Showing posts with label colonialism. Show all posts
Showing posts with label colonialism. Show all posts

Saturday, October 14, 2017

#FirstWorldProblems: Looking at THE GODS MUST BE CRAZY by Maggy Pollicino




“I hate when my phone charger won’t reach my bed”
“When I go to the bathroom and I forget my phone”
 “I hate it when my neighbors block their WiFi”
“When my mint gum makes my ice water taste too cold”
(“First World Problems Anthem)

How nice it must be to enjoy a nice glass of water, and have it taste cold, no less.  How nice it must be to have gum that comes in a brightly colored package made from ink that also makes crayons, school books, and coloring pages in the aisles preceding the checkout counter where the gum was purchased.  How nice it must be that the gum was probably placed next to a small red refrigerator containing the gloriously tasting bubbly cancer water that consumers can conveniently purchase in singles, six, and twelve packs for even more guzzling fun at a fraction of the price.  How nice it must be to be able to hear that satisfying *spritz* of carbonation and have the bottle additionally act as a cooling mechanism for foreheads suffering under the beating sun adjacent to the brightly lined swimming pool.  How nice it must to have the opportunity to casually throw that bottle out of a plane during a thrilling adventure through the sky, littering the ground below, without any consequences.  How nice it must be to be rid of that bottle since it was taking up the cup holder space where the next bottle will rest. 

How nice indeed it would be to be rid of that bottle, thought Xi, the protagonist of The Gods Must Be Crazy, a film directed by Jamie Uys (Baden, par. 1).  As a Bushman living the Kalahari Desert, the most advanced technology that Xi has ever experienced is two sticks coming together to make fire---up until this strange thing fell from the sky.  One would think that this thing, or as modern civilization calls it, a Coca Cola bottle, would be a great addition to his family’s life style.  It is hard and sturdy; it can act as a rolling pin; it can be used to store water or dried meat; they could even break it and use the sharp edges to more easily cut meat and wood.  But with all of the good that comes with the bottle, there is also evil that infiltrates Xi’s family.  Not only was it prone for fingers to get stuck in (Uys 9:44), but since there was only one, it could not be shared, so it brought about selfishness, envy, anger, hate, and even violence (Uys, 10:44-11:18).  Probably the most interesting feeling the bottle brought was the feeling of need for something the Bushmen never needed before.

A need for something they never needed before, even when the circumstances have not changed?  What an oxymoron! This is the reality of many modern civilizations. When a thing appears, or is invented for convenience, after a couple of generations, people cannot fathom getting by without it.  There is just absolutely no way that a person can function with a hairline crack in their iPhone, especially when the new edition has just come out.  It is preposterous to suggest that somebody should hang their clothes out on a fence to dry when the machine has broken down.  Oh dear, there is no WiFi or 4G LTE; without Google Maps getting lost is a definite.  A real map?  Made of paper and everything?  But if Siri is not there to tell one when to turn, then the map is useless.  This is the mind set of many modern civilizations.  While helpful in everyday life with communication, convenience, and creativity, the excessive use of ‘stuff’ has become the true first world problem. 

The trend #FirstWorldProblems was obviously meant to be a joke.  But what is the point of the joke?  Perhaps it is to make people feel better about themselves for not caring about the children and adults in Haiti who recited some of these ‘first world problems’ in the video “First World Problems Anthem.” The true problem is that new generations are not taking these as jokes anymore, but rather, conceiving them as real problems.  Children are so privileged now that the biggest problem in their lives is peeing without Fruit Ninja when there are some children who have never seen a piece of fresh fruit in their lives. What is worse is that the children are so privileged that they do not understand what is wrong with that picture. They do not understand how this dependence on ‘stuff’ impacts them, because they have never known a weekend without their cell phones.  They have never finished a magnificent 1,000-piece jigsaw puzzle of a wild animal when they had to stay home from school because of a fever, or created blaring music with pots and pans to the beat of the thunder claps on a rainy day, and they certainly have never considered that these seemingly harmless tools are unconsciously making them unhappy. They cannot conceive living without this ‘stuff.’

