Re: War For The Planet Of The Apes (English) Tamil Mov Cultura Visione Tabo
Demi Kemmeries
Under what circumstances could a civilization that was roughly 100 years in advance of present day American society have a strong cultural awareness of "monsters" that included myths and legends, and various taboo about areas that the creatures were said to inhabit, or things that you should avoid doing in order not to attract them, but have little or no scientific data on the creatures themselves?
History shows that it doesn't matter how many cultural or religious taboos are in place when it comes to this. The extreme example is medicine, where the causes are often obscure, the effects are hard to analyse, and every society has some kind of body-contact taboos. Still, every society also has some long-standing practise of medicine, regardless of effectiveness.
War For The Planet Of The Apes (English) Tamil Mov cultura visione tabo
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It is hard to imagine a reason why a civilization 100 years more advanced than ours would not be able to explore everything on their planet. If some places were too dangerous for people, remotely steered or AI-controlled robots could be sent to investigate. And if religious taboos are out of the question, what remains is a political incentive to prevent research on the monsters.
These creatures retain the memories of those they infect, and try to persuade people on social media to come to them because they like the free food, claiming that they are shamans who will awaken people. People know of their existence, and know how to ward them off and avoid them mostly, but have very little information on them. There's a cultural taboo about discussing them too openly, because people who do discuss them might be them.
They may be extremely sensitive to electrical fields and any available observational technology, and going into the forest without a device or with low batteries may even be a cultural taboo because it's well known that carrying a full battery keeps you safe.
Planet of the Apes is a 1968 American science fiction film directed by Franklin J. Schaffner from a screenplay by Michael Wilson and Rod Serling, loosely based on the 1963 novel by Pierre Boulle. The film stars Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans, James Whitmore, James Daly, and Linda Harrison. In the film, an astronaut crew crash-lands on a strange planet in the distant future. Although the planet appears desolate at first, the surviving crew members stumble upon a society in which apes have evolved into creatures with human-like intelligence and speech. The apes have assumed the role of the dominant species and humans are mute creatures wearing animal skins.
TV Globo, Brazil's largest and most important television network (and the second-largest commercial TV network in the world just behind the American ABC TV), aired from 1976 to 1982 a sketch comedy show called Planeta dos Homens (Planet of the Men) where, among regular sketches and parodies, three apes (Charles, a chimp, Socrates and Gibinha, orangutans) from a highly evolved ape planet, tried to comprehend the illogical human civilization, ending with the catchphrase: "You don't need to explain me, I just wanted to understand it!" Planeta dos Homens went on for years as one of the highest-audience levels TV shows in the country.
So you see, I have deep resonances with Derrick too. His willingness to share his pain is something that those who have not been there fail to appreciate. But to me his writings are a blessing from a brother on the path of recovery. Like him, I have come to understand that our entire culture in its long history has been one of incredible mutual abuse. It is so difficult for those who live in the cultural trance to realize that we are the arch terrorists on this planet. That is what I realized in my conversation with the dragonfly deep in the Hawaiian forest years ago. We are murdering each other and all beautiful living beings on this sacred planet. Like Derrick, I feel we must stop this at any cost.
Franklin J. Schaffner directed this adaptation of Pierre Boule's sci-fi novel about a society ruled by a race ofhighly civilized apes. Charlton Heston portrays an astronaut who crashes on a strange planet where inarticulatehumans are kept penned-up and creatures that look like oversized chimpanzees and talk like men and women run theworld. Heston's life is in danger when ape leader Maurice Evans discovers he can speak, but sympathetic apescientists Roddy McDowall and Kim Hunter risk their own safety by protecting him. Scripted by Michael Wilson and"Twilight Zone" creator Rod Serling, the film won a special Academy Award for John Chambers's simian makeup, andspawned four successful sequels and two TV series.
Expandedessay by John Wills (PDF, 334KB)
Pare Lorentz, a film critic in his early career, wrote and directed this short documentary illustrating theresult of out of control agricultural development which contributed to the Dust Bowl. Lorentz was hired as aconsultant for the Resettlement Administration, a New Deal program to document conditions and educate thepublic. Lorentz exceeded the agency's budget by several times in creating a picture that audiences would findboth artistically and thematically compelling. Few theater chose to screen the film initially, but after greaterpromotion by the administration and Lorentz himself, "The Plow That Broke the Plains" was generally wellreceived. Its impact on farming practices may be difficult to gauge, but it unquestionably impacted John Ford inhis film adaptation of John Steinbeck's "The Grapes of Wrath."
