Hollywood Utopia

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136 <strong>Hollywood</strong> <strong>Utopia</strong> metaphor for men and women cast in the postmodern condition. Vagabonds or vagrants offer more apposite a metaphor . . . What keeps him on the move is disillusionment’ (Bauman 1993: 240). Later, in an essay ‘From Pilgrim to Tourist’, he asserts that ‘In modern society, pilgrim is no longer a choice of the mode of life, less still is it a heroic or saintly choice . . . Pilgrimage is what one does of necessity, to avoid being lost in a desert; to invest the walking with a purpose while wandering the land with no destination. Being a pilgrim, one can do more than walk - one can walk to . . .’ (in S. Hall 1996: 21). What better way to appreciate the philosophical core of the road movie than in this play between ‘disillusionment’ and goal-seeking motivation? 35. Martha Nochimson in Film Sense describes the film as a ‘mellow picaresque story’ while affirming that Lynch’s art is all about the ‘will to lose one’s will’. In the ‘sublime panoramic and aerial shots of the farm belt’, Lynch celebrates the ‘bounty of the fruitful, material American earth as the context for his tribute to the endurance of humanity, even in the heart of a desperately isolated and rigidly self-righteous patriarch’ (Nochimson 2000: 2). 36. Music, which has not been textually discussed, yet remains central in appreciating this and many other films, punctuates and underpins this nature exposition. The foregrounding of nature in all its forms from bright sunlight to dramatic storms drives the whole narrative and does not act merely as a mood enhancing signifier. The same music idiom running through the film punctuates and underpins the centrality of this evocative nature film. 37. The humour of the situation is dramatised with the fat sun-worshipping lady becoming shocked by his immobility and asking ‘what is the number of 911' to get help, together with his daughter’s (played by Sissy Spacek with a mental problem) consternation and instinctive reaction: ‘What have you done with dad?’ -both of which responses disgust his gruff old friend who asks if Alvin is ‘nuts’! 38. According to the estimations of Edwin Jahiel (who, incidentally, suggested that Lynch ‘pulled a Cocteau’), the trip would take five weeks and cover 254 miles at an average speed of 5 miles per hour (cited in www.prairienet.org/ejahiel). The director held his nerve throughout the film by dramatising the apparent lack of movement while keeping the narrative both simple and concentrated. 39. The only other time this form of electronic communication is consciously used is when Alvin needs to get more money on his travels. Otherwise he needs the isolation and natural acuity of being mobile-phone-less. 40. Some ecologically astute audiences may suggest the representation of genetically modified corn - which equates with the majority of American farm production - raises the prospect of ‘pure/impure’ nature. 41. In a provocative and auteurist reading of the film in Film Quarterly (Fall 2000), Tim Sreider and
Rob Content suggest that there is more hidden than is suggested by my reading. Taking a later incident, which I ignore, that foregrounds a fire brigade’s practice of putting out a house fire as Alvin careers out of control down a hill, the reviewers affirm that this signals Alvin’s culpability in his grandchild’s injury. It was he who was the babysitter, which caused Rosie’s children to be taken away from her. While this may be inferred, it does not take away from his striving for forgiveness even redemption. 3 Westerns, Landscapes and Road Movies 137
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Pat Brereton Ecology in Contemporar
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The fruit of years of painstaking s
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4 Hollywood Utopia First Published
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ACKNOWLEDGEMENTS I would like to th
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10 Hollywood Utopia Medicine Man, T
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12 Hollywood Utopia Introduction Th
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14 Hollywood Utopia be read using t
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16 Hollywood Utopia unconsciously e
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18 Hollywood Utopia films and concl
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20 Hollywood Utopia Taylor goes on
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22 Hollywood Utopia Frankfurt Schoo
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24 Hollywood Utopia justly claim to
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26 Hollywood Utopia continuous ideo
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28 Hollywood Utopia technological f
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30 Hollywood Utopia Philosophical t
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32 Hollywood Utopia striving toward
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34 Hollywood Utopia creates a space
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36 Hollywood Utopia Essentially a y
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38 Hollywood Utopia primary audienc
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40 Hollywood Utopia While the criti
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42 Hollywood Utopia The elite eco-s
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44 Hollywood Utopia out in the open
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46 Hollywood Utopia vast gasoline s
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48 Hollywood Utopia systems with th
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2 NATURE FILM AND ECOLOGY Prologue
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genre remained preoccupied with mob
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their dystopian gloom or utopian op
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closely linked with untrammelled na
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For Hollywood myth-makers, the pure
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with subtitles extensively used. Bu
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understand and capture the shark, i
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expressed in such texts. While such
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forces of nature but almost as a de
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or post cold-war America’ (18 Jul
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effects are required to encourage a
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anthropomorphic discussion, which c
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Chaos Theory and Ecology Chaos theo
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esearch observed at the beginning o
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ways as reductive in its elitist di
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Similarly, the two other characters
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sense of ethical (natural) justific
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Page 120 and 121: 118 Hollywood Utopia explains how
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186 Hollywood Utopia even utopian,
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188 Hollywood Utopia affirm a contr
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190 Hollywood Utopia notion of a pr
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192 Hollywood Utopia part of the un
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194 Hollywood Utopia metropolis - s
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196 Hollywood Utopia The term ‘cy
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198 Hollywood Utopia even more scat
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200 Hollywood Utopia The final clos
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202 Hollywood Utopia actions and de
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204 Hollywood Utopia He argues that
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206 Hollywood Utopia his still beep
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208 Hollywood Utopia often affirmat
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210 Hollywood Utopia But as many cr
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212 Hollywood Utopia physically and
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214 Hollywood Utopia Eco-Closure So
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216 Hollywood Utopia While such a r
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218 Hollywood Utopia individuality
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220 Hollywood Utopia with a persona
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222 Hollywood Utopia Only when the
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224 Hollywood Utopia Linda Hutcheon
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226 Hollywood Utopia The Winona Ryd
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228 Hollywood Utopia the human spec
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230 Hollywood Utopia Such ‘sacrif
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Conclusion Ecology has certainly be
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questions a number of modernist/pos
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generations of students, as they re
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6. Plumwood asserts how: ‘Hegemon
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242 Hollywood Utopia Barillas, W. (
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244 Hollywood Utopia Braudy, L. (19
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246 Hollywood Utopia Carroll, D. (1
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248 Hollywood Utopia Cubitt, S. (19
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250 Hollywood Utopia Fiske, J. (198
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252 Hollywood Utopia Halberstam, J.
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254 Hollywood Utopia Hooks, B. (199
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256 Hollywood Utopia Kroker, A. and
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Massey, D. (1994) Space, Place and
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260 Hollywood Utopia O’Sullivan,
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262 Hollywood Utopia Roszak, T. (19
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264 Hollywood Utopia Springer, C. (
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266 Hollywood Utopia Webster, D. (1
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Glossary Of Terms Some framing noti
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