Most alien invasion movies deal with the central idea in
H.G. Wells' The War of the Worlds, a radical change in perspective. His Martians look upon us as we might look at microbes through a microscope. Humans are made to face the question of what our cumulative history (moral, social, etc.) amounts to in the presence of a superior, celestial other. Wells suggests there's hope for us, that we're not so insignificant, by having the Martians taken down by bacteria, which were no more significant to us than we were to the invaders. As it turned out, we should've had more respect for bacteria.
An optimistic response to our diminished ontological status would be
Gene Roddenberry's Star Trek universe, where Earthlings get over their petty (in the cosmological sense) differences to work together in establishing our species' significance in an ever expanding world. The success of Earthlings in the Federation is because liberal humanism is taken to be an absolute, superior to all the alien moral alternatives found in the universe (Vulcans might be our intellectual superiors, but they don't possess our heart and good old common sense). The wish fulfilled here is that humans overcome all our cultural, socially constructed differences to prove the importance of what unites us, presumedly biology and whatever inalienable rights obtain therefrom (again, liberal humanism).
The more pessimistic spin is seen in
Robert Wise's The Day the Earth Stood Still, which involves a representative, Klaatu, from a council of master races (not unlike the Federation) coming to Earth with a warning: do what you want to each other, but should you try any of that human-all-too-human bullshit with us as you travel into space, we have the technology to annihilate you. If we're to be united, it'll be through negation, all of us being fundamentally different from the other, causing us to cuddle together in fear. A similar togetherness led Earth to attack the bug planet in
Paul Verhoeven's Starship Troopers, the bugs not possessing the technological power of Klaatu.
Even more cynical is
Neill Blompkamp's District 9 that suggests if there is a unifying human instinct, it's bigotry. The alien arrival doesn't fundamentally alter class and racial divisions, but instead proves shit rolls down hill. The aliens are restricted to the poorest area where they're subjected to discrimination from the most discriminated of humans. Although biological alteration of the protagonist results in his empathizing with the alien plight, it's not biology per se that's the basis for moral insight (as it is in
Star Trek), but rather being socially reconstituted as other in the eyes of his (formerly) fellow humans, particularly those from his bourgeois background.
Gareth Edwards' Monsters applies a similar socio-historical determination to extraterrestrial reception as
District 9, where the invaders aren't seen as transcendent beings that defy our categories, but are instead reduced to extant concepts of class, nation-state boundaries and otherness. The octopoid aliens (a cross between those in
The War of the Worlds and
Watchmen) are quarantined in Mexico along with the majority of Mexicans. Fulfilling the
Minuteman Project, there's a Great Wall now separating Central from North America. Regardless of the terror and destruction being inflicted on the resident population by the giant octopuses, the only immigrants allowed into the States are the wealthy. An interesting enough premise, but nothing much is made of it except as backstory for yet another bourgeois coupling.
1917 in Honolulu, when Hawai’i was still a territory. His father, Dai Song Chang, owned an art store and framing gallery. The Chang family moved to San Francisco in 1919 and the parents opened Ho Ho Tea Room on 315 Sutter Street, which quickly became a popular hangout for artists and bohemians. Wah’s mother, Fai Sue, was an artist and graduate of the California School of Arts and Crafts. As a young child, Wah also displayed a talent for art and at seven, he began a tutelage under artist Blanding Sloan. Wah had his first solo gallery show when he was just nine years old. His mother passed away when he was eleven and his father moved to Europe, leaving the child with Sloan and his wife, Mildred Taylor. Taylor, was a feminist writer, organizer and lecturer who in the 1920s displayed a strikingly non-stereotypical interest in East Asian cultures. Taylor introduced Wah to puppet-making, a skill which he would employ when he eventually began working in film. 
This Friday marks a special milestone for the Universe as we know it, as March 22nd will be William Shatner's 82nd birthday.
