North America in The Films - Essay Example

? Representation of North America/North Americans in the Films of Santiago Alvarez Representation of North America/North Americansin the Films of Santiago Alvarez Santiago Alvarez Roman was a filmmaker born in Cuba in the early 20th Century. He is acclaimed to have written and directed several features on both Cuban and American cultures and people. The filmmaker used materials already found in other film clips, photographs and cartoons to further bring out the themes of his films. Such use of found materials in the production of films is referred to as the nervous montage technique (Chanan 1995, p.118). Santiago Alvarez’s films were found to illustrate the imperfections of the North American continents and its inhabitants. The films exemplify the continent inhabitants’ interactions with those in the said continent and those elsewhere. The films were not only meant for entertainment, but to also emphasize the social injustices that went on in the continent and through its inhabitants’ actions. His films focused on the repercussions or effects of people’s actions, as opposed to the mainstream films which only focus on the effect rather than the cause of injustices. We also note that Santiago’s films were focused on communication, as films were viewed as tools of communication. However, films in the mainstream Western front only serve to satisfy the monetary interests of the stakeholders in the industries. All of Santiago’s films have musical undertones (Rist 2007, p. 64). This represents the North American culture as one which accepted music as a form of presentation and communication. This is also seen from the Western mainstream where Hollywood, for instance, has absorbed the musical culture into film making. This is seen by musical themes in movies and further shown in the production of musicals. In his film Now of (1964), Santiago portrays the civil rights abuses in the North American continent. Through the still pictures, we can clearly see the oppression of the masses, especially those deemed as socially irrelevant such as the blacks. The film calls for change by people standing up to protect their civil rights. The mainstream Western media, however, paints the picture of the upholding of people’s civil rights, which is both misleading and malicious. Hollywood, for instance, depicts the North American continent as one where civil rights abuses are unheard of whereas, through Santiago’s film, this assumption is rendered inaccurate. In this film, no voices are heard, which goes to further clarify the people’s reluctance to speak out and act in the face of such adversity. Moreover, it portrays the people as having being forcefully silenced by the oppressors, which are principally the powerful men in the North American society. The civil rights abuses show the people as going contrary to their constitution, which upholds the right to speech, movement and freedom of all individuals. In the film, Santiago uses Lena Horne’s musical prowess to demonstrate the historic heroes of humanity in North America, people such as Lincoln, Washington and Jefferson who are represented as fighting to preserve the exclusive rights of all people in the continent and elsewhere. The civil rights violations shown in this film center around racism shown by North Americans. The splitting up of the screen into three parts in the first scene of the film conveys a sense of segregation among the people of North America. As noted, this segregation emanates from discrimination of minority groups along racial lines, and disregard for their rights (Rist 2007, p. 74). This division is also brought about by the colonial nature of North Americans. Neo-colonialism is widely practiced in the nation during the time the film was shot. North Americans who held this doctrine regarded the indigenous people, such as black Americans as inferior beings, and although slavery was not openly practice, people’s mindset was such that these minority groups should work for the white people of North America and not vice versa. The film further shows the discriminative nature of North Americans towards members of the black race and other aboriginal communities. The former are seen to consider the latter minority groups as being inferior to them by viewing them as commodities rather than fellow human beings and subjecting them to inhumane acts such as slavery. The North American continent is, thus, seen as a hostile environment to minority groups. However, we realize that the mainstream Western media represents North Americans as openly accepting indigenous communities and absolving them from any blame in racism. Hollywood has seen the release of films that attempt to portray the indigenous communities, for instance, black Americans as proud people who consider themselves superior to their light skinned counterparts (Ferguson 1998, p. 56). Western media ideologies are set on equality of all persons, regardless of their race or social class as opposed to films such as Now (1964) which clearly show the inequality of people in the society, especially in North America. Santiago’s films also reveal the orientalism of North America; North Americans esoteric ideologies allowed them to act in wanton disregard of other people’s rights and freedoms. They forcefully acquired what they had not labored for, while sidelining those who had worked hard for the possessions they forcefully took. However, we note that Santiago also portrays some of the North Americans as willing to take action against vices such as racism and general abuse of people’s civil rights. The people are encouraged to rise and fight for their rights and those of the generations to come. The Western media and Hollywood also show this