Xi’s family however, knows that there is no way that they can live with ‘stuff’ without being unhappy.  The Bushman tribe sees that this simple tool, although helpful, also tore apart their family and their values.  Now, the rise of ‘stuff,’ specifically technology like smart phones and social media, is very beneficial in some ways.  Society can spread news and keep in touch with loved ones on the other side of the world.  That is nothing short of amazing. One woman says “…technology does keep me in touch with people I wouldn't necessarily have the time to meet with face-to-face on a regular basis” (Cafferty, par. 13) which is generally true for most people, as well.  But the same woman also says “I think that we need to have good technology etiquette while in public” (Cafferty, par. 13).  It seems that humans have lost the ability to effectively interact with other humans in person, with the exception of a few in close circles.

It has become a challenge amongst the species to not look at one’s phone for longer than five minutes instead of filling a silence with substantial conversation.  Children can hardly think of games to play with each other that do not involve iPads, let alone that involve being outside and getting their hands dirty.  It seems that the most substantial conversations some children are capable of is telling another how much they love another’s possessions, and how they wished their parents would buy them more gifts.  The Bushman children in the film have never had a case of the ‘gimmes’ because they have always shared and appreciated what Mother Nature has given them.  They are not bored to tears without a virtual bird to fling at a pig because “their games are cute and inventive” (Uys, 4:33).  It is clear to most people that technology, while extremely convenient and helpful, also has certain detrimental factors to the human race.   But being an extremely self-oriented species who refused to adapt himself to his environment, and instead he built his environment to suit him” (Uys, 6:15), what many people fail to notice is that the true first world problem is that all of this ‘stuff’ is killing the ‘first world’ that they live in.

The Story of Stuff is a twenty-minute film that was released in 2007 by humans who are green with love for Nature in attempt to educate other humans who are green with envy.  The initiative was to educate people about where this ‘stuff’ that they hold so near and dear comes from; how it is made, who is involved in making them, and the impact this ‘stuff’ has on the environment pre, during, and post-production.  Annie Leonard, writer and narrator of the film tells her audience that the system of production is in crisis because “…it is a linear system and we live on a finite planet and you cannot run a linear system on a finite planet indefinitely” (par. 3).  Leonard explains the first step in this system of production: extraction.  Extraction of what?  Natural resources of course, but perhaps exploitation is a more fitting word.  Just one example would be an electronic device.  The inside of almost any battery powered item comes from the mountains that were blown to bits causing groundwater contamination, damage to the foundations of surrounding houses, and impacting local climates (Pachiolli, par. 15).  People justify the mountain blasting by having a mindset of ‘But this helps the world to go paperless, the trees will be saved!’ What many people do not realize is that there are thousands of non-paper products that come from trees.  Just a few of these things that humans use every day are toilet seats, rubber, and our own clothing (wisconsincountyforests par. 1, 3).

It is not just trees however, that industry exploits; in the last thirty years alone, the world has consumed one third of Earth’s natural resources (Leonard, par. 11).  One third in thirty years.  The first humans began to evolve from apes between four and eight million years ago (Wikipedia, par.9), modern humans evolved 200,000 years ago, and civilization came about between six and seven thousand years ago (Howell, par. 1), but somehow, our species has managed to suck up almost half of the Mother Earth’s resources in less than a lifetime.  And just in the United States alone, Leonard tells us “we have less than 4% of our original forests left. Forty percent of waterways have become undrinkable… We [The U.S.] has 5% of the world’s population but we’re consuming 30% of the world’s resources and creating 30% of the world’s waste” (par. 13, 14). Many countries, especially the United States, exploit third world countries for their resources in order to effectively take more than their share of Earth’s gifts.  The result?  Poverty, disease, famine, dirty water, no water, and of course, no natural resources.  No plants to clean the air.  No trees to prevent mudslides.  No mountains to maintain the rainforests and deserts.  Land so barren that nothing can grow.  Far less animals to balance out the ecosystem.  There are even far less animals for food, so to solve that problem, humans choose to tear down forests, killing millions of more animals, to make room for the factories that will breed millions of other animals who will be inhumanely killed for their meat and who’s skin will be tossed away or be processed with bleach, glue, and other poisons to trick pet owners into thinking that it is a great treat for a dog.  If only people were more like Xi, who humanely tranquilizes his deer, apologizes to it, and slaughters it after it is asleep so that it does not feel pain (Uys, 5:00).  He even uses the skin and carcass for water pouches, shelter, tools, and clothing.

