References
I AM YOUR FATHER
13
Barriga, C.A., Shapiro, M.A., & Fernandez, M.L. (2010). Science information in fictional
movies: Effects of context and gender. Science Communication, 32(1), 3-24.
doi:10.1177/1075547009340338
Ozturk, F.O. (2017, October 21). The impact of science-fiction movies on the self- efficacy
perceptions of their science literacy of science teacher candidates. Educational Sciences:
Theory & Practice, 17(5), 1573-1603.
doi:10.12738/estp.2017.5.0058
Kennedy, K. (Producer), Marshall, F. (Producer), Spielberg, S. (Producer), & Zemeckis, R.
(Director). (1985). Back to the Future [Motion picture]. United States: Universal
Pictures.
Kottke, J. (2018, July 26). What made Darth Vader such a visually iconic character. Retrieved
from https://kottke.org/18/07/what-made-darth-vader-such-a-visually-iconic-character
Simis, M.J., Yeo, S.K., Rose, K.M., Brossard, D., Scheufele, D.A., Xenos, M.A., & Pope, B.K.
(2015). New media audiences’ perceptions of male and female scientists in two sci-fi
movies. Bulletin of Science, Technology, & Society, 35(3-4), 93-103.
doi:10.1177/0270467616636195
Lucas, G. (Producer) & Kershner, I. (Director). (1980). Star Wars: The Empire Strikes Back
[Motion picture]. United States: Lucasfilm.
Lucas, G. (Producer) & Marquand, R. (Director). (1983). Star Wars: Return of the Jedi [Motion
picture]. United States: Lucasfilm.
Walsh, E.B. (Producer) & Shyamalan, M.N. (Director). (2013). After Earth [Motion picture].
United States: Columbia Pictures Corporation.
I AM YOUR FATHER
14
Wigram, L. (Producer) & Yates, D. (Director). (2010). Harry Potter and the Deathly Hallows:
Part 1 [Motion picture]. United States: Warner Brothers.
Wigram, L. (Producer) & Yates, D. (Director). (2009). Harry Potter and the Half-Blood Prince
[Motion picture]. United States: Warner Brothers.
Young, K.L. & Carpenter, C. (2018, August 20). Does science fiction affect political fact? Yes
and no: A survey experiment on “killer robots”. International Studies Quarterly, 62(3),
562-576. doi:10.1093/isq/sqy028
Comm 145I Case Study Topic Choice Worksheet
Step 1: Identify a Research Question that will be answered by the end of conducting your
study. Please note that a strong research question looks at a narrowed culture and studies
one aspect, character trait, theme or message that the media is using to portray that
culture.
Write question here:
Step 2: Please list 4 films, television shows, comics or literature books that you will study
to answer your research question above. Please note you will need to gain access to these
four artifacts on your own so think ahead. You will need to watch/read to answer your
research question. It works best to stay consistent with one medium (i.e. only films or
comics etc)
Artifact names:
1.
2.
3.
4.
Step 3: You will need to study the artifacts consistently so that each is looked at in the
same way as one another. To do that you need to create some guiding questions. When you
watch/read the artifacts you will use the same questions and therefore can draw accurate
comparisons.
Please list at least 5 guiding questions. If you need a sample Problem Set 5 asks to do this
by posing the guiding questions for you.
Guiding Question1:
Guiding Question 2:
Guiding Question 3:
Guiding Question 4:
Guiding Question 5:
Step 4: To make this paper theoretical you will need to apply two of the theories we have
studied in this class. You will look at the artifacts in two ways. You may rely on any of the
theories discussed in the textbook or in our class.
Check the two theories you will be using:
___Social Context
____ Narrative
___Feminist
____ Marxist/Dominant Ideology
___ Agenda Setting
____ Cultural Identity
___ Muted Group
____ Other from textbook (Please list)
Stephen Coleman
Comm 145i
October 27th, 2022
Task 1: Definitions
● Explain the four waves of feminism in your own words
The first wave of feminism, reffered to as the “suffragist” movement occurred in the late
19th and early 20th centuries and was focused on ensuring women had the same political rights
as men. One of its key aims was to secure women’s right to vote (Malinowska, 2020). Prominent
figures in the first wave of feminism include Elizabeth Cady Stanton and Susan B. Anthony in
the United States and Emmeline Pankhurst in the United Kingdom. The second wave of
feminism emerged in the 1960s and was focused on challenging the notion that women were
inferior to men and should therefore be confined to the private sphere. This wave of feminism is
sometimes referred to as the “feminist” or “women’s liberation” movement and was associated
with the rise of the women’s rights, reproductive rights, and lesbian rights movements
(Malinowska, 2020).
