Citizen Spielberg

Journal of Alternative Perspectives in the Social Sciences ( 2010) Vol 2, No 2,631- 647

Citizen Spielberg: The Fragmentation of Reality by the Hero Beatriz Peña Acuña, San Antonio University, Spain David Caldevilla Dominguez, Complutense University, Spain

Abstract: This article aims to highlight the rebellion of citizens to the institutions that are performed in contemporary narratives told in the film medium. In particular it addressed through the case of the production of a filmmaker, Steven Spielberg. This dissertation addresses the position of lack of acceptance of laws by the hero by analyzing some of the popular feature film director.

1. Introduction This paper seeks to conduct a new thematic analysis of the critical attitude of citizens towards the institutions and civil laws in the cinematographic work of American director Steven Spielberg, and more so in the hero and in some films as part of her mature production from 2000: A. I. Artificial Intelligence (2001), Catch Me If You Can (2002), Minority Report (2002), The Terminal (2004) and Munich (2005). The methodology used for this article was a detailed analysis on the question of the behaviour of citizens in a total sample of twenty-five films of the filmmaker. This research builds on a previous examination of doctoral thesis on a broader concept: the dignity of man in this same director (Peña, 2010). Therefore, for the preparation of this paper we have made a prior thorough review of literature of books, journals, interviews and documentaries taking advantage of the digital format of feature films on DVD. Serving both the visual elements, such as dialogues, to aspects of the screenplay adaptation of the story in two feature films, these components are observed especially in the character to show the director's interest in this matter and what are the arguments are so constant in his films. The

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Citizen Spielberg: The Fragmentation of Reality By the Hero

article will stop over in the analysis of American films of the productive time of maturity. Research on this subject in this filmmaker is original; it has not been studied before this question. The interest of this paper is to select twelve players and some of the arguments about the rebellion of citizens in a filmmaker who enjoys box office success as an example of reflections on the fragmentation that are popularly received. Numerous studies have been done on Spielberg. There are deep studies on the filmmaker as the doctoral theses of Beatriz Peña Acuña (Peña, 2010), David Caldevilla Domínguez (Caldevilla, 2000), Antonio Sánchez Escalonilla (Escalonilla Sánchez, 1995) and Timchia Tubuo (Tubuo, 2003). The main biographies are J. Baxter (Baxter, 1996) and J. McBride (McBride, 1997). Other recent books that can be highlighted are those of L. D. Friedman (Friedman, 2006), W. Buckland (Buckland, 2006), N. Morris (Morris, 2006), and A. M. Gordon (Gordon, 2007). We emphasize, in this case, K. Von Gunden (Gunder, 1991) that in line of this research, Spielberg ranks among postmodern filmmakers with other members of the generation called Movie Brats. In this dissertation we shall not introduce the complete work of the filmmaker, as in the article to which it referred (Peña, 2009) but that directly addresses the works in which the question of the conduct of the citizen against the State contains more relief. However in the bibliography there is a selection of other main works on him.

2. The Citizen Versus Laws and Institutions of American Films in the 70s. The first Jewish-American director's work, Sugarland, is an example of the citizen who rebels against a law that is displayed as unnatural, and unpopular. Here is the main argument. The young mother, Lou Jean persuades her husband Clovis to escape from prison in order to get their child which has been placed for adoption by the state social protection system. Both escape with a car of a policeman who was abducted. Along the way the police is chasing them, but the marriage remain his goal because they have the popular support of the villagers through banners that encourage them to get to their child. The posters announcing: "God bless you", "It's your baby. Do not let

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Beatriz Peña Acuña and David Caldevilla Dominguez

anyone take him away from you "or" Take care of the boy. I know you love him." In this film another note added is the aggressiveness of an implacable law to the reckless attitude of the spouses when Captain Tanner pushes the hijacked police car and Lou Jean writes on the glass "Hello" (Hello!) innocently. This nuance also appears in other films such as Sofia when she calls the police and he hits her instead in The Color Purple, in Amistad where the slaves expect pacefully the justice in the trial, and the quiet attitude of the krakoziano Victor in The Terminal. The rebellion of the protagonist, Clovis, is paid with his death and with failure to recover his son. Later, and through legal means Lou Jean will succeed. The second work in which stands a critical and rebellious attitude to the State is Roy, who starred in Close Encounters of the Third Kind. The authorities did not want to confirm to the company the appearance of UFOs. State control hides the truth to citizens. In a sequence of the beginning of the tape, the general of U.S. Air Forces in a press conference a photograph of a flying saucer and discard over the irony: "This is a flying saucer! That launched my children on the lawn. I wanted to emphasize that all is not gold that glitters. “Roy has been witnessed flying saucer says: "Excuse me sir, but I do not want to." Roy has behavior problems to the point that his wife and friends secrete. He finally manages to sneak into the place of military security where they will contact with UFOs and is supported by a French scientist. At the end he is chosen and invited by the aliens to travel with their ship through space. Spielberg revealed in a documentary that he was motivated to shoot this work because he knew people who had had these experiences and had been silenced by the government. In this case the rebellion of the protagonist goes rewarded with a unique experience.

