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How The Force Awakens Is a Politically Reversed Remake of the Original Star Wars Trilogy, and What That Means for the Progress — or Regress — of American Ideology

Everybody knows the story of Star Wars . Even if you haven't seen the original three movies made between 1977 and 1983, you will recognize their structure. As every modern review of them loves to point out, they are a close adaptation of Joseph Campbell's Monomyth (aka The Hero's Journey), and as such their story of a young boy answering the call to adventure is a familiar one to audiences of any age or literary expertise. But it's in the details that this tale begins to take on political significance.

Violence in Film (analysis)

Violence in Film The purpose of this essay is an exploration of Walter Benjamin's concept of “divine violence” which he defines in his essay Critique of Violence as the complementary opposite of “mythic” or state-founding violence. The idea for this paper arose from the question, “What would divine violence look like in film? Is it possible to represent divine violence? Is it possible for films to participate in divine violence?” My source for this examination of the possibilities of divine violence in cinema is Slavoj Žižek's recent book, Violence (2008)* in which he analyzes several different types of violence under the premise that violence is not always “bad” violence, and that in fact the most visible violence is rarely the “worst”. Starting from this premise I will attempt to extract Žižek's ideas of what constitutes divine violence as it contrasts other types of violence. Then I will look at sever...

Starship Troopers (analysis)

In anticipation of the release of Ender's Game later tonight I want to talk about another famous science fiction film, Paul Verhoeven's Starship Troopers (1997). The similarities between these two movies aren't limited to the fact that they both feature bugs as enemies. Both Starship Troopers the movie and Ender's Game the book function as satires of militarism. The interesting thing is that, depending on who you ask, critics either didn't understand Starship Troopers 's satire, or (what I find more likely) understood it but found it lacking or inadequate. Honestly this isn't the most incisive satire I've seen since it tries to keep the tone light (making for a more enjoyable experience), but the critique is there. Would you like to know more?

Unpacking Jodorowsky's Climb Up The Holy Mountain

"The skill of the spectator determines the machine's ability to reach a climax." The Holy Mountain is truly unlike anything I've ever seen. It asks a lot of the audience both in terms of doing their own interpretative work and putting up with a lot of grotesque imagery in hopes of a payoff that may never come. That said, it's clear Jodorowsky put more work into it than most viewers ever will: every scene is meticulously constructed on a massive scale.

Casino: Individualist Business vs. Faceless Capital

The only thing Martin Scorsese loves more than propping ambitious men at the top of a cliff and watching them fall back down is propping ambitious men at the top of a cliff, giving them buckets of cash, and then watching them fall back down. In Casino , Sam Rothstein (Robert De Niro) owns and operates a casino in Las Vegas. He's at the top of his business, but the force pulling him back down isn't so much his own greed (that's part of it, but not the main part), it's his friends. Nicky Santoro (Joe Pesci) is originally Sam's muscle, but he's so violent that he eventually gets kicked out of the gambling scene altogether and starts his own mafia ring. Ginger McKenna (Sharon Stone) is originally a hustler in Sam's casino, but she's so driven by the affection of others and the acquisition of wealth that she accepts Sam's proposal to marry him.

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