The third wave of feminism which began in the early 1990s; was focused on challenging
the notion that there is one monolithic experience of being a woman. This wave of feminism is
sometimes referred to as the “post-feminist” or “third-wave feminist” movement and was
associated with the rise of the Riot Grrrl and girl power movements. The fourth wave of
feminism is often said to have begun in 2012, with the launch of the #MeToo movement, and is
focused on challenging sexual harassment and assault. This wave of feminism is sometimes
referred to as the “post-#MeToo” or “fourth-wave feminist” movement and is associated with the
rise of the #MeToo, #TimesUp, and #WhyIDidntReport movements (Boyle, 2019).
Task 2: Watch the following Video on Pink Sourcing
● Discuss how the video appeals to the liberal feminist and the Marxist feminist
The video PinkSourcing mocks the gender pay gap in the United States by satirically
proposing that businesses outsource to women instead of to other countries. This video speaks to
both liberal feminists and Marxist feminists. Liberal feminists are tpically a rendition of feminist
that consistently seeks to embrace the value of freedom, and in this regard ensure that the state
upholds and accords it to each and every woman. In this regard, liberal feminist would agree that
women are underpaid in the workforce and that this issue needs to be addressed. They would
also agree with the idea that businesses should be held accountable for paying women fairly. This
video speaks to the idea that businesses should do more to close the gender pay gap’ and as such
acts as grounds for spirited action where the liberal feminist would agitate for a better pay for
women, one that is fit of their choosing.
Marxist feminists would also agree that women are underpaid in the workforce. However,
they would also argue that the gender pay gap is a symptom of a larger problem: unequal
distribution of power and resources in our society. Marxist feminists would argue that the system
is structured to exploit women, and the way to close the gender pay gap is to address the root
causes of inequality, such as the lack of affordable child care, the lack of paid family leave, and
the lack of women in leadership positions. The Marxist feminist is concerned with exploiting
women in the workplace, and the video shows how women are often treated as second-class
citizens.
Task 3: Mini Analysis
● Conduct a survey of 3 films where women characters have dominant careers. Answer
the following: (You may want to make a chart to fill in)
Mini-Analysis The Devil Wears
Questions
Legally Blonde
Prada
Is the woman Yes, the woman
considered in the film is
successful at considered
their job? successful at her
Miss
Congeniality
Yes, the woman Yes, the woman
in Legally
is considered
Blonde is
successful at her
successful in her job. She can
(How would job. She is a
job because she
infiltrate the
you define high-powered
can achieve her
beauty pageant
success?) fashion editor
goals. She can
and win the
who can control
graduate from
crown, which
and manipulate
Harvard Law
allows her to
her environment
School and
apprehend the
and its people.
become a
terrorist.
She can also
successful
maintain a
lawyer. She is
successful career
also able to find
while managing a love and
personal life.
happiness in her
Success, in this
life.
case, can be
defined as the
ability to achieve
goals and
maintain a
positive lifestyle.
Is the The woman is not The woman is
The woman is
woman happy happy at her job.
not happy at
not happy at her
at their job? She is constantly
their job. They
job. Her boss is
(How would stressed out and
seem to be bored constantly
you define overwhelmed and and unfulfilled.
happy?) can never please
This is likely
harassing her,
and she is not
her boss. Her boss because their job given any credit
always finds
does not
something to
challenge them
nitpick even when intellectually or
she does
provide them
something right.
with a sense of
The woman’s
purpose.
for her work.
happiness at her
Looking
job would be
defeated and
defined as being
dejected. This
able to do her job shows that their
well and
job does not
appreciated for
provide them
her work.
with the
happiness or
satisfaction they
desire.
