Scott references Glenn Harlan Reynolds’ column in which GHR cites Robert Heinlein’s Starship Troopers for the proposition that some sort of altruistic public service ought to be a prerequisite for the right to vote:
Science fiction writer Robert Heinlein, in his famous novel Starship Troopers, envisioned a society where voters, too, had to demonstrate their patriotism before being allowed to vote. In his fictional society, the right to vote came only after some kind of dangerous public service — in the military, as a volunteer in dangerous medical experiments, or in other ways that demonstrated a willingness to sacrifice personally for the common good. The thought was that such voters would be more careful, and less selfish, in their voting.
So when the five-day wonder of questioning Barack Obama’s patriotism is over, perhaps we should address another question: How patriotic is the electorate? And how long can we survive as a nation if the answer is “not very”? And we should proceed from there.
I’ve never read Heinlein’s novel, and ever since I saw Paul Verhoeven’s film version I’ve wondered if the book itself is a satire on the fascistic values at the psychological core of nationalism, or a celebration of those values, or something else. I enjoyed the film, because I took it to be the former, although it would be pretty disgusting if taken straight, as some reviewers did at the time.
Anyway, I’ve thought and written about the relationship between authorial intention and textual meaning in the context of legal and literary works, but I’ve never really considered that question in regard to films. Films, especially big budget major studio productions, seem like especially complex texts, because their authorship is so complex.
What does it mean to say that Starship Troopers is “really” a satire, and not a campy glorification of fascist politics and aesthetics? That Verhoeven, if he is understood to be the film’s primary author, intended to the taken as the former? That, without regard to what Verhoeven or anyone else involved in the film’s creation may have intended, this interpretation makes it a much better film, aesthetically and/or politically?
And what about Heinlein’s novel? Can it be read as a satire, or is it too obvious that Heinlein intends the ideas in it to be understood unironically, which certainly seems to be Reynolds’ interpretation?