3. The Citizen Versus Laws and Institutions of American Films in the 80s.

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In this decade, the daring protagonist against the system is a child in the film ET the Extra-Terrestrial. Eliot is a boy who meets an alien, ET, and become close friends. The alien is hidden in his room until he is discovered by scientists. They alien is treated like a guinea pig by scientist, but it is not the case of a scientist named Keys. Eliot rescues ET with the help of his friends and brother that lead him to the forest to be rescued by other aliens, the real family of ET. Eliot, thanks to their sense of friendship, takes courage to mock the intelligence service and scientists. In this case the protagonist's rebellion is successful. The next tape, The Color Purple, portrays the suffering of African-American women at the beginning of the century because of the misogyny and sexism in African American culture established at the time. This misogyny and machismo in turn has been caused in part by the situation of racism they perceive the Caucasian ethnic group in contemporary American society. Celie is abused and raped by her stepfather. Due to intimate encounters, the girl becomes pregnant twice. The stepfather snatches to her two children who are adopted by a missionary couple. No one and no law defends Celie. She will retrieve her children through the mediation of his sister and her former husband in his maturity. In this case the sin of institutions that appears is thedefault. Another case of application of an unjust law applied in an inhuman manner in this book happens to Sophie, a secondary female character that deserves our attention. It rebels against the request to become the housewife of the mayor's wife. The police strike, arrests, leading to the prison where the abuse, does not receive a fair trial and when it leaves the enclosure becomes submissive to the dominant white social group. In this case there is a report of a legal system that acts unjustly on the African American minority.

4. The Citizen Versus Laws and Institutions in Films in the 90s. In Schindler's List (1993) the hero, businessman Oskar Schindler, lured by all means the Nazi government in order to save the lives of as many Jews as he can. The film makes

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an enumeration of all human rights were violated by the Nazis for six years into the Second World War, and the existence of Jews and German partners as well as many others who rebelled. In this case the rebellion of Oskar to the Nazi institution triumphs. In the film Amistad (1997), it is obvious the questioning of the U.S. and Spanish justice system with racist assumptions that supported laws in favor of slavery at the hands of the politician and jurist Quincy Adams. As a result of this trial that is won by abolition of slavery supporters, it is assumed that this social struggle will explode in the intestinal American civil war. In this case the rebellion of Quincy Adams also triumphs. In the next film Saving Private Ryan (1998), the revolt of the individual against the institution deals with a dilemma of conscience from Captain Miller, a former schoolteacher, who struggles between fulfilling his military obligation and have human gestures with his men and sympathy for the enemy. In the first sequence of the Normandy landing of Captain Miller group, the leader makes his way despite the difficulties: "We go to the dam. Every inch of this beach is a target. If you stay here is to die." Captain Miller knows that with his command endangers the lives of their soldiers, but he has to make decisions quickly. Another scene in which we discover this issue is when Captain Miller is talking to the Sergeant and he shows his own internal struggle: Miller: When you finish with the life of one of your men, you tell yourself you do to save the lives of two, three or ten, maybe a hundred of them. You know how many men have died? Ninety-four (...) Sergeant: This time the mission is a man. Miller: I hope that Ryan deserves it (...) because the truth is it would not change a one hundred Ryans or Catarso Becchio. Miller's rebellion, as a question of conscience, it is solved with obedience as a militar to accomplish the mission planned to pay with his own life. Also in this motion picture the management of senior military officers raises, on one hand, causing the slaughter of countless Americans through

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the operation of D-Day, and on the other hand, saving Private Ryan because it is the only son still survivor in the war. To save him a unit of highly trained men led by Miller finally is sacrificed.