What else is The woman in the The woman in
The woman in
going on in short film is also
the film seems
the film is also
the woman’s juggling a
to be going
trying to find a
life besides relationship and
through a lot in
partner and have
their career? caring for her sick her life besides
a family. She is
father. In
her career. She
not just focused
addition, she is
is dealing with
on her career.
trying to find a
many personal
balance between
issues and trying
her personal life
to figure out her
and her career.
place in the
She is constantly
world. She is
being pulled in
struggling with
different
her relationships
directions and is
and is also
struggling to keep trying to find
everything
herself.
together.
● How would a modern-day feminist feel about these characters?
The three characters in the films The Devil Wears Prada, Legally Blonde and Miss
Congeniality all achieved success in their chosen fields, but at different costs. Miranda Priestly,
the main character in The Devil Wears Prada, is a successful fashion editor who is ruthless and
demanding, and her assistants are constantly trying to please her. Elle Woods, the main character
in Legally Blonde, is a successful lawyer who is initially dismissed because of her appearance
but proves her worth in the end. Gracie Hart, the main character in Miss Congeniality, is an FBI
agent who goes undercover at a beauty pageant and wins the competition. Consequently, a
modern-day feminist would likely have mixed feelings about these characters. This is because
from one perspective; they are all successful women who have pursued and attained their goals.
On the other hand, they have all done so by conforming to traditional (patriachial favoring)
gender roles and stereotypes, which Feminism has committed its lifetime efforts to oppose.
References
Boyle, K. (2019). # MeToo, Weinstein and feminism. In # MeToo, Weinstein and Feminism
(pp. 1-20). Palgrave Pivot, Cham.
Brunette, L. (2012). Legally Blonde [Video]. YouTube.

Gveobss9K9VH0t1A
HuffPost. (2016). Pinksourcing With Kristen Bell | Celebs Have Issues Ep. 1 Video].
YouTube. https://www.youtube.com/watch?v=k_m5AlsQqcs
Malinowska, A. (2020). Waves of Feminism. The International Encyclopedia of Gender,
Media, and Communication, 1, 1-7.
Movieclips. (2015). The Devil Wears Prada [Video]. YouTube.

Warner Bros. Entertainment. (2021). Miss Congeniality | Full Movie Preview | Warner
Bros. Entertainment [Video]. YouTube.

1
Running head: I AM YOUR FATHER
I Am Your Father: A Review of the
Father-Son Relationship in Science Fiction Film
San Jose State University
COMM 145I Section 80
Professor Gina Firenzi
December 6, 2018
Abstract
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I AM YOUR FATHER
This case study reviews 4 series of science-fiction films: Back to the Future, After Earth, the Star
Wars trilogy, and the Harry Potter movie series. The films were reviewed to monitor the
narrative and ideology characteristic messages portrayed within the cinematic relationships
between fathers and sons. Upon reviewing the narratives, it is clear that the films all depict a
pre-established relationship struggle, resulting in the sons aiming to bridge the interrelation with
their father. The sci-fi father is portrayed as an anti-model due to an emotional moral gap with
the audience, yet, is commonly characterized as the dominant role. This status of power
continuously exemplifies the objective, once met in the storyline, creating both meaning to the
resolution and providing empathetic closure between father and son, which the audience can
relate to.
I Am Your Father: A Review of the
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I AM YOUR FATHER
Father-Son Relationship in Science Fiction Film
Filmmakers are frequently sending messages of a diminished connection between the
father-and-son relationships within sci-fi movies. The consistent narrative centralized around the
son and their disregarding powerfully characterized father, depicts the struggle many adolescents
feel like they face in real-world comparisons. Various studies have been conducted on how
science-fiction film contributes to learning, emotion, perception, and understanding of real-world
circumstances and definitions. However, these case studies have failed to address the effects of
relationship foundation messages within these films. Thus, this case study aims to establish the
initial groundwork of narrative and dominant ideology themes being perceived by the audience
from these on-screen father-and-son relationships.
Context
Artifact 1: The Star Wars trilogy – Star Wars (1977-1983)
As the center of this case study focuses on the representation of the father and son
relationships in modern sci-fi movies, I felt it was appropriate to review one of the most
significant relationships in sci-fi history. The relationship between Darth Vader and Luke
Skywalker depicts an important underlining narrative as it moves from an estranged relationship
of opposite beliefs to an enlightenment of compassion and goodwill. Coming out in 1977,
creator George Lucas aimed to target an audience of 12-14-year olds, however, it was also
designed to appeal to an audience of all ages.
