Avatar: A Self-Analysis that Enchants
Published in Diário Popular
(Brazil) on 29 January 2010
by João Pedro Roriz (link to original)
That is right, avatars; kill all those nasty humans with no hearts. That is how I left the theater. Finally, a film that shows, in an idealist manner, the consequences of oppression through devastating and brutal force, whether it is toward the indigenous or any other group — even concerning the environment.
It does not surprise me that a part of the American film industry, comprised of environmentalists and intellectuals, presents something full of such significance. After all, which nation most invades and exploits other countries in search of new natural resources? Which nation kills for petroleum, commits political assassinations and creates discord between other nations? This film is more than a popcorn film — it is a well-constructed self-analysis of American foreign policy.
The American cinema, whenever possible, goes in accordance with its country's foreign policy. Interestingly enough, long before the hunt for Bin Laden, Hollywood had already produced "Braveheart," which Mel Gibson directed. In this movie, reverences were made to William Wallace, a warrior who, at the beginning of the second millennium, defended his own interests and those of his people, for which he was labeled a barbarian by the English monarch. If he existed today and lived in Afghanistan, William Wallace might have been called a terrorist. Is it possible that someone will one day portray Bin Laden as a "warrior" who dared to defy the empire of his time?
After the U.S. refusal to ratify the Kyoto Protocol, we watched a film called "The Day After Tomorrow" that showed, with objectivity, the lack of good faith on the part of the Bush government concerning the eminent consequences of global warming — a topic which is treated today with the utmost attention by the world. In this movie, by the way, the American president dies ... I am not sure if you remember. In one of the most applauded scenes by the Brazilian public, the U.S. government pardons all of Latin America's debt so that Americans are able to flee to other countries in mass emigration.
The United States does not produce raw materials for much of anything and depends on the profit from the over pricing of their manufactured goods (made using cheap raw products obtained from less-developed countries). It is this way for everything: from clothes to fuel. In the art world, however, it is slightly different. The American people export, through their artistic innovation and high quality cinematography, an ideal life — a culture that is today adopted by almost all countries in the occidental world. The good news is that this segment of the American economy is leaving the fictitious images of buff, heavily armed superheroes (the Rambo and Arnold Schwarzenegger variety) behind and giving way to a more utterly humane, humble reverence for the powers of nature and community love.
Outstanding! After seeing a soldier fall in love with a blue savage who identifies herself with nature, I understand why Stallone is not more successful and Schwarzenegger has exiled himself in the internal politics of his country. Good riddance ...
It does not surprise me that a part of the American film industry, comprised of environmentalists and intellectuals, presents something full of such significance. After all, which nation most invades and exploits other countries in search of new natural resources? Which nation kills for petroleum, commits political assassinations and creates discord between other nations? This film is more than a popcorn film — it is a well-constructed self-analysis of American foreign policy.
The American cinema, whenever possible, goes in accordance with its country's foreign policy. Interestingly enough, long before the hunt for Bin Laden, Hollywood had already produced "Braveheart," which Mel Gibson directed. In this movie, reverences were made to William Wallace, a warrior who, at the beginning of the second millennium, defended his own interests and those of his people, for which he was labeled a barbarian by the English monarch. If he existed today and lived in Afghanistan, William Wallace might have been called a terrorist. Is it possible that someone will one day portray Bin Laden as a "warrior" who dared to defy the empire of his time?
After the U.S. refusal to ratify the Kyoto Protocol, we watched a film called "The Day After Tomorrow" that showed, with objectivity, the lack of good faith on the part of the Bush government concerning the eminent consequences of global warming — a topic which is treated today with the utmost attention by the world. In this movie, by the way, the American president dies ... I am not sure if you remember. In one of the most applauded scenes by the Brazilian public, the U.S. government pardons all of Latin America's debt so that Americans are able to flee to other countries in mass emigration.
The United States does not produce raw materials for much of anything and depends on the profit from the over pricing of their manufactured goods (made using cheap raw products obtained from less-developed countries). It is this way for everything: from clothes to fuel. In the art world, however, it is slightly different. The American people export, through their artistic innovation and high quality cinematography, an ideal life — a culture that is today adopted by almost all countries in the occidental world. The good news is that this segment of the American economy is leaving the fictitious images of buff, heavily armed superheroes (the Rambo and Arnold Schwarzenegger variety) behind and giving way to a more utterly humane, humble reverence for the powers of nature and community love.
Outstanding! After seeing a soldier fall in love with a blue savage who identifies herself with nature, I understand why Stallone is not more successful and Schwarzenegger has exiled himself in the internal politics of his country. Good riddance ...