The Social And Cultural Messages In Apocalypto Film Studies Essay

The Social And ethnic Messages In Apocalypto Film Studies EssayWhen one decides to put history on painting, one must be prep atomic number 18d for substantial trade bump offs (Rosenstone 16). Films cannot convey historic events with pinpoint verity or with exact detail because flicks like this do not sell or are not financi anyy practical. As a result, diachronic films are usually laden with diachronic inaccuracies that are on one hand emotionally and visually compelling and on the new(prenominal) hand, a distortion of a sense of history for umpteen others. As historical films surrender accuracy for dramatic effect and brevity, historical truths become laced with political or cultural cognitive contents advertently or inadvertently placed by the producers of the movie (Christen and Haas viii). So what we vex are exciting films backdropped against a real past but projecting a largely imagined one on the screen.Films such as Mel Gibsons Apocalyto have captured substantive attention for being both a cultural success and trouble at the same time (Grandia). A modern depiction of the dandy Mayan culture, Gibson assimilated cinematographic elements to create a pursuit film that is not a historical document as he said, but a social brush up of government tyranny and abuse. The cultural preoccupations reflected in the film was heightened with the Iraq War, which divided the Statesn public opinion into camps which supported the war in the name of civilizing Iraqis by the restoration of republic and those that fought the war because it was an illegitimate war waged against a milkweed butterfly people. On a personal level, Gibson was conscious in the film being a critique of the Bush administrations megalomaniac tendencies. However, all throughout the film, Gibsons personal unearthly convictions and political persuasions were perhaps inadvertently rein soldieryd, causing critics to accuse him of racism and dogmatism (Grandia). For all its historical inaccuracies (which Gibson admitted), the film projects American social and cultural realities as it struggles privilegedly to deal with migration, terrorism, and the economic crisis factors that threaten its status in the world(a) hierarchy. Upon a closer look at the film, it is hypothesized that the film reflects Americas struggle with its get national identity in relation to its history of imperialism and militarist culture, dry wash and multiculturalism, and conservative theological roots. This paper addresses how these social and cultural preoccupations are portrayed in the film.SynopsisThe story is set at the peak of the Mayan civilization when the nation, suffering from drought and disease, pillaged the surrounding states in search of slaves and for plentiful sacrifices to the gods. The central character, Jaguar Paw, is a hunter and family man, who along with many others of his tribe were taken captive. He protects his family by hiding them deep in a secluded hole and is subsequently salvage from having his heart removed by the coming of a solar eclipse. What further ensues is a dramatic chase for choice as Jaguar Paw and his fellow tribe members were capture down. He succeeds in killing off his enemies and returns to save his wife and child. However, his survival comes at a time when his tribe is decimated and his life changed forever.Social and heathenish Messages in the FilmAs earlier hypothesized, while Gibson may not have intentionally done so, several social and cultural messages were reflected in his film.Justifying ColonialismCultural sensitivity is not a strong feature in Apocalypto. As critics have noted, Apocalyptos inaccurate portrayal of ancient Mayan civilization justifies colonialism on cardinal grounds 1) in order to subdue an extremely crazy and in gentlee culture that sacrifices its community en masse and 2) that the inherent savageness of Mayan culture itself was enough to see to its destruction, making colonialism a benign historical contribution.Americas preoccupation with empire and national prestige is reflected in this film in strong and subtle terms. The strong reference toward imperialism is illustrated by the brutal subjugation of a peaceful tribe by the strong armed force of the Mayan political center. Jaguar Paws tribe, harmonious and self-sufficient, found its truly survival peril because of the imperialistic ambitions of a more functionful tribe. However, we see that this once-glorious civilization was ultimately destroyed. Given Gibsons public declaration of opposition to the Iraq War and how he scorned it, his own spatial relation may be that the film should embody how unsafe the imperialistic ambitions of the U.S. are (Grandia). The eventual annihilation of the Mayan Civilization then was use as a testament and a reminder to Bush and to all of the dangers of bloodthirsty power. Colonialism in this movie was on a lower floorscored with the arrival of Spanish missionaries of f the shore toward the end of the film. The cultural message that could be inferred from this scene is that it was Christianity that actually saved and civilized the bloodthirsty Mayan civilization. This is analogous with Americas own brutal history of subjugating the primaeval American Indian tribes who were the original settlers of the American continent. Other cultural and political analogies could also be inferred. For instance, Americas preoccupation with policing the whole world and teaching democracy to so-called rogue states to the extent of military occupation is one. Another is Americas preoccupation with exporting the free market ideology to the entire world as the only viable economic system at the expense of growth nations unable to compete with industrialized nations in the world market. The most new analogy would be the Iraq War, a war not sanctioned by the United Nations but crucial in advancing Americas petroleum interests in the Middle East.Race and Multicultur alismGibson originally hoped to address