Artifact 2: Back to the Future (1985)
This movie artifact was chosen because it was one of the popular blockbusters of the 20th
century that helped to modernize and popularize sci-fi movies. As part of the narrative, was an
important display of how the main character, Marty McFly, viewed his father and their
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I AM YOUR FATHER
relationship. By time traveling, Marty was able to grasp an understanding of how his father
came to be the person he was today. This significance is important as we review the
representation between father and son, allowing us to dissect the teenager mentality portrayed in
film. Likewise, the film had a target audience of teenagers and young adults.
Artifact 3: Harry Potter Series (2001-2011)
This artifact of the case study is going to be reviewed for the relationship of two
characters, Draco Malfoy and his father, Lucius Malfoy. I found it interesting the sacrifice and
depths a person will go through to satisfy their family member. In the films, both father and son
sought social and political advancement and went to different depths to achieve such a status.
Although each’s agenda was different, it is important to understand the significance of reasoning
and persuasion. The films had a target audience of 9-12-year olds and teenagers but because of
its popularity, the artifact has resulted in appealing to all ages.
Artifact 4: After Earth (2013)
This artifact was chosen for review because of its substance in relation to the importance
of recognizing relationship faults. Kitai grew up under vast pressure to follow in his father,
General Cypher Raige’s, footsteps. Recognizing a vast void in their relationship they encounter
a life-threatening experience together. This encounter puts their trust in one another through an
excruciating test for survival. It’s important to view how environment and personal recognition
shape changes in relationships. The target audience of the movies is directed at males between
12-17 years of age.
Literature Review
I AM YOUR FATHER
5
The marriage of science and fictional storylines have resulted in the birth of a populous
film genre known as science-fiction, or sci-fi for short. The widespread emergence of the film
genre continues to capture audience attention in our society. With the advancement of
technology this increased audience engagement has prompted researchers to begin reviewing
rhetorical components of the film genre.
One particular study conducted by Barriga, Shapiro, and Fernandez (2010), experimented
on the impact of science-based movies and their audiences. Participants were shown four movie
clips, each containing two incorrect science facts. Subjects were then presented with a series of
questions pertaining to the realism of science facts. The study concluded that participants
displayed a higher level of confidence pertaining to science related questions when they
perceived an understanding within a centralized component of the movie’s plot (Barriga,
Shapiro, & Fernandez, 2010). The study enlightened the groundwork for an established
relationship between science fiction and real-world beliefs. When reviewing the relationship
component, my findings correlate with this notion. I found audiences reach a definitive
connection between character relationships when the relationship is a centralized portion of the
plot.
In another study, Young and Carpenter (2018) reviewed the relationship of exposure
between science fiction films and public attitudes. Exploring public opinion on developing
robotic weapons and connecting respondent familiarity with science fiction movies, the
researchers statistically concluded a connection. “The more sci-fi one consumes, either as a
simple count of franchise consumption or relative to consumption with other popular culture
artifacts, the likelier one is to oppose autonomous weapons” (Young & Carpenter, 2018). Again,
we witness a science fiction film displaying a correlation of artifact relationships, however, there
I AM YOUR FATHER
6
is also an interpretation of messages which contributes to enhancing the connection. While most
of the research is targeting an artifact connection, it is apparent that personal relationships can
also be intertwined into similar outcomes. The research states, “There are a range of factors that
we can control for which may likely influence an individuals’ attitude” (Young & Carpenter,
2018). This framing is closely related to my study of relationships across the science fiction
genre. Particularly when cross-examining the films, relationship artifacts become more
noticeable and distinguished trends within our case study.
Simis et al. (2015) conducted a study shaped around audience perception pertaining to
gender related roles of scientists in science fiction movies. As I have found within the case
study, a rhetorical review of portrayals is distorted and inconsistent in science fiction film.
Research analysis revealed, “Audiences find a woman scientist in a stereotypically maledominated field (like experimental physics) plausible” (Simis et al., 2015). As opposed to male
counterparts, the atypical portrayal of females was more believable in regard to perception and
key role indicators received by the audience. This study embellishes the gender related
relationship portrayals which sci-fi film makers choose to rhetorically exemplify in their work in
order to engage and build credibility with their audience. More so, it is interesting how such
gender related portrayals contribute to how sci-fi storylines are shaped; pertaining to male
relationships and their character development.