5. The Citizen Versus Laws and Institutions of American Films in Productive Time of Maturity. We consider mature works due to various factors: from the age of the filmmaker, for innovation of content, thematic depth variation or previous works, the tapes that Spielberg wheel from AI, Artificial Intelligence (2001) to Munich (2005). We will no comment on the last film Indiana Jones and the Kingdom of the Crystal Skull (2008) before joining the Indiana Jones trilogy, considered less important to study this issue and because of not prolonging this article. It is interesting in the film A. I. Artificial Intelligence inquiry of the adaptation of the story to the script because in this case is Spielberg the final screenwriter on a script for display by Ian Watson on the stories of Brian Albyss. The study of adaptation gives us clues about Spielberg´s treatment of the individual against the State. The American filmmaker returns to become screenwriter again, as we remember that he also was in Close Encounters of the Third Kind (1977). Stanley Kubrick and Spielberg began the project, but Stanley persevered for years in the film planning and he left an outline of what he was intending. Spielberg took over the project to the death of the film director of 2001: A Space Odyssey (1968). In the original story Monica suffers physical solitude, living a life confined to her house accompanied by a domestic service robot. The rules of this society only allow citizens to have a child because of state intervention in birth. In the original story to fill their unhappy fate eventually die biological mother and child. On the other hand, the husband Henry leads a stressed and frustrated life style just to finish with professional failure and widowhood, therefore, ends in a situation of loneliness. David becomes the substitute for natural child at the end of the story. When Henry is a widower is when he wants the robot to be real. David becomes his son because they implanted him a biological

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brain. However Henry's character in the film's story by the way unfolds in two characters. On the one hand, Henry is the husband of Monica and works in Cybertronics, on the other hand, is the creator Professor David, and has also lost a son. The spielbergian film does not focus so much on what happens to humans, but focuses on what happens to David. David will rebel to his robotic condition and wants to convert in a biological being to turn back home and get love of his mother, Monica. David achieved his dream with the help of other robots of the future because he finally gets love of his mother. Thus, the vicissitudes that befall the characters in the film are not the same, but the film retains many elements of the story, such as birth control by the state. In addition, the film director adds other elements that are attuned to the story. He gives more importance to question the "morality" of the treatment of robots at the hands of humans when they estimate them in an utilitarian and cruelty way as is the case of the “Flesh Fair”, and, second central issue- he raises an ethical situation which reveals the lack of state laws governing the limits of trade-creating robots with emotional ability, like David. In one of the first scenes of the film, at a meeting of scientists from Cibertronics, he poses a first ethical dilemma about responsibility on technical and scientific experimentation on the part of humans to correspond to the robots to love, whether they created precisely with this quality. In a Cybertronics company meeting room scientist Hobby proposes a new model of robot: Hobby: We achieved a sensory toy circuit behaviour-based intelligent sequencing of neurons as old as me. I propose that we build a robot capable of love. (...) I did not mean stimulating sensuality. The word used is “love” like a child feels for their parents. (...) A mecca that has got a neuronal feedback mind. I suggest that love is the key for the achievement of a subconscious that has never been achieved. An inner world of metaphors self-motivated reasoning, dreams. As regards the time in both documents is the story in future period, from the time marked by the melting caused by environmental carelessness of man. In the film still

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appears a distant time of the future where humans no longer exist, but have survived are very advanced androids and help David. Another value contained in the film we want to highlight is the defence of environmental good. In the future, due to neglect of the State to preserve the ecology and the erosion of natural resources has led to overcrowding, there is a thaw, a global climate change and geo-social change in which the population moves to habitable areas not are flooded. The next feature film Minority Report itself is a Spielberg motion picture. The original story with the same name "Minority Report" that the film it was written by Ph. K. Dick. The first script about the story was written by John Cohen in 1997. However, to take over the project Steven Spielberg hired Scott Frank that ends in 2001. For own testimony, Spielberg was interested that the writing of the script became complex, to develop a more complex narrative, and it seemed to him a challenge to get into the mystery of premonition of events in the future. As stated Antonio Escalonilla Sánchez, when Spielberg and Scott Frank faced version of the film, the director decided to rely solely on the premise of the three clairvoyants and their relationship to Pre-crime. One of the most striking characters invented for this movie is the character of Anderton, head of Pre-crime police team, played by Tom Cruise. This feature is embodied the concept of the filmmaker on the rights of individual freedom against the totalitarian state, because he only chooses one of the original story premise, some elements and creates virtually the argument again. Also Spielberg makes clear in a statement the nature of freedom: I do not think I have tried to adapt (Dick) with Minority Report: I only got a brilliant premise and worked with her: the place of self-determination against the destination. And this is the idea that interested me more: if there is something written in the stars, could be reconfigured to survive, to write your own ending? This picture poses an unfair Pre-crime police system in which no presumption of innocence is granted to the accused. If the defendant has been viewed killing by each of the three precogs, it is enough to suffer arrest and conviction without granting the possibility that at the last minute he

