Graduate Student, Sociology
George Mason University
I found myself perplexed as I left the theatre on the opening night of the new super-smash hit blockbuster film Avatar. As a graduate student studying sociology, and focusing specifically on issues of race and popular culture, I found it hard to say that I enjoyed the special-effects laden sci-fi epic that lasted an equally epic 160 minutes. Leaving the film I was surrounded by audience members going over their favorite parts and which scenes really “wow’d” them. In my head though, all I was thinking about was the blatant use of “orientalism ” discourse that plagues a large portion of the culture we live in. The lackluster plot that recycled notions of the “white savior” and the “noble savage” really irked me, as Sally Raskoff recently blogged about.
Here’s a brief plot summary of this film for those who have yet to see it. In the future, where space travel and planet colonization is a reality, the moon Pandora holds a valuable mineral called unobtainium and is thus the site for a project by corporate and military interests to create an artificial body (an Avatar) of the native people, called the Na'vi, to infiltrate their ranks and convince them to leave their settlement; this would grant access to large amounts of unobtainium. Jake Sully is a crippled soldier who takes control of his deceased brother’s Avatar and is ordered to get the Na’vi to leave. After going native and learning the Na’vi ways, as well as falling in love with the tribal chief’s daughter, Jake turncoats and abandons his mission to rally the Na’vi people to oppose their own colonization.
About five weeks from when this film opened it still is making ridiculous amounts of money – it has been the top box office earner for all five of those weeks. The film has surpassed its huge production budget with revenue already totaling more than $1 billion worldwide. The Golden Globes (the pre-Oscar awards) has even recognized the film with two of their major awards – “Best Film-Drama” and “Best Director.”
As more of my friends and peers see this film, they go on and on about how great it was. When I bring up the issues I have with the film I receive, for the most part, a roll of the eyes and a backward head nod – these actions occur simultaneously by the way, adding to the “oh gawd” effect of being burdened by the information I bring up. No one seems to want to hear about a plot that helps assuage white guilt as the audience roots for the hero to help the native tribes on Pandora. When I bring this up to my friends I get a line that sounds similar to this paraphrase, “You’re being a sociologist.” This actually translates to meaning that I’m thinking too much, and…how dare I.
Now I don’t deny that director James Cameron has made a visually stunning and well-made film. Throw in the special effects and this is by definition a recipe for “good filmmaking.” And it is often the rebuttal I’m faced with when critiquing the film with others, an argument that the special effects “were soooo good.” A lot of media buzz has centered on the use of technology in the production process; James Cameron even helped invent a new camera for filming his 3-D scenes. Many reviews have also forgiven the weak plot and instead applaud the technology used in the film. One article from Popular Science even mentions that Cameron and the production company, 20th Century Fox, “better hope those same audiences don’t think too much on the way out of the theater lest bad word of mouth does more damage to Pandora than the corporate marines.”
My own experiences and the success that this film is enjoying suggest that the spectacle of technology is overshadowing the more important and detrimental aspects of this film. To be fair to Cameron, there is an effort to show the value of saving natural resources over the lust for profitable business enterprises. However, the depiction of the native tribes follows typical orientalist themes in which the white westerner is accepted and is able to help the natives achieve what couldn’t be achieved without him.
Obscuring this theme is the audience’s obsession with the technology used to make this film.. Technology is one of many pieces of our racialized society in which a veil is placed over whites to shield them from the effects of racial inequality and burdens of privilege. W.E.B. Du Bois originated the concept of the veil to describe the situation of African Americans in the early parts of the 20th century, working in a fashion that allows it to interpret and be changed by the forces surrounding it – at both the individual and institutional levels. Howard Winant has noted that the veil has shifted in the new century to apply to whites, as they create their own brand of double-consciousness in which desiring aspects of the other allow them to confirm their own non-racist tendencies. The technological prowess of this film seems to act as the buffer that obscures the film’s orientalist discourse; where the veil is ever present to hide the costs of race, so the technology in the film hides the plot’s racial undertones.
As I recall my own discomfort with the film and ponder over the reasons that my peers fail to see these discomforts , I wonder how technology can blind a worldwide audience to the depictions of people who fall outside the western norm. A movie of this size, along with the profits that it’s seeing, raises alarming questions about film production. In a land of blockbuster profits and copy-cat products, does the success of Avatar have the potential to lead to more backward depictions of racialized groups? Looking more deeply into why this film is such a success we might also start to wonder who is making these types of films, why films like this continue to be made, and what power and resources allow these individuals/groups to make them.




























