DISTRICT 9 CONDENSED FACT SHEET
CONTEXT
- Neill Blomkamp was the director
- Was released in 2009
- A metaphor for the South African apartheid in 1984 and 1991 Between 1960 and 1983,
over 3.5 million non-white South Africans were forced to leave their homes and were
‘resettled’ in segregated neighbourhoods where poverty and crime were rife. One of the
most famous 'resettlements' was 60,000 in the Sophiatown area of Johannesburg (where
District 9 is set). Feb 9th, 1955, heavily armed police began forcibly evicting people.
- The film was banned in Nigeria due to the representation of Nigerians in the film
- One of the first legal acts of apartheid was forbidding marriage between black and white
South Africans, and sexual contact between them was considered a taboo - referenced in
the smear campaign accusing Wikus of contracting his infection from sex with the aliens.
- Conventions of the sci-fi genre The attempt by the ‘alien’ to colonise, dominate, invade,
aliens infect and transform the human host, futuristic technologies, ships, locations, the re-
establishment of the status quo is the overthrow of the ‘alien’, the
corporation/company/government is more of a threat than the alien
- Style of the film Reportage and documentary-like, corporate video, aesthetics of pathos
and brutality, hyper-domesticity
NARRATIVE
- Cyclical structure Begin the film talking about Wikus and end it talking about Wikus
- MNU’s technology is presented as brand-new vs Christopher having to use rubbish to restart
the ship which shows the difference in the social hierarchy
- Binary opposites include the film being presented as a film and documentary the
documentary paints the aliens in a bad light, but the film wants you to sympathise with
them. Wikus is painted as an antagonist by the documentary, but we are supposed to root
for our protagonist.
NEILL BLOMKAMP’S DIRECTORIAL SIGNATUES
- Documentary-style filmmaking Handheld cameras, news footage, and mockumentary
techniques
- Body horror & human-machine Recurring theme of humans being physically altered
- Dystopian, gritty worlds Urban decay, poverty, slums, and authoritarian systems
dominate his films. He creates futuristic but broken societies that reflect real-world
injustices
- High-tech weapons Futuristic weaponry, mechs, drones and he integrates CGI seamlessly
into gritty environments
- Social commentary His films are very political and he uses sci-fi as a lens to examine real
human issues
- Corporate evil Corporations are often villains, reflects distrust in powerful institutions
exploiting science and people
- South African identity Many of his works are rooted in South African culture, politics, or
settings. Use of local accents and languages
- Non-traditional casting Uses unknown or non-Hollywood actors and often mixes
professional and new actors to keep things grounded
- Voiceovers and first-person narration Uses these tools to give insight into protagonist’s
inner journey
SCI-FI GENRE CONVENTIONS
- Themes Advanced technology, human vs machine (exploring what makes us human),
alien life/first contact (meeting or clashing with non-human life), post-apocalyptic or
dystopian worlds, ethical dilemmas (moral questions around science),
government/corporate control
- Settings Futuristic earth, outer space, laboratories or high-tech facilities, post-apocalyptic
landscapes
- Characters Scientists/engineers (drive the plot through innovation or ambition), aliens,
robots, everyday human caught in extraordinary circumstances, military/government
officials
- Iconography Futuristic weapons, alien spacecraft, holograms, robotic limbs, space suits,
futuristic nothing, dystopian cityscapes
- Narrative Tech causes unintended consequences, the outsider becomes the hero, first
contact goes wrong, science gone too far, resistance against a powerful system,
transformation or mutation of body/identity
HOW DOES DISTRICT 9 CONFORM TO GENRE CONVENTIONS?
, - Themes Advanced technology (features alien weaponry, biotech), dystopia (D9 is a
dystopian slum symbolising a broken society), ethical dilemmas (raises questions about
corporate greed, medical experimentation, and identity), corporate control (MNU is a
powerful, unethical corporation manipulating alien life for profit)
- Settings Laboraties (MNU labs conduct illegal experiments on Wikus and aliens)
- Characters Scientists, military/corporate agents (MNU and the military are violent,
oppressive, and unethical, fitting the archetype of authoritarian control), everyman hero
(Wikus is an awkward, average guy, not a trained soldier)
- Iconography Futuristic tech (alien guns, biotech that can only be used by the aliens),
alien spacecraft (the Mother Ship looms over the city), dystopian aesthetic (it’s visually
grimy, chaotic, and dehumanising)
- Narrative Tech causes unintended consequences (Wikus’ transformation is a result of
alien biotech mishandling), outsider becomes the hero (Wikus goes from oppressor to ally
of the aliens), science gone too far (MNU’s unethical experiments on alien bodies and
Wikus’ mutation), resistance against the system (Wikus turns against MNU and helps
Christopher escape), transformation (Wikus slowly losing his humanity is a central plot
device)
HOW DOES DISTRICT 9 SUBVERT GENRE CONVENTIONS?
- Themes Human vs machine/alien (the aliens are not the enemy – humans are the real
monsters), first contact (it’s not a ‘first contact’ story, the alien presence is normalised.