According to Ozturk (2018), “Science-fiction movies can be used as a teaching tool due
to their entertaining nature and their reflection on the relations between science, technology, and
society” (p. 1577). By analyzing the audience’s understanding and receptiveness to film,
research can take personal differences into consideration and create productive content. The data
from Ozturk’s study found that because of the vast reflections which science-fiction movies
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I AM YOUR FATHER
include, there is a positive impact on learning processes (Ozturk, 2018). He even suggests
teachers integrate science fiction film into curriculums, describing, “Plan classes to create a
fertile ground for teacher candidates to try new things to increase their self-efficacy perceptions”
(Ozturk, 2018). Finding that technological advances in sci-fi film can assist in strengthening
interpersonal relationships is parallel with what my case study concluded. The idea solidifies
that science fiction can create and shape value from its depicted personal relationships,
particularly in this study as we follow the father and son relationship.
Although previous research lacks the redundancy of directly analyzing trends of direct
rhetorical review of characterization and relationship portrayal, it is quite apparent we can
interpret a connection. Reviewing the studies, we witness a correlation between science fiction
film and real-life perception. We also solidify a link of values being inhibited through rhetorical
messages. Yet, there is a need for additional studies to address a review of personal and
emotional relationship messages in sci-fi movies. It is ideal we signify additional in-depth
rhetorical analysis with these on-screen relationships and the audience’s interpretation of the
messages.
Findings
Case Study Part 1: The Relationship Narrative Between Father-and-Son
Reviewing the relationship cannons between father and son from within the concept
themes of the artifacts, reveals a common narrative theme from all four films. First, it is openly
depicted for the portrayed son character to headline a more dominant role in the film from which
the relationship plot is centralized. Thus, we view the relationship shaping from the son’s
perspective-point. Back to the Future depicts this in great detail. Although Marty McFly’s
father, George McFly, obtains a centralized role well into the film; as Marty trails his adolescent
I AM YOUR FATHER
8
father back in time, it is Marty’s interpretation of George’s character which we see displayed.
Similarly, Draco Malfoy in Harry Potter, exemplifies this concept theme. His father Lucius
Malfoy is a main villain in the films, yet it is Draco whom portrays the primary centralized
character of the two. Again, in After Earth, although the storyline equally involves both Kitai
and his father General Cypher Raige, it is Kitai’s inhibitions which become the main focus of the
film. Now, some may argue the Star Wars trilogy does not follow this same centralization, as
Darth Vader carried such a vast and dominant role, even spilling over to become an iconic
symbol is our cultural society. However, the lack of centralization was apparent as Kottke notes,
“Darth Vader was only on screen in the original Star Wars movie for 8 minutes and for a little
under 34 minutes in the whole original trilogy” (Kottke, 2018). This emphasizes how Luke
Skywalker, along with the other son roles, was central to the relationship narrative.
When surveying the film artifacts, we also find a common ground pertaining to the
arrangement of the narrative. Each piece reflects a storyline which aims to unearths the son’s
struggles to satisfy the relationship. After learning that Darth Vader is his father in The Empire
Strikes Back, Luke carries this burdened grief to the next series, Return of the Jedi. Even while
Darth Vader attempts to kill him through a heated exchange of a light saber battle, Luke pleads,
“Search your feelings, father. You can’t do this, I feel the conflict in you. Let go of your hate”
(Lucas & Marquand, 1983). In similar fashion, while time traveling in Back to the Future, Marty
encounters his father’s teenage self and begins to understand the reasoning for what develops
into George’s push-over ways as an adult. Even though there was not a present relationship
struggle, Marty excavated compassion witnessing his dad’s weaknesses in adolescence. This
contributed to the persistence to keep his family intact and solidify his father’s fate. Marty
eventually manipulates history, resulting in allowing George to be the confident and strong
I AM YOUR FATHER
9
fatherly figure he needed. We see signs of the same nature in Harry Potter and After Earth, as
both narratives follow the struggle of the son attempting to follow their father’s footsteps in
search of acceptance from their respective predecessor. Kitai is able to achieve this by
overcoming the burden of disappointment that follows him, earning his father’s undoubted
acceptance as an equal in their relationship. Similarly, although Draco initially fails his own
mission of killing Hogwart headmaster, Albus Dumbledore, as he struggles with the hardship of
the deed. The hit is eventually carried out and even though Draco bears the aftermath of
conflictions, in his father’s eyes he has fulfilled his duty.
