Passing for Human in Science Fiction: Comparing the TV Series Battlestar Galactica and V

Abstract

This article discusses passing for human and constructions of humanity in the original and re-imagined versions of science fiction television series Battlestar Galactica and V. On the one hand, humanity is negotiated in the series through inhabiting “the right kind” of body; on the other hand, it is constructed by taking part in certain performances. The article examines the role that gender, sexuality, and race play in the process of passing for human, and how they intersect in constructing the signifying practices that mark what is human and non-human. These intersections are connected to cultural and political dynamics current at the time of the series' creation. By drawing on Judith Butler's work on gender performativity and Sara Ahmed's work on sensations, emotions, and encounters, the text establishes how humanity is constructed in the series through encounters with others, and how signs of humanness and inhumanness stick and slide between humans and “the others” in these encounters.

Notes

¹ The term “re-imagination” is commonly used instead of “remake” when discussing the new BSG. This underlines the creative differences between the original and re-imagined versions. I will also use the term when speaking about the new V.

² By the re-imagination I refer to the Battlestar Galactica (US/UK 2003) miniseries, the series Battlestar Galactica (US/UK 2004–2009), and the spin-offs and webisodes that aired during the years 2004–2009.

³ I refer to both of these series as “the original BSG” and separate the two by name only when it is necessary to pin-point essential differences.

⁴ When speaking about the original V, I refer to all the productions mentioned and separate them by name only when it is necessary to discuss one production in particular.

⁵ The term “passing” has been used to describe, for instance, racial passing, passing for “the opposite” sex, or passing for normative sexuality (Robinson 1994). On passing in the new BSG, see Deis 2008; Pegues 2008; Hellstrand 2009.

⁶ On Cylons and performativity, see Chess 2008; Harwood-Smith 2008; Hellstrand 2009, 2011.

⁷ Intersectionality can be defined as “the relationships among multiple dimensions and modalities of social relations and subject formations” (McCall 2005: 1771).

⁸ According to Sardar, science fiction is a predominantly Western genre (Sardar 2002: 2)—a notion that could be disputed. However, since I am writing about Anglo-American science fiction, I find the way in which Sardar connects the genre to Western culture useful.

⁹ In the new BSG there are robotic Centurions and human-like Hybrids that navigate the Cylon ships. The battleships called Raiders and other Cylon ships are also living entities. In the article I focus on the twelve models, since they are the ones who can pass for human.

¹⁰ I am indebted to Anneli Lehtisalo for alerting me to this cultural subtext.

¹¹ A lesbian relationship does help the Cylon Gina to infiltrate the human fleet, but her discovery as a Cylon leads to her rape and abuse.