Showing posts with label Postcolonialism. Show all posts
Showing posts with label Postcolonialism. Show all posts

Thursday, April 5, 2018

Arwen's Double Colonization in The Lord of the Rings

              In the Middle-Earth realm brought to life by The Lord of the Rings books and movies, Arwen and Aragorn are an intriguing couple: the first a lovely, ethereal Elf, the second a rugged, secretly royal human Ranger—both woodland masters. However, not everything about their relationship is perfect—Arwen, as it turns out, is actually a victim of double colonization.
              Double colonization, in referring to the dual oppression that postcolonial women suffer, might seem a surprising description of the plight that Arwen faces in this famous trilogy (Critical Theory Today: A User-Friendly Guide, Third Edition, by Lois Tyson; page 405). But prevailing colonialist ideology devalues her because of her race and cultural ancestry, despite the fact that Elves are portrayed as graceful, agile, wise, immortal creatures (http://lotr.wikia.com/wiki/Elves). The admirable beauty that her people exhibit is irrelevant; mankind is driving them away from Middle-Earth—settling on Elven lands and seizing natural resources for themselves—and, consequently, the positive traits characterizing Elves counterintuitively represent symbols of oppression (https://www.youtube.com/watch?v=8GS3tt0kIsg). Humans are, in essence, colonizing the Elves’ territories, so much so that nature itself objects to their intervention (http://lotr.wikia.com/wiki/Ents). Further worsening the situation, Arwen, as a result of being female in her world, is subjected to patriarchal ideology—mistreatment based on her sex (Tyson 405). Several scenes from the movies alone illustrate the double colonization that makes her experience rough.
Goals. Except for the colonization and sexism parts that we can just ignore.
              Arwen, not unlike Pocahontas, is romantically involved with one of her oppressors, a man who, although a compassionate and helpful member of his class, is nonetheless a member of the group that is acting discriminatorily toward hers. And yes, he is a human being, in spite of his ability to live for an unusually long time (https://scifi.stackexchange.com/questions/38738/how-do-arwens-mortality-and-her-and-aragorns-lifespans-work-out). Arwen’s father Elrond expresses his frustration with regard to Men’s negative interference in his family’s life when he claims, in response to the wizard Gandalf’s request for his aid in a quest to save the virtuous inhabitants of Middle-Earth, that humankind is, in addition to being unworthy of assistance, unworthy of trust from other races. Rightly, he observes that it is Men who have been responsible for keeping the evil Ring of Power on Middle-Earth whenever the Elves have been willing to destroy it (Elrond’s assertions: http://www.tk421.net/lotr/film/fotr/15.html). Still, the Elves remaining on Middle-Earth—the Elves whose environments have not been too extensively damaged, and whose life forces are resilient enough to withstand the growing malice in Middle-Earth due to the strengthening villainy at work thanks to the Ring’s perpetuation and its owner’s sinister maturation—opt to cooperate with Men in a rescue attempt anyway (http://lotr.wikia.com/wiki/Fellowship_of_the_Ring).
              Personally, Arwen finds that her immortality is not sufficiently durable to keep her healthy during the moral crisis that confronts Middle-Earth (https://scifi.stackexchange.com/questions/54460/did-arwen-actually-die). Yet she cannot drive herself to abandon Aragorn to his fate and travel to a safe place beyond the landmass that is free of Men and does not include him, so she stays and risks her life. The colonial rules restricting her liberty force her to decide between true love and, granted the well-intended mission Aragorn is contributing to fails and Middle-Earth descends into the chaos of tyranny, death.
              How annoying, then, that Aragorn displays arguably blatant sexism as soon as she is introduced to moviegoers. She encounters Aragorn and several of his defenseless friends in a forest in her debut and, seeing that a precious crime-fighting comrade valued by the enemy is mortally wounded, offers to take him with her on her horse on a rapid flight to her Elf kin nearby (Aragorn and Arwen’s conversation: http://www.tk421.net/lotr/film/fotr/13.html). Aragorn tells her, urgently, that the journey is too difficult. Out of affection, perhaps—and perhaps instead, or partly also, out of a belief that masculinity has a better chance than femininity of getting there faster. Luckily, Arwen is not having it. After informing him that she is, in fact, the superior equestrian, she proves her mettle by sweeping their buddy off to her relatives in record time, just barely faster than the pursuing villains. While colonization may wreak havoc on her quality of life, potentially sexist comments will not—not as long as she can help it. 
She looks so scared and incapable, don't you think? I'm sure that beneath the determined facial expression she is really only a timid pansy.
              It is fascinating that, even in the most touching stories, relationship imbalances can mar what would at first glance appear to be a flawless connection. Arwen and Aragorn, quite possibly the most moving pair in the Lord of the Rings, are unevenly matched: Aragorn is, likely unwittingly, or maybe unwillingly, playing a part in her political and sexual subjugation. Spoiler alert: she becomes a queen at his side once he defeats the bad guys, so ideally she assists him in promoting cultural tolerance and gender equality in the future. 




