Amoeblog

Thor: The Dark(er) World (2013)

Posted by Charles Reece, November 10, 2013 11:23am | Post a Comment
thor dark world poster doaly

If you'll recall, the first Thor film stirred up controversy by casting Idris Elba, a black man, as the character of Heimdall, the door man to Asgard -- not because the first black Asgardian is a door man, but only because Norse Gods are Aryan and thus presumed to be white. (I doubt it would've been the white power advocates objecting had Jarvis been made a black man, rather than A.I., in The Avengers and Iron Man.) The sequel, The Dark World, defiantly expands his role, having a lot more people, gods and various mythical beings enter Asgard, thereby keeping Helmdall busier than if he worked for a hotel in a 30s screwball comedy. The filmmakers also give the racist complainers even more whatfor by casting a lot of the Asgardian warriors as black (and one Japanese). See all those black dudes punching something or other in the background, or kneeling to the greatest of all Asgardians, Thor (played by Chris Hemsworth, a white man), after he proves his mettle in battle? I can imagine the decision made at the meeting: "this will really fuck with those white power assholes!" This is post-racial Hollywood, so I guess it doesn't matter that the servant is still black, just like Rochester, and the master who, like Mr. Benny, makes all the major decisions, is still blue-eyed and white. Perhaps simply applying black faces onto white mythology isn't the best approach to solving problems in representation.

The Dark World does actually bring up an interesting problem about representation in fantasy on film (sigh, DCP). One of the main evil dark elves, Akrim (the second in command), is played by Adewale Akinnuoye-Agbaje, a black man. Keeping with the film's racial sensitivity, he's the first major character to sacrifice himself for the cause. He doesn't exactly die, but instead transforms into a giant mutant elf, Kurse, with the actor subsequently completely covered in prosthetics and, I suspect, often rendered digitally (at least, in the battles). My question is does he still count as black representation? Too bad for the actual actor, but the answer seems to be 'yes,' since (1) in the fictional narrative of a novel, simply assigning a character as black (like Rue in Hunger Games) is enough to make them black, (2) a black character in a cartoon is an example of black representation (Green Lantern in Justice League), so why not this digital creation who clearly starts off as a black man? and, relatedly, (3) if the digital creation Gollum continues to be white, because of who he was as Sméagol, a white hobbit, the same rationale applies to the black elf becoming a mutant. (Not that any of this was probably thought about during pre-production.) 

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Snowball's Chance in Hell: Django Unchained (2012)

Posted by Charles Reece, April 28, 2013 09:59am | Post a Comment
django unchained poster rich kelly

Along with Inglourious BasterdsDjango Unchained forms something of a diptych for Tarantino insofar as both are revenge fantasies set in two of history’s greatest atrocities: the Holocaust and American chattel slavery. In the interview he gave at the screening I saw last week, he certainly thinks of them that way. But before either film could begin to be written, one crucial difference in their respective historical situations delimited the possibilities of fantasy: one can fantasize about the end of the Holocaust by killing the highest members of the Nazi party, whereas there is no easily imagined personalized end to slavery through a few targeted acts of vengeance. Thus, the use of explosives against the Nazis seems a tactical act, a logical means of warfare. The use of bombs against slavery would border on what we call terrorism these days, or “irrationally” violent outbursts against a society (targeting civilians who can’t do anything to change the way things are, or think of the portrayal of the Watts riots, for example: why did they destroy property?). Slavery was a deeply structural violence, an ontological domination of a people that didn’t obtain in the instance of the Holocaust. Any heroic narrative set in the slave-built Southern economy is going to have a major hurdle to overcome: there is no real end in sight, the villain remains like the renewable heads of a hydra, nor is there a place to go where the hero’s limited victory will be recognized, much less celebrated (excepting the audience who might applaud at the film’s end). As Frantz Fanon famously wrote in Black Skin, White Masks:

The Jewishness of the Jew, however, can go unnoticed. He is not integrally what he is. We can but hope and wait. His acts and behavior are the determining factor. He is a white man, and apart from some debatable features, he can pass undetected. [...] Of course the Jews have been tormented — what am I saying? They have been hunted, exterminated, and cremated, but these are just minor episodes in the family history. The Jew is not liked as soon as he has been detected. But with me things take on a new face. I’m not given a second chance. I am overdetermined from the outside. I am a slave not to the “idea” others have of me, but to my appearance.