feature in the North Americans they are shown to be people willing to fight for their rights, although sometimes selfishly by not considering others’ rights. The Western media use music and video clips to disseminate such message. On the other hand, Now depicts North Americans as lacking brotherly love and compassion, especially towards other races. This is shown when white police officers beat groups of protesting black American women and children. Abraham Lincoln’s image emerges from a child’s eyes to describe his vision of brotherly love has been squashed through such actions as the policmen’s. The mainstream media, on the other hand, portrays North Americans as tightly bound together by strong feelings of brotherly love. Hollywood shows families consisting of both races living happily together in love, respect and acceptance (Ferguson 1998, p. 43). In the film Hora de los hornos (1968), Santiago, Octavio Getino and Fernando Solanas worked together to make this film a success. The film represents North America as an imperial power seeking to dominate the rest of the world. The dominance of North America and North Americans on the people of Central and South America and the “third world” in general are carried out through both economic and political means. North Americans convinced the rest of the world of its dominance in matters relating to wealth and political strength. Moreover, North Americans are depicted as dictatorial in nature that is through their relentless influence on other nations in order to control the distribution of wealth and power. Their dictatorial nature is enforced by their control over aspects relating to other nations and its people. In Hora de los hornos, such dictatorship transcends into the musical and cultural prospects of Latin America. The infringement of North Americans into the Latin American musical background also shows their domineering nature in trying to run almost all aspects in the world. Moreover, the directors illustrate this matter further by focusing on the leadership of these nations who fall subserviently to the interests of the North American imperialists. This film explores the decisions made by leaders in other nations, which appear to be self formulated choices, but in reality, the decisions are determined at by powerful nations such North America. Contrary to this view, the Western mainstream, represents North Americans as merely wishing to support other nations in the development of their natural and artificial resources rather than them being imperialists who are out to control and get what belongs to other nations. Western news and Hollywood have shown such imperialism disguised as humanitarian, fiscal and political backing extended by North America to the rest of the world, especially to the developing nations. Such assistance is shown to originate from humanitarian ideologies, whereas unconventional films show control as the driving force behind this aid. In addition, Santiago Alvarez’ film LBJ, (1968) focuses on the assassinations of Martin Lurther King (Jr), Bobby Kennedy and John Kennedy. The film’s title is not only the abbreviation of these three men’s first names, but the initials of President Johnsons, as well. Santiago represents the North American society as being marred by corruption, both politically and socially. He uses clips from past Hollywood movies and a cartoon representation of the President as an all-American cowboy to satirically to further emphasize this point. This is because in the film, the President is linked to the assassinations of all the three men. The nation is portrayed as having a liberal approach to wrong doing as even the highest office in the country is involved in atrocities such as murder. Political corruption is seen by the President escaping prosecution for his crimes while the families of the three murdered men continue to suffer. Moreover, the President uses his office to conspire against his enemies and bring upon their death because he is untouchable by the common law that governs the nation. Santiago’s use of a terror song in the wedding scene in this film, represents the fear that gripped North America, the slides of fire and death also exemplify this premise. North America is represented as an unsafe place for murder and death are a common occurrence. The film implies the political elite’s participation in the misfortunes, despair, fear and turmoil experienced in the nation. This is seen through Santiago’s suggestion that the President was responsible for the assassinations, although it had not been proven. The satirical representation of the President as an all-American cowboy speaks volumes of the representation of North Americans by Santiago. They are shown as pretentious people who only seek admiration and recognition by masquerading themselves as moral and virtuous people, while, in fact, they are wrong and wicked, which is shown through their actions. The owl in this film portrays death and is also used in depicting the President’s character as deadly and malicious. North American’s social corruption is also seen through the same assassinations as it is not clear who had carried out the killings. The people are seen to condone such killings and the abuse of office by the political class. In the mainstream, on the other hand, the political elite are typically depicted as straight forward people who go out of their way to ensure the safety and wellbeing of the citizens. Western news represents these political figures as martyrs who sacrifice their personal needs for those of the nation’s population. However, we note that there are nowadays certain Hollywood media that conform to the ideology of the political elite being corrupt and malicious in their actions. These media