Developed countries have been living in such an advanced way for so long that it is unrealistic to attempt to live like the Bushmen.  However, minimalizing consumerism on items that a person is capable of living without or can have access to right in their own backyard is a great way to simplify their everyday life.  Growing one’s own vegetables for example is a fantastic way to get fresh and tasty food while also purifying the air around one’s house.  Cleaning out one’s closet for donations monthly or bi-monthly is a good way to give back to the community while slowly but surely allowing one to realize that they do not need a wardrobe that is bursting at the seams to get by.  Allotting a 15-minute period each day that will be ‘technology free’ is a simple way to allow a person to relax and focus on themselves, be more productive domestically, or have a face to face conversation with someone.  This can even become a goal oriented activity for a person, working their way up to an hour or two a day of no technology. Though none of these changes appear to significantly counter the mass destruction of the planet, it is important that life style alterations are made, no matter how big or small.

In Xi’s family, “they believe the gods put only good and useful things on the Earth for them to use” (Uys, 3:09).  There is no need for them to exploit certain resources, because everything has a good use.  They do not have problems of one person having more than another because there is plenty of what Mother Nature provides for everyone.  They do not need to make new discoveries or new ways of doing things because they are perfectly content with what they have.  Nobody in their family suffers, nobody is lacking, and nobody is unsatisfied because they have the respect for one another and the Earth to be able to live fruitfully without living excessively.  There is no distinction of first and third worlds because they recognize that they are all children of the same Earth, the same gods, and that there is no need for such a separation of their brothers and sisters. Xi’s family even briefly experienced what it was like to live “excessively”, and it did not take long for them to choose to go back to their traditional lifestyle.  The Bushmen live in a harsh and dry world, but yet their Earth is bright blue and lush green.  Modern society lives in an abundant and plenty world, but yet our Earth is an oily black and barren brown. It is apparent in the film how one single piece of technology destroys a family, so how come modern societies are blind to how endless pieces of technology are destroying their very own ‘first world?’ 


Works Cited

Cafferty, Jack. "Technology Replacing Personal Interactions at What Cost?" CNN. Cable News        Network, 3 Jan. 2011. Web. 25 Mar. 2017.

Howell, Elizabeth. "How Long Have Humans Been On Earth?" Universe Today. N.p., 23 Dec. 2015. Web. 01 Apr. 2017.
"Human." Wikipedia. Wikimedia Foundation, 30 Mar. 2017. Web. 01 Apr. 2017.
Leonard, Annie (director). The Story of Stuff. Free Range Studios. Dec. 2007. Web. 25 Mar. 2017.
Pacchioli, David. "Assesing the Human Impacts of Mountaintop Removal." Www.psu.edu. N.p., n.d. Web.
"Products Made From Trees - Wisconsin County Forest Association." Wisconsin County Forests         Association. N.p., n.d. Web. 25 Mar. 2017.
Uys, Jamie (director). The Gods Must Be Crazy. Dir. Jamie Uys. New Realm, 1980. Film.

Thursday, December 8, 2016

Passion’s Dark Side: Roeg’s WALKABOUT vs Wertmüller’s SWEPT AWAY by Samantha Storms




Within the depths of the most intimate, sensual parts of our being exists a primitive understanding of ne of the rawest emotional sensations humans cultivate: carnal desire. Lust, that overwhelming need for venereal feeling and contact that grows deep within our core, fosters life as we know it. Nestled deep within the pits of our bellies, sex is at the basis of what makes us human. It is sex that creates, rebuilds, and nurtures. It is sex that is at the pinnacle of enjoyment, of gratification, and of pure and uncontrollable ecstasy. However, it is the ability of this fundamental element of love and affection to destroy everything in its path that has fascinated the love sick and sane alike, and much like the unforgiving heat of the Australian Outback and the merciless waves of the crashing sea, we uncover the dark side of passion. Nicolas Roeg’s 1971 cult classic Walkabout and Lina Wertm 1974 box office hit concoction of steamy drama and gut-busting comedy Swept Away utilize a psychoanalytical method through the cinematic lens, chiseling away at the sexual undercurrent that poisons Western society into a shriveled, corrupted reality.





