The film, ‘The Gods Must Be Crazy’ gives an interesting look at the juxtaposition of two cultures. The first is one of serene simplicity, that of the Bushmen (referred to hereafter in the more correct form, San); and the second is that of the western civilization, characterized by extreme busyness and stress. The two worlds of course collide in this 1980s South African comedy. The film took much flak however, from those who thought its depictions of the San were incorrect and even racist. Nevertheless, the film was an international hit, especially in America were it grossed $51,200,000 in 1980 (IMDB). In this paper, I will attempt to gauge the veracity of the claims of racism in this film against the intent of the film maker to decide if they …show more content…
Though a majority of film critics seemed to think this film to be almost entirely racist and filled with bigotry, I have an alternate point of view. This film serves as satire towards the western views of Africa; it calls them into question and points out the arrogance of their errors. Satire is often the most effective way to convince a person of something, as it undermines the natural tendency to argue by creating humor in its stead. This film uses satire to underpin the harshly negative view that western culture has of African culture, which they lump together into something altogether ‘primitive’. From this lens, the narrators mocking voice would actually be mocking the west, who are shown the San as they assume they are: simplistic in culture and in mental faculty, describing them in the childlike terms of ‘dainty’ and ‘simple’. The bottle falling from the sky, which is the catalyst to all the misfortune that the San face in the film, is dropped by a white man. This serves as a potential metaphor to the precept for colonialism, implying that African life in general was idyllic and happy before the encroachment of the Europeans. For although they came under the veneer of helpfulness with their “White Man’s Burden” they brought nothing but death, disease, and exploitation to the African continent. The film certainly romanticize San culture though it could …show more content…
As he stands trial, it may occur to the audience the dichotomy that it is playing out before them, for we see a San man with no concept of laws on trial in an African court that attempts to uphold laws given it by its prior colonial overlords. Here it becomes a clear confrontation between the old Africa and the new, the pure, and the corrupted. In other words, it is Africa as it should have been, and Africa as it has become—a continent attempting to be like its former colonial powers. The film shows the failure of this act, and infers that so long as African nations attempt to be like European ones, they will be as laughable as the ones in the film. It then therefore attempts to convince them that they ought to be themselves, unbridled by the vestiges of the “White Man’s Burden.” The film ultimately shows the futility of western society when Mr. Stern (the protagonist) attempts to give Xi money for his help. This token of his gratitude (the highest he can give as a westerner) is met with an utter disregard by Xi, who lets it fall from his hands as he walks away. This ostensibly functions as an analogy for the futility of western culture, seeming to say “the best you have is meaningless”— a harsh reproach for any western
This week’s readings of the reviews of Spike Lee’s ‘Do the Right Thing’ and Marilyn Fabe’s “Political Cinema: Spike Lee’s ‘Do the Right Thing’, raised a number of questions regarding not only the moral issues the film addresses but also the intention of the artist. This dialectical opposition, which Pamela Reynolds suggests “challenges the audience to choose” (Reynolds, p.138) between the narrativized hostility shown between that of the hero and villain. More specifically Lee’s portrayal of violence vs passive opposition. This can be perceived through Lee’s technical employment of contradictory quotes from Martin Luther King, Jr and Malcom X at the conclusion of the film, which not only highlights this concern but also deluges further into themes of political opposition. Marylin Fabe discusses this where she states that Spike Lee’s film carries a “disturbing political message” (Fabe, p.191). Arguably, ‘Do the Right Thing’ acmes themes of racism (Black vs White); with underlining motifs of imperialism (colonisers’ vs colonised), psychoanalytic (power vs powerlessness) and even Marxist theory (ownership vs public space/consumption), with Clarence Page stating that Lee provides a “public service… (not trying) to provide all the answers, but raising the questions.” (Reid, P.144). In saying this we explore this concept of the role of the artist, with Georgopulos stating that the role of the artist is to create a consciousness within the audience by revealing a fraught set of truths about the human condition. Thusly, the reactions and responses to the films reveal Lee to be successful in conveying his intentions, which back in its zenith, explored this issue of racism in a way that had rarely been seen, and presented the ways in which t...
There is a stark parallel between the Vietnam War and the circumstances under which life is maintained on Potrero Hill. The soldiers in Gods Go Begging are poor, uneducated, and trapped fighting in a war they do not support; the boys on Potrero Hill are also poor, uneducated, and unable to escape the war into which they were born. They are victims of their circumstances and their government. Some of the boys that Jesse meets in Vietnam are there because they were drafted. Unable to get a deferment, either due to a lack of funds or because no higher education establishment would accept them, boys are forced to go off to war. Others, like Mendez, fled to the United States in order to escape the violence at home that resulted from the United States’
In Zora Neale Hurston’s “Their Eyes Were Watching God” and “Sweat,” Hurston uses the characters Janie Crawford and Delia Jones to symbolize African-American women as the mules of the world and their only alternative were through their words, in order to illustrate the conditions women suffered and the actions they had to take to maintain or establish their self-esteem.
