In several articles I have spoken about the cinematic and rhetorical device of taking an element, filmic or social, to its extreme to produce a critical reading or fertile ground for critique. In essence all Sci-fi does this. It could be taking the threat of Communist invasion to a symbolic level where the Communists are replaced and the threat transformed into fearsome aliens from outer-space. It could also be taking the environment’s health to an extreme where in we are shown a society which can only feed its populace with a synthesised form of meat produced from deceased Humans. The setting, and the symbols used to produce or communicate this, in Sci-fi, reflect the central concern of the film because the setting of the film is created rather than reproduced. Although obviously the Notting Hill of Notting Hill (1999) is a filmic white-washed version of the geographical location it is only in film genres such as Sci-fi that the setting itself becomes truly and consistently symbolic and a reflection of the central concern of the film and an important vehicle of plot communication. In my ‘Future Worlds’ articles I have, and will, attempt to further communicate this point.
* A side note: the setting of Notting Hill is more important as an ideological study of the white-washing of a predominantly mixed race cosmopolitan area into an upper-middle class white English haven of yuppies and celebrities.