Americas insatiable hunger for power by using the downfall of the Mayan civilization as analogy. The problem with this last is that it reinforced racist epithets and cultural insensitivity. Advocates of multiculturalism strongly disagreed with how racist the film was (Schmidt). When you spate the film, with its compelling imagery and graphic detail, one may be intimidate to conclude that the ancient Mayans were an inherently savage population. Gibsons use of the Yucatec Maya language in telling his version of the demise of the Mayan civilization was effective in giving historical authenticity to the film. Gibsons version of ritual sacrifice in the Maya has been lambasted by more than one historian. The Mayan civilization did not practice mass human sacrifices and when they do practice single human sacrifice, it was not random killing as suggested by the film (Grandia). Hence, the theme that came out of the film was not the critique of empir e as Gibson had envisioned, but the emphasis on the ferociousness of others, and the need to homogenize culture to conform to a Eurocentric measurement (emphasized in the film with the coming of European missionaries).Multiculturalism has taken a fool away in the heart of America with the immigration debate. In a iron for greater profits, corporatist interests have banked on tapping cheap immigrant labor, to the discontent of many Americans. A growing number of Americans have stand firmed against the rising tide of immigrants in the landed estate who are out to take their jobs, depress their wages, and contribute to uncontrollable population growth. Greater border security and more stringent immigration regulations have been hotly debated (Honey and Bass 14).Gibsons purported anti-Semitism has made racism an immediate bang in Apocalypto. He created uproar among the Jewish community in his critically-acclaimed film Passion of the Christ which portrayed graphically how the Jews were the persecutors of Jesus Christ. Having a stupefy who denies the existence of the Holocaust did not attention to ease racist accusations in Apocalyto as well. Unfortunately, racism is not only Gibsons cultural preoccupation, but Americas. in spite of the triumphs gained by Americas civil rights movement, racism is mollify very existent today. The world(a) war on terror has heightened racial tensions and fueled Islamophobia and intolerance for other cultures. The most notable public example is fundamentalist pastor terry cloth Jones who threatened to burn the Koran and proclaimed Islam and the devils religion, despite pressure from elevation officials and pleas from the White House (Stacy). Moreover, despite having elected the very first non- black-and-blue president in Barack Obama, racism is a ghost that America still confronts. There still remain a substantial number of racially-motivated white groups in America who opposed Obamas election because he is black and who pr otest against his policies not for their lack of soundness but because is black. Racist Americans are very active in lobbying against legislation promoting racial equality and are revengeful in their position. Media is populated by right-wing advocates against multiculturalism who are against affirmative put to death and other civil rights laws (Wallis).Christian conservatismProminent in the film is the glorification of Christianity at the end of the film. After the viewer undergoes most two hours of violence and gore nonstop, Spanish missionaries miraculously appear during the last proceedings as if to rescue Jaguar Paw and his unfortunate tribe. Although subtle and scam in appearance, the message of these scenes is powerful and undeniable. After all, why waste a few minutes of a film on a visually unappealing scene if it does not strike a core message to viewers? The final scene depicts Spaniards aboard the galleons crossing the waters off the coast, bearing crosses. After be ing convinced of the savagery and barbarity of the Mayans and degustation on how Jaguar Paw saved his wife and child, the sight of Spanish Christian missionaries allow the audience to be relieved. The message is At last, help has come. God-fearing Christians have come to us. Out of the chaos and destruction of the Mayan civilization, the European missionaries have somehow arrived to make things right and restore peace. That the film ends there does not account for the equally brutal nature of subjugation the Natives endured under colonial rule. Colonialism by the Europeans was portrayed as benign while the internal colonization within the Mayan colonization was tantamount to genocide. The fact that the Spanish decimated almost 95% of the Mayans during their rule was left out (Grandia).The Christian conservatism Gibson injected in the film embodies his own religious convictions. Being a professed devout Catholic, Gibsons view was that the Mayan civilization was annihilated because of their bloodthirstiness and ungodliness. Religion, particularly Christianity, replys as a deem against the excesses of power and departure from is perilous. Essentially, Gibson tows the line of religious fundamentalists that all social ills of America today are because it has forgotten its core phantasmality. Morality has faded and replacing it has been decadence and wickedness. The film aims to remind America that the social problems it faces now is intertwined with its spiritual and moral struggle.ConclusionApocalypto aimed to remind that a civilization unable to fulfil its long-held traditions, beliefs, and spirituality will face destruction. Gibson inadvertently or advertently displace in Americas issues related to national identity imperialism, race, and Christian morality to serve this purpose. As a historical document, Apocalypto does not meet the accepted standards of accuracy and verifiability (Rosenstone 7). However, it depicts social and cultural preoccupations that America is currently faced with and as a result, triumphs in being a film that inspires and cultivates debate and discussion.