A new John Pilger documentary is always a media event. For over four decades he has set the bar for incisive and intrepid investigative journalism. In The War You Don’t See, his latest, Pilger indicts the mainstream media for its responsibility in enabling wars by sanitizing its image and glorifying its aims.
by Kim Bizzarri
Following last night’s choice of the Oscars’ jury to award Katherine Bigelow’s The Hurt Locker with the Best Picture prize, the debate has since then moved to the pubs and the ether. It appears to be primarily concerned with whether Bigelow’s portrait of “the” war does justice to the genre and whether, with time, Avatar will come to be recognised as more deserving of the aspired title. The debate however is having the effect of reducing Cameron’s gargantuan critique of modernity to “just another war movie”, adding to the already popular dismissal of the film, by the intellectual left, as a western guilt-fantasy.
Lets start by considering the assumption that Avatar is “just another war movie”.
If indeed we accept that Cameron’s intention was to provide us with a science-fictional portrait of war, then we must also conclude that von Trier’s Dogville is nothing more than an aesthetically minimalist representation of the Great Depression. Just as von Trier exploits the Great Depression as a historical backdrop against which he develops a provocative portrayal of human nature, so does Cameron in the use he makes of military intervention in Avatar.