With the acceptance of George McFly’s quirky fatherly character in Back to the Future,
the style of the fatherly narrative from the sci-fi films can be witnessed as offensive. These
character origins display messages of being stern, direct, and cold within their character
presentation and points of views. Darth Vader and Lucius Malfoy both don mysteriously dark
wardrobes with a personality to match. The same cloudy personality with unwelcoming
politicizing views is found in Cypher from After Earth. The messages of hidden personal
conflicts from within these father characters contributes to their on-screen character displays of
uninvited attributes. The storylines support their offensiveness as a vulnerability struggle, with
each of the three characters similarly suppressing their inner-conflicts throughout the plot.
A final component to the father-son narrative reveals a delivery pattern shown to be
influential and essential to the on-screen relationship in sci-fi films. The production editing of
the artifacts, both in the narrative and the spacing, constantly reflects a void between the father
and son. All four films affirm a lack of initial connection within the father-son relationship.
This is exemplified in the on-screen spacing of the characters. There is no physical embracement
between the father and son, until an objective is met. In Star Wars, that objective is Darth Vader
I AM YOUR FATHER
10
saving Luke and killing Darth Sidious, then requesting to see his son with his own eyes before
his death. In After Earth, only after Kitai defeats the Ursa, is he then embraced by his proud
father. In Back to the Future, Marty McFly witnesses the affection shared by his “new” parents
and immediately attempts to mimic the same loving nature with his own girlfriend, Jennifer.
Draco may never have felt this physical embracement from Lucius during Harry Potter,
however, we witness his behaviors only being executed with hopes to accomplish such views of
pride from his father. Audiences themselves, embrace the overcoming of these objectives, as it’s
fulfilling to witness father and son achieve resolution. Unfortunately, such a fulfillment is
portrayed as necessary in order to establish a solidified father-son connection.
Case Study Part 2: How the Characterization of the Father Contributes to a Marxist
Perspective
The role and characterization of the father amongst the science fiction films, carries a
familiar identification in the portrayals. As the previous case study unveiled, being that the
narrative seems to follow the son character, we commonly identity with the son as one of “us.”
Hence, we then begin to view the character of the father as one of “them.” Such an identification
surrounds the role of the father as an anti-model, based on the course of the narrative alone.
However, we commonly witness greater attributes contributing to this anti-model figure.
George’s personification in Back to the Future relays a corky and dim-witted character onscreen. Lucius Malfoy and Darth Vader, in their respective roles, display evil and malicious
characteristics. Cypher, in After Earth, shows signs of deep arrogance and overbearing
militaristic actions. All of these characterization components are nothing the audience wants to
be mimic and thus, the role within the artifacts pushes viewers away from the fatherly figure as
they seek other models, primarily the sons, to want to be like.
I AM YOUR FATHER
11
Although the audience commonly establishes an anti-model interpretation of the sciencefiction father, there is an emphasis on the power which the father typically holds. Such
economic power elevates the father’s status within the films. Now, this power was not initially
introduced in Back to the Future, yet, by the end of the movie it was prominent that George had
solidified such a feat. As an accomplished man, George entered his house, flipping off his
designer sunglasses and tennis attire, eventually scolding orders to his previous nemesis, Biff,
about properly waxing the family sports car. Similarly, Darth Vader was a well-known
apprentice to the highest ranking Sith Lord in Star Wars, aiming to single-handedly rule the
galaxy. In the same fashion, Lucius was right hand to the primary villain of the Harry Potter
series, Lord Voldemort, inciting fear wherever he went because of his association and political
power. Yet again, Cypher, the leader of the United Ranger Corps, held a prominent military
status among his civilization in After Earth, resulting in an idolization for him. Due to the
emphasis of power among the roles of the fathers, dominance is found to be restored at some
point in the films, establishing an apparent hegemony. Regardless of how the audience may feel
towards the role’s personalities, there is some aspect that leads viewers to be intrigued by the
power which the father characters possess.