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decided not to, and then no crime was committed. The police system appears effective and the State studies its implementation in the rest of the country when Witwer, representative of the General Attorney begins to investigate the Pre-crime system for failures, and the hero, Anderton, head of Precrime happens to be a victim of this police system. Anderton rebels against his pursuit and won finally his freedom. We propose further that this film coincides with preparations for the Iraq war. Spielberg might consider the following question: "Does U.S. right to attack a nation that has not done anything?”. In fact, the filmmaker could be facing a political current, former Bush U.S. government imposed the program Total Information Awareness (TIA), which the state tried to control more, aggregated before the terrorist panic and issue laws that were in achieved against a managed democratic state. Indeed, the development of the plot is discovered that the Pre-crime system is not perfect, and also makes a defense of the conception of freedom as free will versus determinism. It also raises the deserved respect for their dignity to precogs. In the film they are unjustly instrumentalized by the State and are not free to choose the life they want to take. They are treated more humanely by the character of Wally, and with him they live in a wellconditioned way, but they have no freedom of action and life, they are usually sedated, drugged to dream better, and they suffer so much when they are looking ahead atrocities. The film also sets out the state control and surveillance through the advertising media, for example, machines in the subway reading the pupil to identify citizens, or newspapers that are constantly updated with news about persecuted by law. It criticizes the lack of limits on the persistent harassment and personalized advertising. Police also intrudes on family privacy with the police spiders that monitor the pupil, or when it is convicted Anderton without guilt´s proof de facto. With all these ways, the film highlights the risk that the overestimation of the safety factor could favor the totalitarian state. In the next film, Catch Me If You Can, the protagonist, the young Frank rebels against the provisions of the law and defraud banks worth several million dollars. He becomes one

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of the men most wanted by the FBI scam. In a contradictory way, he finally served his sentence at helping the FBI which enriched him even more than he had profited from stealing. The story is written by Frank W. Abagnale himself and a writer, Stan Redding. The script portion of an autobiographical story is based on true events captured in a book and an author who could be contacted: Frank W. Abagnale. The only screenwriter Jeff Nathanson is to work then in The terminal and the fourth installment of Indiana Jones. In an interview, it is acknowledged that the script is based on the central character of Frank, not as a concept, as in other Hollywood movies. Nathanson doesn´t consider the hero a liar, but a person who seeks his identity and is confused with what actually is (Sobczyński, 2004). With reference to the alteration of the story in the script, Jeff Nathanson acknowledged that before writing the script he had several interviews with Frank that led him to place the relationship of Frank and his father in the emotional center of the script and changed the structure of a classic cat and mouse thriller, in a complex family drama (Sunshine, 2002). The conception of freedom in the choice between good and evil is very strong and it is a very rich concept in the story. Thus, "real Frank" does not blame his behaviour to the divorce of their parents, but believes that if he had had a stable family life likely he would have been safer. In the film, his behaviour is due to his father as a role model who was also a fake, but failed. Spielberg addresses the issue of defendants by law as in AI, Artificial Intelligence and Minority Report. He has a very tolerant design. No matter how many crimes have been able to make someone, because background may be due to a personal conflict. The filmmaker conceives that the judicial system has to provide opportunities. The film critics the inhumane treatment in French prison of Frank. Offenders are dirty, sick and live alone in a dark room, full of moisture. The following comment is about the film The terminal. The history of Merma Karimi Nasseri has been included in various reports and three documentaries. It also appears in another French movie before, Tombes du ciel (1993) of film director Philip Lioret, with the actress Jean Rochefort. The motion picture is about a character who suffers the

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rigors of international transit laws. Victor Navorski arrives at JFK Airport in New York. The machine does not recognize his passport and he is driven to an office. Thurman, the officer, asks him for his passport and his ticket: Thurman: Give me your ticket and passport. It is only a formality. Dixon: While you are flying has been a coup in your country. The new government has closed boundaries, no flights. Your passport and visa is not recognized. You are a citizen of nowhere. Thurman: You can not issue new documentation until EE. UU. recognize the new diplomatic situation in your country. Dixon: You can not consider exile or refugee or humanitarian aid can be given, or a travel visa or diplomatic. You are not entitled to any of those things. Right now you are simply unacceptable. Victor: Now I New York. Dixon: No, now I can not let you in the U.S., for now. Victor: A Krakozia. Dixon: No, there is no country, not yet technically exists. My biggest dilemma is the system: you have no right to enter my country and I have no right to stop you. You have slipped into a small crack in the system. Until this is resolved, I can only allow you to enter the international transit lounge, do you know? The cinematographic work highlights the injustice of American administrative law on the individual in a particular case. The proposal is that the value of laws and law enforcement personnel must be applied on each individual with compassion because this gesture shows respect to the foundation of the U.S., since it exists in its original story. The injustice on the individual results in the absence of