include satirical shows such as Boondocks. The mainstream media has also shifted in its representation of the North Americans as socially corrupt. This is seen in the sense that they are represented as not blindly condoning wrongdoings by the political North America. However, social corruption in the Western media has taken a new meaning. Vices such as drug addiction, adultery, fornication and divorce which were previously not accepted are nowadays quite acceptable in North America as shown through Hollywood and the Western news media. In Hanoi (1968), Santiago represents North Americans as destructive people who use war as a tool to dominate territories and exert their power over people. This is well illustrated by the American warplanes that bomb the small Vietnamese town while its people are in the rice fields working. The Americans are also shown as capitalists who seek to selfishly benefit from Vietnam as opposed to the Vietnamese who till the land and labour in rice paddies in common and split the proceeds amongst themselves. We note that the Vietnamese motto of working together to eliminate hatred exemplifies the Americans ideology of working independently to maximize self interest. The American warplanes bomb the town depicting the Americans as murders and destroyers who wretch everything on site (Cottle 2000 p,92). They are non-sympathetic to the cries of wounded children and grieving mothers. North Americans is represented in this film as colonialists who stop at nothing to achieve their selfish ends. They do not respect other country’s and people’s sovereignty as they try to forcefully acquire land that does not belong to them. However, North Americans in this film as depicted as resilient people who do not back down. We note that although the Chinese, French and British had tried to seize Vietnam but failed, the Americans were still willing to try their chance at subduing the land. However, we note that, they do not respect other people’s ancient customs and religious beliefs as we note that they not only destroy the statues of ancient gods, but they holy grounds they sat on. This film celebrates the Vietnamese courage and cultural identity even in the face of aggression. The mainstream, however, contradicts this conception of North Americans as they are now viewed as accepting and respecting other country’s religious beliefs. Hollywood portrays a culture where all religions are respected across the board. However, we note that the mainstream is biased against Islam as it represents its followers as being terrorists and mass murderers (Cottle 2000 p,39). The film 79 Springs, (1969) is a celebration of the life of the fallen Vietnamese President Ho Chi Minh. This film is the most poetic among all of Santiago’s films. It relays the jubilation of a people and nation after freeing themselves from colonialism and imperialism. This colonialism and imperialism is shown by the Americans who had endeavoured to conquer Vietnam as their colony, but were successfully driven off later on. The Americans’ characteristic imperialistic and colonial nature is exemplified in this film. However, we note that they are also defeat able as they are driven off the land. They accept defeat and leave, but not before murdering and maiming the innocent. The mainstream depicts North Americans as warm and incapable of intentionally causing harm to others. The Western media have over the years portrayed Americans as humanitarians who act for and not against the rights and freedoms of others. Through Hollywood, North America is viewed as the mediator of peace rather than the destroyer as seen in Santiago’s films (Cottle 2000 p,79). In conclusion, Santiago’s films have used picture, song, satire and irony to represent his perception of North America and North Americans in general. Although all the films were set in different locations and at different times, they portrayed these Americans as being backdated in their ideologies, especially in regards to human and civil rights of each person in the world. Their presumptions of superiority to other nations and its people have served to alienate them from the rest of the world as they are seen as bullies who take whatever they want, whenever they want. Their dominance on the world through political, social and economic means is viewed with hostility, although most nations are too poor to forgo its support. The Western media, news and Hollywood all work collaboratively in improving and maintaining the image of the nation and its people. This has, to some extent, improved on people’s the perception towards North America and North Americans, as well. However, the mainstream has brought out some cultural aspects of the nation and its people that were better kept hidden. The publication of vices on Western media and Hollywood has adversely affected the rest of the world as people are presently replicating what they see in these media. References LBJ, 1968, Rodriguez, P. and Hernandez, A. 3rd World Newsreel, USA. Chanan, M. 1995. The Revolution in the Documentary: In The Cuban Image. London: BFI Publishing, 1985, p. 177-202. Hanoi, Tuesday 13th 1968, Santiago Alvarez, 3rd World Newsreel, USA. Rist, P. 2007. Agit-prop Cuban Style~ Master Montagist Santiago Alvarez. . London: McGraw- Hill Professional Now, 1965, Rodriguez, P. and Hernandez, A. 3rd World Newsreel, USA. Ferguson, R.1998. Representing ‘Race’: Ideology, Identity, and the Media. London, UK: Arnold. Hanoi, Tuesday 13th, 1967, Ivan Napoles, 3rd World Newsreel, USA. Cottle, S. 2000. Ethnic Minorities and the Media: Changing Cultural Boundaries. Buckingham, UK: Open University Press. 79 Springs, 1969, Ivan Napoles, 3rd World Newsreel, USA. Santiago Alvarez. Hollywood.com. Retrieved 2009-06-05 Read More