Film Analysis: "Alamar"

In his article on film theory, Gordon Gray states that neo-realism is an “ideological move…away from…the artifice of Hollywood cinema” (46, Gray). The film “Alamar”, created by Pedro Gonzalez-Rubio encompasses this basic concept, along with many other neo-realism features. Filmed in the beautiful setting of the Banco Chinchorro reef on the coast of Mexico, “Alamar” or “To the sea” is able to convey basic, yet very real ideas in a way that is not overly dramatic. The premise of the film is based on a young boy, born to an Italian mother living in Rome and a Mexican father living a very modest life in a small, tropical fishing village. As his final farewell to his father, “Natan” spends the summer learning about his traditional Mayan origins and bonding with his father in an environment that he is not accustomed to. Unlike most Western, or Hollywood style films which feature major events to influence the plot in drastic ways, Alamar is more about showing a way of life while using the beauty of natural surroundings, and expressing raw human emotions. It proves its ability to be emotionally moving, with an “emphasis on the values of ordinary people” (46, Gray) while remaining minimalistic.

“Alamar” fits the Neo-Realism category with its presentation of the poor working class, its long nature shots, and the use of non-professional actors. Although the film is not a true documentary, the actors are in fact playing themselves in the film. Gray states that the “use of ordinary people rather than professional actors was intended to create a greater sense of realism and thus give the scenes more authentic power” (47, Gray). The focus of the film is mainly on the stripped down relationship between father and son, which is easily recognizable between these two characters. By introducing Natan to a simple but rather fulfilling lifestyle that is based on the beauty and appreciation of nature, the father is able to create a strong bond with his son. Through their relationship, the viewer may extract a deeper message that forces them to look at the way that they live, and the things that they value. This pays tribute to the “focus on emotional veracity rather than the articulation of abstract ideas” (46, Gray). The film does not present their lifestyle, or their relationships, in an idealistic fashion. The approach is more realistic, emphasizing the fact that although their life may be fulfilling, it may not be easy. The cinematography makes use of drawn out shots, accentuating the slow pace of life and beauty of the setting, making each scene important and revealing. This is a typical feature of Neo-Realism film, which generally avoids “trickery in editing, camerawork and lighting in favor of a more immediate ‘documentary’ style” (47).

In terms of significance or lessons revealed through this film, is very straightforward, allowing the viewer to take what they want from it. There is minimal dialogue, leaving the individual to create their own interpretations or meanings and refusing to “make easy moral judgments” (46, Gray). The “use of conversational speech rather than, formal, more literary language” (47, Gray) is yet another feature of neo-realism that is very suiting to this film in particular. The intent of “Alamar” is not limited to one message regarding basic human relationships, but is open to interpretation. It exposes a culture and a lifestyle while also creating a meaningful link to the landscape of the Banco Chinchorro coral reef ecosystem, which is currently under the attempt of being made into a protected World Heritage Site. Lastly, the film also speaks to important life lessons of “impermanence and letting go” ((Holden, 2010), which may apply to everyone in one way or another.

Radio Communities

The radio has long been a major auditory media source that has allowed the basic transmission of information, news and music to people living in a given area. In a way, it has made the world a smaller and more familiar place. Prior to this technology, direct information was typically limited in scope and rate of exchange. Information spread through local communities via word of mouth, or otherwise through written text, which was absorbed at a much slower pace and was typically unequally accessible to the masses. Today, individuals have the ability to tune into different radio stations worldwide and experience a diverse range of news reports, as well as opinions, ideas and music. Most of these individuals will come to favor certain stations or broadcasts that they enjoy or associate with on some level. The radio also provides an interactive venue, often allowing listeners to step out of their audience member role, and voice their own opinions on air. It engages the interests or concerns of its listeners and allows them to play a role in its functioning, thereby promoting the existence of an unseen community.

In her lecture, Tal Nitsan spoke about the women’s radio programming in Guatemala and its success in connecting women and making them more politically aware. In a country where violence against women is longstanding and prevalent, this radio show, controlled and led by women, has helped to bring Guatemalan women into the public sphere. As these women share many of the same ongoing issues, they are able to connect to one another to create a sense of belonging and community. The power of the radio as a media form has allowed them to become more conscious of the challenges they face as women, and understand them as more than just a private issue that is to be dealt with alone. The women exposed to this radio show have been given an opportunity to learn more in regards to their own rights and how to deal with the issues they face. By targeting a specific group of people, the radio show has led these women to coalesce and form a community joined together by their shared experiences and intentions to speak out against violence.

