Showing posts with label analysis. Show all posts
Showing posts with label analysis. Show all posts

Sunday, 11 November 2018

Media Reviews: Demons of the Punjab

Forward: It has been honestly years since I last posted something on this site. I want to thank everyone who has been curious despite the inactivity, and with some recent vigor this might change. Time to bring back something that was once a ritual for me with a review.

  For most of my life I've always found science fiction to be one of the most magical of genres. From the medieval space adventures of Star Wars to the FTL-less explorations of space of Leviathan Wakes. Hard or soft, plausible or magical, whether Star Trek has been a wagon train to the stars or Stargate with more space ships, science fiction has had a rather unique position in the cultural sphere.

This is what particularly hit me with tonight's Doctor Who episode Demons of the Punjab.

  First off, I can already imagine some might see political commentary in this episode. I've kind of had my head in American politics for a while and I can see the episode's mention of "angry men on the radio" speaking of something seen in divides on both sides of the Atlantic Ocean. This is something the latest season of Doctor Who has been doing though I personally though find this is one of the strongest series to date. Despite the messages laid within we've had some a very compelling and emotionally gripping stories.

It goes without saying, if you have not seen the episode then I'm going to be dropping a few spoilers.

Sample 1: So far the series has been in plenty of remote locations. But this has its advantages. [BBC, 2018]

  This episode is set in Lahore as the Partition of India gets underway. It's 1947. The separation of Pakistan from India after tension between Hindus and Muslims reaches a boiling point. The British Empire is waning, only just starting to recover from the Second World War while memories of famine remain fresh on local minds. But a lot of these tectonic shifts are largely in the background for the episode - the partition is explored by the Doctor's Pakistani-British companion Yaz discovering her grandmother's husband was a Hindu, and the division this creates with her grandfather's younger brother, a staunch Indian patriot. About halfway through the episode, it is brought up that this younger brother has his head deep in the revolutionary words spoken over the radio. He doesn't say any creative slurs (which has been all too easy in modern political discourse), but he does make it clear his vision for his country does not include his Muslim neighbors. Not only that, but while angry radio voices are mentioned, it isn't argued if these voices are right or wrong in what they say.

Fear and anger can spur people to do terrible things. As we find out.

  Science Fiction, for me, is at its best when its story is three things: Mindful of the past, thinking of the future, and observant of the present. Some of my favourite stories in science fiction use the past or the future to hold a mirror up to the present. The Partition of India was not pleasant, there was a lot of unrest with the establishment of these two nations. Lives were lost, blood was shed along the new border, but Demons of the Punjab never shows this. Not even at the climax when history's course reveals itself do we see a life lost on screen. The unrest is invisible yet its effects are a driving force of the plot. When we discover it was not the visiting aliens who killed a local holy man, but a man who believes he is doing what is right. Two thirds of the way through, the demons in the title are implied to not be the visiting aliens, but human beings who would make their neighbors to be monsters to build their vision of a brighter future.

  Having grown up in a household with rich thoughts on the wars, what comes to mind for me when Yaz's grandfather tries to talk sense into his brother are accounts in the Great War where soldiers of both sides came to realise the enemy weren't so different from themselves. This is something at the forefront of my mind, especially as on this particular celebration as the London ceremony was graced by the president of Germany. At the ground level, whatever your leanings be they spiritual, social or otherwise, the ones who think or sit differently likely have the same problems you do. Others may disagree with your ideas, but that does not make them something to remove.

  The story is not all about political division and the atrocities which can be committed in the name of a righteous vision. At first it seems like the "demons" of the episode are the aliens. Which the Doctor describes as an ancient race who have molded themselves into the perfect assassins (which makes them peers of the Weeping Angels and the Carrionites). Turns out these assassins reformed after finding themselves on the verge of extinction. what is left now wander time and space collecting imprints of people who have died alone. They didn't come because Earth was special or that they had an interest in someone important. Yet they were very civil once their true nature was revealed, which just goes to show that a dreaded reputation does not mean you are dealing with heartless monsters. On the day the participating nations of two devastating wars take time to remember the fallen, it warms the heart to see a group who would trek across space and time to do the same for everyone who has ever lived or shall live. Not just soldiers or those in service, but everyone who departs out of reach of those who care about them.

Sample 2: Not all which is alien are monsters. Not all monsters are alien. [BBC, 2018]

  The eleventh of November is a time to remember those who gave their lives to protect their homes and their families. Risking everything but getting caught up in the maelstrom of war. The catalyst was a war to end all wars that ended nothing. The soldiers who fought in it do not choose who to fight, and the ones they are set up to oppose are probably no different from they are when you strip away ideology or higher-level principles.

Demons of the Punjab held a mirror to what we're doing to ourselves right now, but it was also a welcoming tribute to those who gave their lives to protect those they cared about or those who helped the unfortunate, who in their final moments had no one beside them. Offering a light that maybe we are not alone in this remembrance. However your Sunday has been, remember this as a day of remembrance of all the fallen for all the nations.

Image Sources


Friday, 12 August 2016

Film Critiques: Star Trek: Beyond

Figure 1: Theatrical Poster
(Byzantine Fire, 2016)
  • Director: Justin Lin 
  • Native Title: Star Trek: Beyond
  • Primary Language: English
  • Format: Colour
  • Year of Release: 2016
  • Budget: $1850,000,000
  • Film Length: 122 minutes
  • Production Company: Paramount Pictures, Alibaba PicturesBad Robot

  Released in the midsummer of 2016, Star Trek: Beyond is the third installment of J.J. Abrams' rebooted Star Trek universe. Unlike previous instalments however, the film was directed by The Fast and The Furious director Justin Lin. In Beyond, the crew of the Enterprise are stranded on a strange planet by the alien warlord Krall (Idris Elba), who holds an intense grudge against the Federation and it's ideas. And plans to destroy it with an ancient weapon.