They’re not superior – they’re oppressed and vulnerable)
- Settings Futuristic earth (set in an alternate-present Johannesburg), outer space (it’s set
entirely on earth), post-apocalyptic landscapes (the slums reflect social collapse, but it is
not a global apocalypse)
- Characters Aliens (they are not invaders or overlords, they’re refugees, weak and
exploited), robots (Wikus becomes a hybrid, but it’s body horror rather than glorified
transformation)
- Iconography Holograms (uses minimal flashy tech – gritty, grounded design over slick
visuals)
- Narrative First contact gone wrong (not a traditional first contact – the aliens are treated
as immigrants not invaders)
GENERAL VIEWING GRID
- Close-up shots Shot-reverse-shot between Wikus and Smit at the surprise party which
feels very tense, Smit hugging his daughter with a smile on his face connotes him as a
villain, Wikus as he phones his wife showing his vulnerability, Wikus as he and Christopher
begin planning the mission showing their vulnerability, Koobus when he says 'I love
watching you prawns die' showing how intensely he believes his racist ideologies, Wikus’s
expressionless face as he is driven away showing his numbness and evoking sympathy for
him
- Low angle Of the alien looking at Wikus as he begs for help showing the power
difference, Wikus sat talking to the gang leader who is above him creating a power
dynamic, Christopher being beaten up by Koobus showing his powerlessness
- High angle As the baby alien looks at Wikus nicely evoking sympathy, Wikus talking to
the gang leader showing a shift in power dynamic
- POV shots Blurry shot as Wikus cuts up the cake before throwing up and collapsing
creating a sense of unease and danger, Christopher as Wikus begs him to fix him showing
Wikus’ desperation, of the gunmen going into the house with rapid tracking shots affecting
the clarity of our vision and creates a sense of unease
- Shot-reverse-shot As Christopher sees the dead aliens and Wikus wanting to leave
showing their conflicting ideologies and evoking sympathy for the aliens, to then a two shot
of Christopher and Wikus showing how they are now working as a team between Wikus and
the gang leader showing how they are on opposing sides
- Rapid tracking shots As they drive and are being shot at making it feel chaotic
- Rapid cuts In the fast-food restaurant creating a feeling of chaos
- Slow motion As Koobus enters the ship and takes Wikus which feels very dramatic
- Montage edits Of the capture making it feel more cinematic
- Squealing noise When the black stuff comes out his nose making it feel very intense and
disgusting
- Looming music As we find out that Tania's call is being listened in on making it feel very
sinister
- Cacophony Of sounds when they invade MNU of shouting + alarms making it feel very
chaotic
CONTEXT
- Neill Blomkamp was the director
- Was released in 2009
- A metaphor for the South African apartheid in 1984 and 1991 Between 1960 and 1983,
over 3.5 million non-white South Africans were forced to leave their homes and were
‘resettled’ in segregated neighbourhoods where poverty and crime were rife. One of the
most famous 'resettlements' was 60,000 in the Sophiatown area of Johannesburg (where
District 9 is set). Feb 9th, 1955, heavily armed police began forcibly evicting people.
- The film was banned in Nigeria due to the representation of Nigerians in the film
- One of the first legal acts of apartheid was forbidding marriage between black and white
South Africans, and sexual contact between them was considered a taboo - referenced in
the smear campaign accusing Wikus of contracting his infection from sex with the aliens.
- Conventions of the sci-fi genre The attempt by the ‘alien’ to colonise, dominate, invade,
aliens infect and transform the human host, futuristic technologies, ships, locations, the re-
establishment of the status quo is the overthrow of the ‘alien’, the
corporation/company/government is more of a threat than the alien
- Style of the film Reportage and documentary-like, corporate video, aesthetics of pathos
and brutality, hyper-domesticity
NARRATIVE
- Cyclical structure Begin the film talking about Wikus and end it talking about Wikus
- MNU’s technology is presented as brand-new vs Christopher having to use rubbish to restart
the ship which shows the difference in the social hierarchy
- Binary opposites include the film being presented as a film and documentary the
documentary paints the aliens in a bad light, but the film wants you to sympathise with
them. Wikus is painted as an antagonist by the documentary, but we are supposed to root
for our protagonist.