As desert animals scurry across the scorching sand and rock fixtures tower high in reach of the heavens, Walkabout takes viewers on a journey of manhood, of cultural scrutiny, and, perhaps most interestingly, sexual exploration. Roeg’s use of innuendo and subtext within the film serve as doorways into the world of sexuality and its effect upon the class structure of both Western and Aboriginal society. Throughout the course of the film, our English lass is subjected to multiple encounters with the men in her life that expose her budding body to viewers, both in scenes of nudity and, astoundingly, those in which she is fully clothed. As she embarks on her journey through the Outback in search of the civilization she has for so long desperately clung to, the young girl falls into a short-lived courtship with the film’s hero and victim, its helpless, doomed figure of divinity: the Aboriginal. Despite being pulled far away from the familiar arms of the societal constructs of the Western world she has always been so accustomed to, the English girl allows herself to be opened up by the curious mind of her indigenous savior, but only enough to highlight the inevitable, crushing reality of the daunting weight that exists between them: status.



Throughout the film, numerous examples of the sexual awakening of the adolescent mind are illustrated through Roeg’s interesting camera angles and scene cuts. As her young body gracefully slices through the water of the pond with nothing but skin to show, scenes of the Aboriginal cut in and out of frame (Roeg, 0:58). His body, strong and glistening with sweat as he hunts down his meal parallels her own, representing the path of sexual awakening the two are destined to take, but are unable to do so together as one (Dirks, para. 4). In scenes in which they stand alongside each other with that unbreakable communication barrier between them, the camera follows the English girl’s eyes as she stares at the nearly naked, glistening dark body of the Aboriginal that is so extraordinarily incomparable to hers, almost longingly, but always to turn her gaze away in refusal of her deepest, most carnal desires. This fleeting dance between these two newly awakened souls comes to a crashing halt with the girl’s ultimate rejection of the electrifying current that blazes between them. She is unable to look past the societal decree that deems him as her inferior (Dayoub, para. 4). This declaration of differences is set into stone with the Aboriginal’s apparent mating dance as he seems to mock the comfort the girl finds in her high-class position within the societal hierarchy in which she immerses herself (Roeg, 1:23). He keeps his distance as he performs, seeming to beckon to her in a silent declaration of love as she keeps her head turned away, content in the choice she has made. A walkabout sees its end as it hangs from a tree, defeated by the hands of a young girl fueled by her sexual realization that she will always have a place in the highest tier. 

  



In a watery world completely separated from the dunes and pits of the scorching desert, viewers find themselves entangled together in a fiery love affair on the sands of a deserted island in the middle of the sprawling Mediterranean Sea. Raffaella, the incredibly wealthy capitalist beauty that never had the thought to launder a dirty shirt if there were others present to do it for her, comes face-to-face and up-in-arms with Gennarino, a man utterly engulfed by his communist views of the world, in a dangerous tango with sadomasochism. Lina Wertmüller’s Swept Away paints a picture of the gruesome reality that is sexual domination and its relationship to the flurry of political debate within Italy at the time of the film’s release. The grapple in which this picture’s two unbelievably contrasting characters come together in deliverance and inhabitance is perfectly illustrated by its portrayal of Western society’s obsession with the mixing of sex and subjugation. Viewers are enlightened to cinema’s ability to showcase the reality of culture’s complex issues with eloquence across a sweeping spectrum and not tucked away in a black and white world of simplicity (Hoffman, para. 7). By implementing a directing style that highlights the film’s uncomfortable scenes of rape and emotional manipulation, Wertmüller creates a cinematic masterpiece that parallels abusive relationships to the struggle amongst the different rungs of the societal power ladder.



Throughout the course of their time on the island, Raffaella is constantly tried and abused, transitioning from the luxurious life of a rich man’s plaything to kissing the feet of her heart and body’s ruthless captor: Gennarino. As this simple manservant thoroughly indulges in all the pleasures that life has to offer – the mind and body of a beautiful, love-struck woman, the salty air rising up out of an endless sea, and the privacy to enjoy it all – he serves as the classic age-old example of the close-minded, egocentric Neanderthal husband, always seeking to dominate anything and everything within his grasp. Gennarino exerts his authority over his lover on numerous occasions, and the transfer of power is obvious as Raffaella, whose formal lifestyle demanded nothing else from her save her beauty and passive presence, submits to his every command without question, enduring slaps to the face and verbal abuse. In the film’s most intense and disturbing scene, the two wriggle in the sand with limbs flailing as Gennarino forces his manhood upon Raffaella, accusing her of being at the root of the country’s economic and political problems, and she is left to spiral downward in a complete loss of control (Wertmüller, 1:09). Wertmüller’s cinematic decision to include such controversial material in her film represents political retaliation and revolt, effectively bringing to the surface relevant issues of Italian society and presenting them to viewers in a memorable and entertaining way (Lovell, para. 4).