  They say that 'the third time is the charm'. This may be the right thing to say about Beyond as out of all three new-generation films it feels the most like classic Star Trek. It feels the most like the film is trying to emulate what made Star Trek famous. One of the shining examples being the characterization between Spock (Zachery Quinto and "Bones" McCoy (Karl Urban). In this film, McCoy and Spock are stranded together "here, he [McCoy]’s given so much more to do, as Bones and an injured Spock become a virtual double act, a space-age Abbott and Costello, bantering and bickering with each other as they face what seems to be near-certain death." (Hewitt, 2016). Here the classic double act of logic vs passion that characterised their dynamic in the original series is in full bloom, as McCoy makes it clear time and again that the last thing he ever hoped for was to be trapped on an unknown planet with "the green-blooded hobgoblin" as his only companion. But we also get to see Spock's more human side as he comes to terms with his place in the universe, and generally gets philosophical over the prospect of filling the shoes of Ambassador Spock (Leonard Nimoy).

Figure 2: Never mind the debate over Sulu now preferring men, here's a bro-pairing that's been simmering since 1967.
  Krall and his forces are perhaps the strongest villain of the series so far. "Attention was paid to the villain, and even under makeup and effects, Idris Elba registers." (Movie Nation, 2016) Krall is professional, sly, but overall it turns out that he's a representation of a fundamental problem with the Federation. He talks about the Federation pushing back the frontier, that it is something that is not logical, That it is a place where you have everyone holding hands. Krall claims he was born into a world of strife and struggle, so we assume that he's talking about some kratocratic death-world where the strong rule over the weak. But near the end of the film, after an impressive climax we learn that Krall is in fact a former soldier, who found himself abandoned because the Federation is something alien to him. A video diary reveals that far from being some tin-pot alien dictator, Krall's beef with the Federation is very personal, and Idris Elba plays well that it is the Federation that is a difficult thing to accept and not Krall's aggressive ideals, and that he didn't just leap off the insanity deep end to get there.

Figure 3: Krall (Idris Elba) is no pushover. But he's no "just because I can" tyrant either.
  The fundamental issue Krall presents is that no matter how utopian a society may be, there are always going to be people who don't fit in. The Federation has long been portrayed as this progressive, co-habitational utopia where everyone cooperates and there is total equality. "Krall would be the first villain of the new Star Trek series to go against the Federation itself, and its ideals that may not be so easy to impose on another foreign culture -- a situation more than relevant to today's times. " (Dougherty, 2015) Krall is, essentially, a representation of any culture that is stubbornly resistant to adopting Western values as American and European media try to impose their values on the world. The list of countries is long, but the climate is there. There is a a strong opposition to "westernisation" but the common rebuttal by Westerners is that these people would be much better off with democracy and individualist thinking. As Krall finds the idea of relying on the strength of others to be a weakness, so do the Chinese question how much better their lives would actually be if the government had to put more focus on keeping its politicians elected in order to get things done when they can effectively build cities over the course of a few months under the current system while it takes a western government the same amount of time to build a single housing project under it's  own supposedly-superior system.

  This cultural questioning could be in how the planetbound adventures kick off. While there was a lot of death in Into Darkness, this film is one of the bloodier incarnations as "[the] Enterprise is destroyed with sadistic thoroughness, taken apart by scores of little ships that swarm and strike like bees." (Edelstein, 2016). Any crew that is not unhesitantly gunned down (one moment having five redshirts quite literally fall like dominos) are captured in the escape and the Enterprise itself is shattered into ribbons. At once showing how ruthless and well-prepared the enemy is (who go around in in full suits of sci-fi armour and armed with arm-mounted disruptor guns), and how ineffective the Federation is against an actual army (boarding-response teams are little more than random crewmen wielding phaser rifles). Possibly suggesting that Admiral Marcus may have had a point back in Into Darkness. The changes in uniform and the disappearance of all the militarasation suggesting that his point was ignored because he was trying to turn Starfleet into something it is not.

Figure 4: No matter who they are, the bad guys always seem to have the cooler toys.
  Star Trek is historically a franchise that is political but it is also a franchise that likes to be spectacular. "Not only have Lin and company |...| created more than 50 alien races, they’ve come up with some nifty alien worlds, especially the enormous spaceport of Yorktown, whose streets were shot in futuristic Dubai." (Turan, 2016) the Yorktown Starbase is a designer's fantasy that takes full advantage of building in an environment with no natural gravity and the climax of the film (something that has to be seen that while not quite old Trek, and quite over-the-top, will certainly entertain viewers of the current generation) does not disappoint, and the film has plenty of visual spectacle that is certainly memorable. The film indeed goes a long way towards looking good, with a visual quality that stays strongly in your mind.

Figure 5: Such a beautiful project that for some reason is built a five-minute hop from a region of space no one knows anything about.
  After the copycat attempt at the franchise's strongest film that was Star Trek: Into Darkness; Beyond feels like a return to what made Star Trek the talk of prime time entertainment and one of the most recognisable, beloved and long-running sci-fi franchises to date. While also updating itself to chime with modern audiences in a way that feels like it knows what it is talking about rather than some shallow attempt at looking trendy. It's funny, philosophical, and a treat with something for audiences as varied as the hundred types of latex head that wander around Yorktown station.

References

Image References