“Give yourself to the Dark Side, it is the only way you can save your friends, exclaimed
Darth Vader (Lucas & Marquand, 1983). “Like I’ve always told you, you put your mind to it,
you can accomplish anything,” expressed George McFly after showing off his new published
book (Kennedy, Marshall, Spielberg, & Zemeckis, 1985). “You must realize that fear is not real.
It is a product of thoughts you create. Do not misunderstand me, danger is very real, but fear is a
choice,” marks Cypher (Walsh & Shyamalan, 2013). Lucius Malfoy laughed along as Lord
Voldemort stated, “It is Ms. Burbage’s belief that Muggles are not so different from us. She
12
I AM YOUR FATHER
would, if given her way, have us mate with them” (Wigram & Yates, 2011). All of these quotes
directly come from or involve the sci-fi fathers. The messages have clear and precise
implications pertaining to the views of the character. When analyzing the artifacts, aligning with
the neo-Marxist perspective, such quotations, display privilege and the ideologies of a dominant
perspective. Across the board, this contributes to the theory of sci-fi fathers continuously
attempting to distinguish how the norm “ought to be,” in their characterization roles.
Conclusion
In closing, the audience perception of the narrative relationship between father-and-son,
has been recognized to display a plot consistency of connection struggles. In order to correct the
conflict, it is recognized the role of the son to independently initiate and seek a resolution with
the father. The character of the father in the films, also consistently displays dominant
ideologies over the other characters, more specifically the sons. Only when an objective is met,
by the son, does the father become a relatable model for the audience. This achievement also
offers closure to the film, as father-and-son solidify a satisfying connection and often redefine
the status quo within the film’s society. As many family relationships often face similar
struggles, with children attempting to live up to their parent’s expectations, it is important to
continue to examine the impact such films have on their audience. Despite the underlining
theme of the films, it is well recognized from this study and previous studies that the marriage of
science and fiction continues to contribute to audiences understanding non-fictional components
of the real-world. The basis of this understanding is highly valuable and commences the warrant
for further study.
References
I AM YOUR FATHER
13
Barriga, C.A., Shapiro, M.A., & Fernandez, M.L. (2010). Science information in fictional
movies: Effects of context and gender. Science Communication, 32(1), 3-24.
doi:10.1177/1075547009340338
Ozturk, F.O. (2017, October 21). The impact of science-fiction movies on the self- efficacy
perceptions of their science literacy of science teacher candidates. Educational Sciences:
Theory & Practice, 17(5), 1573-1603.
doi:10.12738/estp.2017.5.0058
Kennedy, K. (Producer), Marshall, F. (Producer), Spielberg, S. (Producer), & Zemeckis, R.
(Director). (1985). Back to the Future [Motion picture]. United States: Universal
Pictures.
Kottke, J. (2018, July 26). What made Darth Vader such a visually iconic character. Retrieved
from https://kottke.org/18/07/what-made-darth-vader-such-a-visually-iconic-character
Simis, M.J., Yeo, S.K., Rose, K.M., Brossard, D., Scheufele, D.A., Xenos, M.A., & Pope, B.K.
(2015). New media audiences’ perceptions of male and female scientists in two sci-fi
movies. Bulletin of Science, Technology, & Society, 35(3-4), 93-103.
doi:10.1177/0270467616636195
Lucas, G. (Producer) & Kershner, I. (Director). (1980). Star Wars: The Empire Strikes Back
[Motion picture]. United States: Lucasfilm.
Lucas, G. (Producer) & Marquand, R. (Director). (1983). Star Wars: Return of the Jedi [Motion
picture]. United States: Lucasfilm.
Walsh, E.B. (Producer) & Shyamalan, M.N. (Director). (2013). After Earth [Motion picture].
United States: Columbia Pictures Corporation.
I AM YOUR FATHER
14
Wigram, L. (Producer) & Yates, D. (Director). (2010). Harry Potter and the Deathly Hallows:
Part 1 [Motion picture]. United States: Warner Brothers.
Wigram, L. (Producer) & Yates, D. (Director). (2009). Harry Potter and the Half-Blood Prince
[Motion picture]. United States: Warner Brothers.
Young, K.L. & Carpenter, C. (2018, August 20). Does science fiction affect political fact? Yes
and no: A survey experiment on “killer robots”. International Studies Quarterly, 62(3),
562-576. doi:10.1093/isq/sqy028