Militarism, Misanthropy and the Body Politic: - Brunel University
Militarism, Misanthropy and the Body Politic: - Brunel University
Militarism, Misanthropy and the Body Politic: - Brunel University
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EnterText 6.2<br />
numbed response when <strong>the</strong> aliens’ incinerate populations <strong>and</strong> buildings later in <strong>the</strong> film.<br />
O<strong>the</strong>r ID4 characters experience <strong>the</strong> brunt of <strong>the</strong> aliens’ aggression before <strong>the</strong> U.S. does:<br />
<strong>the</strong> Iraqis witness <strong>the</strong> unfurling of mushroom clouds, <strong>and</strong> <strong>the</strong> Russians suffer <strong>the</strong> first<br />
deaths. In <strong>the</strong> Oval Office, <strong>the</strong> White House staff watches news footage of <strong>the</strong> destruction<br />
in Novosibirsk, <strong>and</strong> a young boy’s bloody, b<strong>and</strong>aged head is placed in <strong>the</strong> foreground of<br />
<strong>the</strong> screen. General Grey turns away from <strong>the</strong> sight—is he too busy, uninterested, or<br />
repulsed? 10 The television images elicit a re-enactment of Freud’s narrative of a child<br />
being beaten. 11 The film cuts away too quickly from this scene for <strong>the</strong> viewer to fully take<br />
in what she has just seen. Off <strong>the</strong> coast of California, a plane with U.S. pilots flies into a<br />
gr<strong>and</strong>, stormy fire cloud. (Okay, we’ve lost some of our own.) Three diminutive<br />
“welcome wagons,” awkwardly jerry-rigged helicopters with large light panels jutting out<br />
from <strong>the</strong> sides, as at a rock concert, come to meet <strong>the</strong> aliens with a message of peace; but<br />
<strong>the</strong>y are such a joke that, like enlarged mosquitoes, <strong>the</strong>y deserve immolation by <strong>the</strong><br />
aliens’ death ray. The music underscores <strong>the</strong>se blasts with e<strong>the</strong>real music on impact—<br />
only after a long held chord does <strong>the</strong> music darken in tone. Next to go down are <strong>the</strong> UFO<br />
fans. One woman wants to bring back Elvis, many people partake in a rave, <strong>and</strong> most<br />
wave silly h<strong>and</strong>made placards like “Make Yourself at Home” <strong>and</strong> “Take me with You.”<br />
An ebullient Tiffany runs up <strong>the</strong> ladder to meet <strong>the</strong> aliens, despite Jasmine’s having<br />
warned her not to go. The first real character who dies—or who speaks more than four<br />
lines of dialogue, anyway—is gay <strong>and</strong> Jewish. His death lacks any semblance of dignity:<br />
he slouches, says “Oh, crap,” <strong>and</strong> gets levelled by a car.<br />
Even <strong>the</strong> moment before <strong>the</strong> building explodes is worth a second look. We cannot<br />
tell which buildings <strong>and</strong> cities are exploding. The second impact shows <strong>the</strong> aliens’ blue<br />
Carol Vernallis: Independence Day 66