The radio has the ability to quickly connect people throughout their daily lives by targeting a certain audience. It has the capability to not only create a sense of community, as seen in the previous example, but also cater towards a community that already exists. In his article, Daniele Fisher describes the way in which the Indigenous radio broadcasting stations in Australia have helped to create a stronger link between “families, communities, and dispersed members of Australia’s Stolen Generations” (Fisher, 282) together. Through radio request programs, they have promoted a sense of kinship between indigenous individuals whom have been dispersed throughout the continent. The radio reflects the interests of these individuals and has facilitated the creation and recognition of an identity that is separate from the mainstream settled society of Australia. Within a culture that strongly values the kinship network, Fisher focuses on the importance of these shows in their ability to connect family members that have been separated, often as a result of incarceration. Via the radio, individuals are able to address others and create a momentary connection within this shared space. So, although these communities are already in existence apart from the radio, the medium aids in keeping a day-to-day connection between peoples while “eliciting and broadcasting the declarations of solidarity, hope, longing, and loss” (Fisher, 289).

Cultural Appropriation in the Media

As of recently, there has been a trend in the use of Native American and Aboriginal symbols and customs in the mainstream media and fashion. Within the past few years especially, there has been a huge incline of traditional objects such as cowichan sweaters, fashion headdresses, dream catchers and feather accessories, worn and used by many. The issue surrounding this is the misappropriation of these items, which are typically very sacred to the tribes from which they originate. One particularly offensive example of this misuse of cultural customs by the media is the 2004 Grammy performance of the song “Hey Ya” by Outkast. The performance begins with the group emerging from a Teepee, wearing highly sexualized and stereotypical traditional native attire. They begin by dancing in a way that mocks the style of dance that originates from the Powwow ceremony, whilst mimicking the recognizable chants also heard during these spiritual gatherings. Similarly, in a recent performance, musician Ke$ha chose to don the headdress, which again, has nothing to do with the song in particular. The headdress is an item with deep symbolic significance to Native Americans and is of spiritual value to its people. Traditionally, and to this day, it is worn by individuals of high status and important community leaders who have earned the their position and its accompanied right to wear the headdress. Also known as a War Bonnete, these pieces are traditionally reserved for men. Women who then wear them for the sake of fashion, as Ke$ha did, are showing their disregard for the values tied to this custom.

The use of these symbolic elements in the performances perpetuates a stereotype that began shortly after the colonization of North America and has been prevalent in all forms of media throughout history. The stereotype is one of a primitive and backwards Native American, which was fueled by Disney cartoons such as Pocahontas, made its way into all forms of media. Not only does this stereotype force a limited view of Native American groups, categorizing them all into one, but it also contributes to the continued suppression of these groups. The reuse of media is mentioned by Novak, who states that “contemporary media and their subjects are made to be detached, circulated and recontextualized, creating a tension between “tribute” and “mockery”” (Novak, 64). With their out-of-context use of symbolism, Outkast does not honor or pay tribute to aboriginal communities but rather, undermines them. By mocking and dismissing their cultural values and practices, the group feeds into the cycle of diminished power, which native groups have struggled with since the beginning of colonization.

In contrast to this example, we can look to Shakira’s song and video titled “Waka Waka” which was written and performed specifically in promotion of the World Cup in Africa. Shakira incorporates the lyrics and tune from the popular song Zangalewa, which was created by a group from Cameroon in honor of WWII skirmishers. The song was redone by Shakira, using traditional African instruments and dance routines, however, rather than simply copying these forms, she is able to incorporate her own Columbian culture. The lyrics are inspirational and supportive of African culture in a tasteful manner, rather than simply exploiting it. By integrating aspects her own culture into the performance, and creatively blending them into the original African theme, the piece exemplifies the positive outcomes of cultural diversity, while paying respect to the traditions of the separate cultures.

Sources:

http://www.gsusignal.com/opinions/mockery-of-native-heritage-only-perpetuates-native-issues-1.2231674

http://nativeappropriations.blogspot.com/2010/03/keha-headdress-and-trend-that-wont-go.html