NEILL BLOMKAMP’S DIRECTORIAL SIGNATUES
- Documentary-style filmmaking Handheld cameras, news footage, and mockumentary
techniques
- Body horror & human-machine Recurring theme of humans being physically altered
- Dystopian, gritty worlds Urban decay, poverty, slums, and authoritarian systems
dominate his films. He creates futuristic but broken societies that reflect real-world
injustices
- High-tech weapons Futuristic weaponry, mechs, drones and he integrates CGI seamlessly
into gritty environments
- Social commentary His films are very political and he uses sci-fi as a lens to examine real
human issues
- Corporate evil Corporations are often villains, reflects distrust in powerful institutions
exploiting science and people
- South African identity Many of his works are rooted in South African culture, politics, or
settings. Use of local accents and languages
- Non-traditional casting Uses unknown or non-Hollywood actors and often mixes
professional and new actors to keep things grounded
- Voiceovers and first-person narration Uses these tools to give insight into protagonist’s
inner journey
SCI-FI GENRE CONVENTIONS
- Themes Advanced technology, human vs machine (exploring what makes us human),
alien life/first contact (meeting or clashing with non-human life), post-apocalyptic or
dystopian worlds, ethical dilemmas (moral questions around science),
government/corporate control
- Settings Futuristic earth, outer space, laboratories or high-tech facilities, post-apocalyptic
landscapes
- Characters Scientists/engineers (drive the plot through innovation or ambition), aliens,
robots, everyday human caught in extraordinary circumstances, military/government
officials
- Iconography Futuristic weapons, alien spacecraft, holograms, robotic limbs, space suits,
futuristic nothing, dystopian cityscapes
- Narrative Tech causes unintended consequences, the outsider becomes the hero, first
contact goes wrong, science gone too far, resistance against a powerful system,
transformation or mutation of body/identity
HOW DOES DISTRICT 9 CONFORM TO GENRE CONVENTIONS?
, - Themes Advanced technology (features alien weaponry, biotech), dystopia (D9 is a
dystopian slum symbolising a broken society), ethical dilemmas (raises questions about
corporate greed, medical experimentation, and identity), corporate control (MNU is a
powerful, unethical corporation manipulating alien life for profit)
- Settings Laboraties (MNU labs conduct illegal experiments on Wikus and aliens)
- Characters Scientists, military/corporate agents (MNU and the military are violent,
oppressive, and unethical, fitting the archetype of authoritarian control), everyman hero
(Wikus is an awkward, average guy, not a trained soldier)
- Iconography Futuristic tech (alien guns, biotech that can only be used by the aliens),
alien spacecraft (the Mother Ship looms over the city), dystopian aesthetic (it’s visually
grimy, chaotic, and dehumanising)
- Narrative Tech causes unintended consequences (Wikus’ transformation is a result of
alien biotech mishandling), outsider becomes the hero (Wikus goes from oppressor to ally
of the aliens), science gone too far (MNU’s unethical experiments on alien bodies and
Wikus’ mutation), resistance against the system (Wikus turns against MNU and helps
Christopher escape), transformation (Wikus slowly losing his humanity is a central plot
device)
HOW DOES DISTRICT 9 SUBVERT GENRE CONVENTIONS?
- Themes Human vs machine/alien (the aliens are not the enemy – humans are the real
monsters), first contact (it’s not a ‘first contact’ story, the alien presence is normalised.
They’re not superior – they’re oppressed and vulnerable)
- Settings Futuristic earth (set in an alternate-present Johannesburg), outer space (it’s set
entirely on earth), post-apocalyptic landscapes (the slums reflect social collapse, but it is
not a global apocalypse)
- Characters Aliens (they are not invaders or overlords, they’re refugees, weak and
exploited), robots (Wikus becomes a hybrid, but it’s body horror rather than glorified
transformation)
- Iconography Holograms (uses minimal flashy tech – gritty, grounded design over slick
visuals)
- Narrative First contact gone wrong (not a traditional first contact – the aliens are treated
as immigrants not invaders)
GENERAL VIEWING GRID
- Close-up shots Shot-reverse-shot between Wikus and Smit at the surprise party which
feels very tense, Smit hugging his daughter with a smile on his face connotes him as a
villain, Wikus as he phones his wife showing his vulnerability, Wikus as he and Christopher
begin planning the mission showing their vulnerability, Koobus when he says 'I love
watching you prawns die' showing how intensely he believes his racist ideologies, Wikus’s
expressionless face as he is driven away showing his numbness and evoking sympathy for
him
- Low angle Of the alien looking at Wikus as he begs for help showing the power
difference, Wikus sat talking to the gang leader who is above him creating a power
dynamic, Christopher being beaten up by Koobus showing his powerlessness
- High angle As the baby alien looks at Wikus nicely evoking sympathy, Wikus talking to
the gang leader showing a shift in power dynamic
- POV shots Blurry shot as Wikus cuts up the cake before throwing up and collapsing
creating a sense of unease and danger, Christopher as Wikus begs him to fix him showing
Wikus’ desperation, of the gunmen going into the house with rapid tracking shots affecting
the clarity of our vision and creates a sense of unease
- Shot-reverse-shot As Christopher sees the dead aliens and Wikus wanting to leave
showing their conflicting ideologies and evoking sympathy for the aliens, to then a two shot
of Christopher and Wikus showing how they are now working as a team between Wikus and
the gang leader showing how they are on opposing sides
- Rapid tracking shots As they drive and are being shot at making it feel chaotic
- Rapid cuts In the fast-food restaurant creating a feeling of chaos
- Slow motion As Koobus enters the ship and takes Wikus which feels very dramatic
- Montage edits Of the capture making it feel more cinematic
- Squealing noise When the black stuff comes out his nose making it feel very intense and
disgusting
- Looming music As we find out that Tania's call is being listened in on making it feel very
sinister
- Cacophony Of sounds when they invade MNU of shouting + alarms making it feel very
chaotic