Wednesday, April 4, 2018

A Powdered Pocahontas: Pocahontas II and Postcolonialism

Pocahontas II: Journey to a New World is an untimely straight to DVD sequel of Disney’s Pocahontas. And, in all honesty it’s a wreck. It stays true to what actually happened to Pocahontas in real life (kind of) by sending her to London with John Rolf after news of John Smith’s death. However, in real life she did not willingly go and willingly give in to being “civilized” like the Disney movie portrays. In real life, she died three years after arriving in England. But, anyhow, this movie did terrible in the box office, and is riddled with opportunities for Postcolonial Criticism.

For example, she is shown off to the King, but only after a huge makeover in which a character named Mrs. Jenkins sings a song entitled “Wait ‘till he sees you!” During this makeover, Mrs. Jenkins actually puts white powder on her face (changing her skin color to a lighter shade) and sings “He’ll [John Rolf] be so pleased you came down from the trees!” Implying that Pocahontas is a savage, as she and the people of England see her and is finally coming down from “the trees” to be civilized. Before her makeover, she is portrayed as incompetent and uncultured, as she attempts to wear a girdle as a hat etc. There’s a lot wrong with that song, but this part is pretty straightforward.
Yes, that is Pocahontas!
In the cartoon, Pocahontas comes to the England, and is promptly informed that she will be attending a ball during which she will be shown off to the King of England to show hi
m that the people of the New World “can be civilized.” She’s lied to and she thinks she is doing everything for peace between her people and John Rolf’s, but she is only being colonized and forced into a culture she really does not want. She

 After her makeover, both Mrs. Jenkins and John Rolf treat Pocahontas as a different person. She appears to be more “European” and hence, she is better, more civilized. This is a prime example of Eurocentrism, because it is clear that whoever wrote this movie, wanted England’s cultural practices to seem like the ultimate “culture standard to which other cultures are negatively contrasted” (Tyson 401). The King would not even see her until she was powdered up and strapped into a fancy ballgown, hence the Eurocentric way seems to win out.

All the English characters show blunt colonizer ideology too, as they all seem to think that their way is better, especially since they are “civilizing” this “savage Indian.” They just assume their way is better, especially John Rolf and Mrs. Jenkins who give her the makeover in the first place, and always treat her as if she were an ignorant child. Not to mention the way her body guard is portrayed, a Native American Character who does nothing but grunt, and follow Pocahontas around while wearing buffalo hide clothing. Obviously, he is meant to be seen as less than civilized. However, Pocahontas even gives in to these ideas of the colonizers by exhibiting mimicry in her willingness to be changed to a lighter skinned, strangely dressed Native American source of amusement (for much of the movie, she does eventually stand up. Not for herself though but for a bear who has been held captive.) She allows this to happen, and for the first part of the ball, (before saving the bear) she acts and talks just like John Rolf; truly becoming a colonial subject in England and making Mrs. Jenkins shed tears of joy. Furthermore, when John Rolff meets sees her for the first time in her new clothes, she explains to him that what is on her face is “called powder” and he exclaims how beautiful she is. For the first time in the movie, Pocahontas is told she looks beautiful by a man she loves, and in order for that to happen, her face has to be powdered lighter. Again, the colonizers and their ways are obviously portrayed as superior here.

Overall, the film is riddled with colonizer ideology, mimicry on Pocahontas’ part, and Eurocentrism through the way Pocahontas is portrayed and treated, and how she reacts