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Love Thy Vampire? Priest (2011)

Posted by Charles Reece, June 5, 2011 10:16pm | Post a Comment
priest poster blood thirsty

I wasn't going to see Priest until I read Noah Berlatsky's critique. I could tell from the trailer that it wasn't offering anything new, nor was it going to even try. Indeed, it is cobbled together from clichés, tropes and designs borrowed from other films -- many of which would best be forgotten, as well. There's not one, but two "I won't let you / don't you let go" scenes as someone is dangling from the hero's hand. The villain conducts while his minions play a catastrophe on a town, just so you know how evil he is. Black Hat, the villain, is a former member of the superpowered priesthood, now corrupted by vampire blood, making him more powerful than both the pureblood vamps and the priests. The vampires are based on the same boring, wormlike design that was used in I Am Legend -- preferred, I guess, because it's generic and doesn't require eyes. Black Hat's main plan is get his old friend, Priest, to join him as a halfbreed and take over the world for the vampire queen. The worst offense is that the action is yet another uninspired appropriation of The Matrix's bullettime. Why, then, did I see it? Because Berlatsky argues that the film is virulently racist, and I can't stay away from films that unintentionally go horribly ideologically wrong. He had my hopes up for another 300 or the aforementioned I Am Legend, but is it a "racist piece of shit," or just shit?

The film's one innovation -- if you can call it that -- is borrowing the basic plot from The Searchers. In John Ford's classic, the Comanche kidnap Ethan Edwards' (John Wayne) niece, torch his brother's homestead and kill most of the family. The vampires do the same to Priest's (Paul Bettany) family, bringing him out of forced retirement to find his "niece" (actually, his biological daughter), and, thus, against the direct commands of the church state that he serves. The heroes are accompanied by the nieces' suitors, both of whom intend to keep the girls alive against the uncles' vows to kill their nieces if they show signs of infection -- cultural in the case of the Indians and genetic in the case of the vampires (or, I guess you might say, genetic mutation determines an ideologico-moral shift in the latter). It's the substitution of vampires for Indians in the plot that is central to Berlatsky's condemnation:

[I]f the Indians are vampires, suddenly you don’t have to shilly-shally. One by one the Western set pieces are trotted out and stripped down to their primal level of racist hatred and fear. The (white) family of peaceful farming folk out on the frontier is beset, utterly without cause, by slavering, hideous eyeless beasts. The reservation on which the vampires are herded is an impoverished, backwards tract of dirt—surrounding a slimy, stinking pit of sub-human insectoid breeding and bloodletting. 

Scimitars and Sand Dunes - Rethinking the Middle East, Arabs and Islam

Posted by Eric Brightwell, June 6, 2009 10:41pm | Post a Comment
With President Obama's recent address at the University of Cairo, there has been a veritable sandstorm of media discussion about the Middle East, the Arab world and the Islamic world; three concepts lazily interchanged in the American mainstream media (including the supposedly smarter public radio). Despite some overlap, the indiscriminate use of the terms, both out of ignorance and deliberately,  minimizes substantial heterogeneity and differences -- to the detriment of our understanding of reality, and as a result contributing to the undermining and hindering of attempts at peace in the region. While I did find the president's speech fairly nuanced, intelligent and inspirational, until substantial actions reflect those attractive words, they offer nothing more than hope.


"Neighbour to the Moon," the legendary Christian Lebanese singer, فيروز.

Today Arabs, Muslims and Middle Easterners remain some of the last people in the west for whom racism is not only extremely common but also widely accepted, even governmentally endorsed. Merely advocating equality and human rights for Arabs and Muslims is often met with charges of racism and embracing hatred, probably the only people likely to ellicit that response besides Germans. Given this reality, centuries of negative stereotypes and repeated military and political actions that reflect undeniable double standards, it's no wonder that many view the frequent proclamations that "Islam is a beautiful religion" and hands extended in friendship with widespread suspicion at best.

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This is Your Nation On White Privilege: Tim Wise On Being White In America And Running For Political Office

Posted by Billyjam, September 16, 2008 05:26pm | Post a Comment
white like me reflections on race from a privileged son
Published this week online on his ZSpace page, the following timely essay This is Your Nation on White Privilege was written by Tim Wise, who is the author of White Like Me (Soft Skull, 2005, revised 2008) and Speaking Treason Fluently, which will be published later this month, also by Soft Skull.
Thanks  to Wise and his publishers for permission in reprinting this essay on white privilege in America today. For more information on the author visit timwise.org.

This Is Your Nation on White Privilege
by Tim Wise

For those who still can't grasp the concept of white privilege, or who are constantly looking for some easy-to-understand examples of it, perhaps this list will help.

White privilege is when you can get pregnant at seventeen like Bristol Palin and everyone is quick to insist that your life and that of your family is a personal matter, and that no one has a right to judge you or your parents, because "every family has challenges," even as black and Latino families with similar "challenges" are regularly typified as irresponsible, pathological and arbiters of social decay.

White privilege is when you can call yourself a "fuckin' redneck," like Bristol Palin's boyfriend does, and talk about how if anyone messes with you, you'll "kick their fuckin' ass," and talk about how you like to "shoot shit" for fun, and still be viewed as a responsible, all-American boy (and a great son-in-law to be) rather than a thug. White privilege is when you can attend four different colleges in six years like Sarah Palin did (one of which you basically failed out of, then returned to after making up some coursework at a community college), and no one questions your intelligence or commitment to achievement, whereas a person of color who did this would be viewed as unfit for college, and probably someone who only got in in the first place because of affirmative action.

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