What's cool is that while paying homage to the original horror genre, Aliens is actually structured like a war movie. It's about heroes behind enemy lines trying to save a planet full of people that have been decimated down to one survivor. The opening scene alludes to the "men on a mission" aspect here.
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The combination of terrestrial and extraterrestrial aliens perhaps takes on its most "awesome" form in Tom Graeff's 1959 "thriller," "Teenagers from Outer Space", in which the "generation gap" heralding the 1960's was emblematized in low-budget terror. In this classic, a group of alien teenagers (who appear to be at least in their late 20's) land their saucer in California. "Thrill-crazed space kids blasting the flesh off humans!" reads the movie poster, referring to the ability of the aliens' death rays to turn our species instantly to skeletons. 1 There also seems to be Red Scare paranoia running through the film, as one of the spacemen, Derek (David Love) rebels against the collectivist onslaught of his pals and falls in love with the very terrestrial beauty of Betty Morgan (Dawn Anderson). Is this a rather tame prototype for the invasion of the Borg, and the expectable "human" revulsion for their hive mind, in "Star Trek: The Next Generation"? If so, Middle America is here treated to yet another dimension to the aforementioned deconstruction of humanism: post individualism. The horror of this invasion is perhaps best represented by a scene when the invaders skeletonize a suburban housewife (Sonia Torgeson) as she swims in the sanctum of her private suburban pool. She is rather literally "x-rayed" so that perhaps her most private domain, her pearly bones, are exposed in an attack recalling the intrusive panopticon of medicine. As General Jack Ripper in Dr. Strangelove might say, this is worse than Flouridation! The evil Thor (Brian Grant) leads the inevitable counterattack on Derek's attempt to practice family values. The hominid invaders have brought along a crustacean food supply (offering only temporary relief to Californians who, if they are not immediately on the alien menu, are soon to be repast for their livestock): ominous crawfish called Gorgons who can grow to 1,000 times their current size - picture creatures filling a goldfish bowl who are to become hungry crawdaddys the size of houses. Luckily, Derek manages to blow up his comrades, their superlunerary lobster and, unfortunately for the young couple, himself before this gets out of hand. So, we only get to see the shadow of one full-grown monster before Derek electrocutes it, the budget being what it was, but the sentiment is clear: the upswing of techno-culture in the late 50's, including no doubt the rise of Sputnik, was enough to inspire the vision of American teens, "the next generation," as alien invaders of the traditional culture.
In "Jurassic Park" the exploitative practices of the entrepreneurial research for biological capital in the form of salable creatures (shades of King Kong) loose the terror of what Othello, suggesting Europe's fear of Africa, calls the anthropophagai ("man-eaters," Othello I,ii,96). In "Mimic" as in "Jurassic Park", "monsters" are the result of scientific meddling with the genome. In "Jaws" as in Melville's "Moby Dick", the "sea monsters" (great white shark, white whale) are met at the verge of what a later perceptively titled sci-fi thriller, complete with undersea aliens, called "The Abyss". In the latter film we have benevolent paternalistic extraterrestrials turned submariners and wave-makers, in order to save the planet from nuclear self-destruction (see the Director's Cut for the full wave effect). Regarding the various invaders of the Western imagination, Donna Haraway has argued that monsters, as the etymology of the word from the Latin monstrare "to show" suggests, demonstrate. That Preston's description is very close to the imagery of an alien infestation of the planet is clearly demonstrative: for this is a self-portrait drawn critically from the perspective of Gaia. To paraphrase Pogo, "We have met the aliens and they are us." This realization merges the evolutionary unconscious with the ecological one in a new morphogenic picture of self and other. It is out of this mirror that we hear the alien voice exclaim: "Wake up - the world is alive!"
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