Outraged by this portrayal of an independent, worldly woman as an inferior to a man and the inclusion of outwardly sexist and misogynistic subject matter, feminists question the director’s relationship to the woman’s rights cause. Wertmüller’s violent scenes of abuse and manipulation serve not as derogatory stabs at the foothold the woman’s right movement has made in society within the past few decades, but as representations of the issues that the female gender must face in daily life as well as an “allegorical equivalent for failed revolt” in terms of political distribution of power (Lovell, para. 5). Her characters are left to roll in the sand, scrambling for that which they have lost and so desperately desire, all of which is representative of the failures that result from both sexual and political domination. With this film, the negative light that is shed upon women such as Raffaella is not a symbol of inhibition, but an indication of forward movement and progression within a corrupted, subjugating culture (Solis, para. 12).



Through the eyes of a millennial, the sensitive subject matter explored by these two powerhouse films represent the decades of damage done by previous generations that lived in the shadow of ignorance all their lives. Young people are forced to ask themselves the question: if it were up to me, how would I repair the broken heart of the world? Walkabout, despite the hard façade the English girl wears as a mask to shield herself away from the danger she sees lurking in the world of the Aboriginals, tells a story of the innocence of adolescence and the curiosity that grows from a young, maturing body and mind. In Swept Away, behind the violent exterior of a ruthlessly possessive domination, viewers are left to only wonder about the burning flames of passion that burn hot and surely through the veins of our two stranded lovers. Nicolas Roeg and Lina Wertmüller hide behind a wall of societal and political cries for help, built high and separating the world from the joy of healthy, enriching sexual love. They demand the world dig deeper within itself, seeking healing through the skin of those closest to the soul, in order to truly live in love and happiness. In his “Song of the Open Road,” Walt Whitman writes: “Camerado, I give you my hand! / I give you my love more precious than money,” beautifully emphasizing the importance of love above all that may bring the heart pain (sec. 15, lines 8-9). Whether we find peace in the desert, basking beneath the warmth of the sun’s rays or facing the endless sea as salty water kisses our skin, we must realize that while sex holds within its tightly clenched fist the power to overthrow, manipulate, and destroy, it is also the foundation for a world painted bright with the color of love.







Works Cited

Dayoub, Tony A. "Seventies Cinema Revival: Walkabout (1971)." Review. Web log post.            Cinema Viewfinder. Tony Dayoub and Cinema Viewfinder, 21 May 2010. Web. 6 Apr.      2016.

Dirks, Tim. "History of Sex in Cinema: The Greatest and Most Influential Sexual Films and

            Scenes (1971)." Filmsite. American Movie Classics Networks Incorporated, n.d. Web. 8

            Apr. 2016.

Hoffman, Isaac. Saeviri Humanum Est. 2016. TS. Hofstra University, New York.

Lovell, John P. "Lina Wertmuller's Use of Sexual Violence as Metaphor for Political

Revolution." Insights from Film into Violence and Oppression: Shattered Dreams of the   Good Life. Westport: Praeger, 1998. 46-49. Google Books. Web. 4 Apr. 2016.

Roeg, Nicolas. Walkabout. Perf. Jenny Agutter and David Gulpili. 20th Century Fox, 1971.

YouTube. YouTube, LLC, 10 Jan. 2016. Web. 27 Feb. 2016.

Solis, Lola. Is Feminism the New F Word? From Resistant to Responsive. 2016. TS. Hofstra

            University, New York.

Wertmüller, Lina. Swept Away. Perf. Giancarlo Giannini and Mariangela Melato. Medusa Distribuzione, 1974. YouTube. YouTube, LLC, 28 Aug. 2014. Web. 17 Mar. 2016.

Whitman, Walt. “Song of the Open Road.” Poetry Foundation. Poetry Foundation, n.d. Web. 11

            April 2016.