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basic

rights such as freedom of movement. The true story of Nasseri is that due to the conditions of injustice he has been led to an alienated mental state. He usually retains his determination to go to England, but in reality he is afraid to leave the situation, which has been forced to accept over the years, and finally he lives uprooted in a terminal. He retains his sense of dignity and social relationship with others and keeps a dignified exterior composure. Pitifully he has no family or anyone who demands it. The film highlights the struggle and the preservation of the central character´s dignity. This dignity is both external (appearance) and internal (happiness, self-esteem) to meet the other unfair treatment by intolerant laws and the administrative authorities of the airport, which takes away his freedom of movement. As if I had to serve a sentence, Victor Naborski is put in a vulnerable situation, because on one hand he can not leave, but otherwise he has no clear resources to survive. However, his attitude is positive facing injustice. He does not rebel, until he gets the support of the others and the law itself is put back in his favor. Also we can see a critique of the state with asylum seekers that take six months to get a legal status and, while they have to survive without papers, without work clear and fluent. International law and the state bureaucracy threat the freedom of the individual, rather than benefit it, because imprisons the individual. The pursuit of this freedom is expressed in this film through the symbol of jazz music. In addition jazz and the blues refer to the struggle for freedom of the black minority that had freedom of cultural expression, but still had no social or political liberty in the sixties and were segregated. Munich (2005) highlights a further elaboration of tolerance embodied in the hero, Avner, a Jewish member of the Israeli intelligence service and leader of a terrorist cell that was just rebelling from a vindictive policy of his Government. Avner realizes that active aggression causes belligerent repayment, i.e., that hostility grows only more violence and that it is necessary a change of attitude. Avner stops working for the Israeli secret services and decided to lead a quiet life in Manhattan. This violent movie follows a defence of peace and solutions in a reflection on the

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psychological imbalance of consciousness and pain caused by violence in a person.

6. Conclusions First, we note that the treatment of freedom takes centre stage in these films of the American filmmaker's creative maturity, rather by how they fit, either by the defending point of view, either an adult or a child. Freedom is approached from the relationship between justice and the state over the individual, or how it affects other social responsibility on individual liberty. This research concluded that in the latter feature is found that the state is committing an injustice on the individual. In both films of maturity, AI, Artificial Intelligence and Minority Report, there is an external responsibility on the individual. From an adult point of view in A.I. Artificial Intelligence, the issue is the responsibility of creating robots capable of loving that they become human when they are given civilized treatment. But the filmmaker also sees the suffering of David over the film, and thus appears in terms of the child. In Minority Report, from the adult point of view, it is criticised a judicial system which provides for criminal acts and acts in an unfair manner on the individual. In contrast, in Catch Me If You Can, the freedom does not belong to the individual but outside the individual. In this case, help comes from the role of the father (Abagnale father and Hanratty as a surrogate parent). Carl helps him to get the ability to correct, because Frank just cannot leave their vicious circle of lies. It arises again, however, as a psychological restoration of a fundamental correction of Frank himself. In The Terminal, once more the individual has freedom in relation to the autonomy that the rest gives to him. It depends on the responsibility of others on him, from the adult point of view. Thus, Victor is not free to visit New York, and acts restricted by the response of others to help him out, as the official Thurman. In Munich, Avner acts with freedom of conscience rebelling against a state system that uses violent means to combat terrorism. Secondly, we can conclude that Spielberg is certainly representative at the time of system´s fragmentation since he

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exemplifies the hands of the rebellious citizens. If we collect the research done in this article, of twenty-five feature films in the sample we have discussed in an appropriate way to twelve characters. Of these, nine showed a rebellious attitude to the system. This is 36% of the production of Spielberg. We believe it is a significant representation in relation to the production of this filmmaker. Moreover, all these characters achieve success in their rebellion (Clovis, Roy, Eliot, Oskar, Quincy Adams, David, Anderton, Abagnale Jr., and Avner). Finally we note that if we consider the five films discussed in maturity, of five main characters, three are rebels, so we can argue that the rebellion takes highlight on mature works heroes belonging to the filmmaker.

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