This demonstrates to us that no matter how much your legal or moral laws are violated, what matters is how you as an individual react to the situation, justly or unjustly. This movie is centered around the notion that if you are a person of ethnic background, that alone is reason for others to forsake your rights, although in the long run justice will prevail
Movies, one can argue, are one of America’s greatest pastimes. Unfortunately, after 9/11, films have become increasingly prejudiced against American Muslims. In movies Muslims are frequently portrayed negatively. According to James Emery, a professor of Anthropology, Hollywood profits off of “casting individuals associated with specific negative stereotypes”. This is due to the fact that viewers automatically link characters with their clichéd images (Emery). For Muslims, the clichéd image is of the violent fundamentalist, who carried out the terroristic attacks on 9/11. As a result, the main stereotypes involved in movies display Muslims as extremists, villains, thieves, and desert nomads. An example of a movie that has such a negative character role for Muslims in film is Disney’s cartoon Aladdin, depict...
...ent from the silent era of film, overt racism of ethnic minorities was blatantly apparent within the film medium. However, presently this overt racism however has shifted into a more subtle segregation of casting and racial politics within the film medium. It seems that both the problem and the solution lies in the Eurocentric domination within the Hollywood film industry – and it seems that it still remains challenged to this day.
In the first segment of his film series, Different but Equal, Basil Davidson sets out to disprove the fictitious and degrading assumptions about African civilization made by various Western scholars and explorers. Whether it is the notion that Africans are “savage and crude in nature” or the presumed inability of Africans to advance technologically, these stereotypes are damaging to the image and history of Africa. Although European Renaissance art depicts the races of white and black in equal dignity, there was a drastic shift of European attitudes toward Africa that placed Africans in a much lower standing than people of any other culture. The continent of Africa quickly became ravished by the inhuman slave trade and any traditional civilization
Neil Gaiman in his book American Gods shows the old gods in many different versions of the gods than they were intended by those who created and originally believed in them. They are not the same as they once were, changed to either fit the new American culture better, or to fit the plot of the story to follow what Gaiman believes his story should be. The new gods, are not exactly changed, per se. Just ideas and idols embodied as gods. They are idols at least in the evangelical Christian faith, a staple faith in the American culture, since they are treated as gods in modern peoples lives, taking the place of the one true god. While the God and the creatures associated with the Evangelical Christian faith (angels, demon, God, the devil,
How does the documentary contradict, support, and clarify, etc. your understanding of contemporary African culture, history and politics?
...ntions converge to flavor contemporary African American culture. The Africa that Wilson resurrects in this play reveals itself by varying degrees and in both implicit and explicit forms. Often these forms cannot be comprehended if Western logic prevails as the only standard. These African connections emerge in unspoken codes that shape the daily rituals of these characters and infuse the play on a number of levels. By examining Fences within an African cosmology rather than by relying solely upon Western paradigms of analysis, the play yields a much more telling portrayal of how African Americans negotiate the ambivalence of their “double consciousness” in America. That African cosmology becomes an essential part of the play's subtextual narrative—a narrative that contrasts America's divisive racism with Africa's capacity to heal, empower, and reunite” (Shannon 2)
...learly that Ayaan Hirsi Ali, Van Gogh and Bouyeri had indeed highly divergent understandings of several issues including the relation between Church and government and gender equality. Bouyeri, for instance, a Muslim immigrant unable to assimilate to a western, secular nation seemed to fail to identify either with his original or with his host culture. His fanaticism, therefore, was apparently more a remedy to his feeling of isolation than real identification. Ironically, the country that is supposed to host the most tolerant civilization of the entire world was home of a prime example of intolerance – Van Gogh’s murder. Clearly, the three characters’ clashing perceptions, added to the effects of globalization pointed out by Huntington (economic modernization and social change) made them – even if Bouyeri more visibly – fall into the “trap” of civilizations’ clash.
In the French film entitled Lumumba, director Raoul Peck recreates the revolutionary struggle of Patrice Lumumba, the newly elected Prime Minister of The Congolese Republic. In the movie, we do not see much of the independence struggle against the Belgian government, but we begin to see the reconstruction of the African state in African hands. While no one ever claimed that decolonization was easy, maybe this particular example can best be explained by Fanon’s simplified little quip “decolonization is always a violent phenomenon. ” In this paper, I will seek to locate where this post-colonial violence is located in discourses regarding race, class and gender. Particularly, I will look at the representations of race and class, and the lack of the representation of gender, in order to draw conclusions about the nature of representation and the effects this has on anti-colonial film.
In recent years, the debate over the merits versus the racial shortcomings of Joseph Conrad's Heart of Darkness has raged hot. Many, notably David Denby and Chinua Achebe, have come down on one side or another of the issue. I contend, with the help of the written opinions of Denby and Achebe, that Heart of Darkness, while racist in its views, is nonetheless a valuable and commendable work of art.
In the Following essay I will explore and develop an analysis of how the movie Twelve Years A Slave produces knowledge about the racial discourse. To support my points, I will use “The Poetics and the Politics of Exhibiting Other Cultures” written by Henrietta Lidchi, a Princeton University text “Introduction: Development and the Anthropology of Modernity” and “Can the Subaltern Speak?” by Gayatri Chakravorty Spivak.
...he malleable nature of the African psyche and how susceptible it can be to foreign influence. From the inception of colonialism, Shanu was straddling between two cultural identities; however the strain it placed on his psyche consumed him, ultimately leading to his suicide. .