Expandedessay by Dr. Robert J. Snyder (PDF, 483KB)
Solomon Sir Jones was a Baptist minister and businessman who also had an important career as an accomplishedamateur filmmaker. Jones was born in Tennessee to former slaves and grew up in the South before moving toOklahoma in 1889. As described on the website of Yale University's Beinecke Rare Book & Manuscript Library,the Solomon Sir Jones films in Yale's collection consist of 29 silent black-and-white films documentingAfrican-American communities in Oklahoma from 1924 to 1928. They contain nearly 355 minutes of footage shot withthen-new 16-mm cameras. The films document a rich tapestry of everyday life: funerals, sporting events, schools,parades, businesses, Masonic meetings, river baptisms, families at home, African-American oil barons and theirwells, black colleges, Juneteenth celebrations and a transcontinental footrace. Jones also documented histravels. IndieWire termed these films "the most extensive film records we have of Southern and urban black lifeand culture at the time of rapid social and cultural change for African-Americans during the 1920's, the verybeginning of the Great Migration, which transformed not only black people as a whole, but America itself." TheSmithsonian also has nine reels of film, comprising approximately two hours of footage. The films have beenpreserved by Yale University Beinecke Rare Book and Manuscript Library and the Smithsonian National Museum ofAfrican American History and Culture.
It's easy to see Dr. Zaius as little more than an evil authority figure, and in some regards he might be just that, but all of his actions are with the intent of benefitting his fellow apes, at the expense of mankind. Through the sacred scrolls, he and the other orangutans, who hold all the knowledge of the past world, are aware of man's past actions, which are responsible for much of the planet being a wasteland. Though his relationship with humans is still very xenophobic, he and others merely follow the words of the Lawgiver, an ancient ape turned deity by the society, who was presumably there to witness humanity's downfall 2000 years ago and described the humans as more than just animals and evil incarnate.
With help from Zira's nephew Lucius and her husband Cornelius, Zira frees Taylor and takes him to the Forbidden Zone, a taboo region outside Ape City where Taylor's ship crashed. While Cornelius and Zira are intent to gather proof of an earlier non-simian civilization so they can be cleared of heresy, Taylor is focused on proving he comes from a different planet. Arriving at the cave, Cornelius is intercepted by Zaius and his soldiers. Taylor holds them off by threatening to shoot Zaius, who agrees to enter the cave to disprove their theories. Inside, Cornelius displays remnants of a technologically advanced human society pre-dating simian history. Taylor identifies artifacts such as dentures, eyeglasses, a heart valve, and to the apes' astonishment, a child's talking doll. After Zaius is ambushed and held hostage by Taylor, Zaius agreed to let him go if he never returned to Ape City. Zaius claimed that the planet was a "paradise" until humanity "made a desert of it eons ago". Taylor explained that he was going to find the truth about the history of humans on the planet, and Zaius warned him that he may not like what he finds. This proves to be true, as Taylor finds the ruins of the statue of liberty and realizes that this foreign planet was Earth all along. Dr. Zaius then had Cornelius's archaeological findings destroyed, and ordered Cornelius to stand trial for heresy charges.
The apes invade the subterranean mutant city, making their way to the cathedral. Taylor is in the mutant civilization at this point, and sees that the bomb the mutants worship has the Greek letters Alpha and Omega on its casing. Taylor recognizes it as a "doomsday bomb" capable of destroying the entire planet. Many of the mutants are either captured, killed, or found to have committed suicide. Taylor attempts to stop Ursus from accidentally setting off the weapon, but Taylor is shot as his pleas to Zaius fall on deaf ears. The mortally wounded Taylor curses Zaius as he collapses bringing his hand down on the activation switch, triggering the bomb, which kills everyone and destroys planet Earth. Zaius's hatred towards the human race ultimately led to his demise and planet Earth's destruction.
In Tim Burton's 2001 remake of Planet of the Apes, Zaius was the aging father of ape military commander, General Thade. An important leader of Derkein, possibly a senator, he was also a direct descendant of Semos, founder of the ape society and regarded as god of the apes. Of all the apes in the community, he was the only one who knew the truth concerning the Forbidden Area known as Calima. Zaius despised humans and blamed them for the downfall of society. As a reminder of humanity's destructive nature, he kept one of their weapons, a handgun, inside an ancestral urn held within his household. He knew the trouble that Leo's arrival could bring. On his deathbed, Zaius consulted with Thade and revealed some of the hidden truths in regard to humanity having once been dominant on the planet. And as further proof, he asked his son to break the ancient urn, revealing the human weapon he had kept all those years and claiming it as proof of humanity's potential to overtake the apes with their capacity to innovate. Condemning all human beings "to Hell", Zaius passes away, leaving the handgun to Thade.
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