The Self and Film
The ideology that the construction of the self can expand, consume land and generate profit is heightened in the scene in Stagecoach. The Harder They Come, and Safe both show some sort of revolt of this promoted ideology whereas Hyenas show the detrimental consequences of this ideology. Each of the four clips show a completely different construction of the self though they also relate to globalization or in other words, the sweeping imperialism that is often shown to be good. We are often told that things such as expansion is good as it generates profit and further promotes the construction of the self but these four clips look at the self, via space from a different angle. Stagecoach tells us, through the development of space that we don’t need to worry because we have everything we need. The self will guide us through. The Harder They Come, tell us through space that everything we do, we do for money and when faced with a strong sense of how to obtain money, nothing else matters. The ending of Safe looks at the self from a different angle. Through space, in the mist of turmoil, chaos and a set of crumbling beliefs, one can survive if they just revert back to what brought them into the world in the first place: love. Lastly there is the final scene in Hyenas, which looks at the inexorable problems of the self when the ideology surrounding manifest destiny occurs. In other words, when striving for maximizing profits take place, there is nothing the self can do to stop it. The self has its limits as well.
The Western in itself, which is based on history, has very little historical concept. However in Stagecoach, this historical context is re-iterated throughout the scene to justify manifest destiny. The dialogue such as “I demand, I’m standing on my league of rights” show exactly how far the self would go in an effort to expand and generate profit. Even the “drunk” solidifies his stance by saying “during the war I fought through shock and shell.” The dialogue in this scene is used to solidify the idea that manifest destiny is indeed the right ideology to go about things. Everyone is situated at a table, the lighting is fairly bright and there are bright shades of white throughout the scene. There are very little shadows, everything is of the same color and everyone is on the same page. Lastly, this notion that manifest is inexorable is exercised throughout the entire scene. One character, looking down almost in despair says “what does it matter” as if the rapid expansion is about to happen no matter what. Then there is another character, the incoherent drunk who is being asked of his opinion. He mentions he’s a fatalist. Everything that happens was always bound to happen by a matter of fate. As mentioned in various class notes, the Western was built on economic opportunities, not the people building the land brick by brick as it is often portrayed. The characters and the way the scene is portrayed (everyone on the same page despite some being happy/depressed) shows that this western is promoting manifest destiny through fatalism.
Looking at another film, the Harder they come it indeed both embraces and shows the limitation of the ideology surrounding manifest destiny. For starters, the music in the background has the lyrics “robbing and shooting, one day we will rise up.” This is a shot at the imperialism that has taken place and the discontent it brings many people who are involved. As the scene continues, both characters who are wearing accessories beyond belief are talking about money. “ You think you can handle big money,” as they are about to go out and make a collection. This scene in itself is very bright as opposed to the Western. There is no talk of fatalism here, just two guys who seem pleased with the idea of generating profit. The scene then cuts to a close-up of a marijuana plant, a resource that will supposedly generate the profit. Both characters get no their bikes as they are going to collect money. All is well with the self and they are pleased, however as the journey continues and the scene shows the landscape, it is clear that there is an underlying fear.
The song playing in the background has suddenly changed. It went from a notion of fighting against the power to “you can get it if you really want.” One of the characters mentions something about the police getting them. The other alerts him “it’s alright man don’t worry about it.” Their faces when they were about to collect money were pleasant, now it’s in a statement of indecisiveness and insecurity. These are the limits to the self, you can only expand and collect profits for so long before there is a kink in the system. It could be taxes, police or people in a position of power always willing to stop it. The Western looks at everything from a stance that it was meant to happen due to fate. Here, in “The Harder They Come” we see that everything is meant to happen if you’re willing to get it, including expansion. However, this could also end; there are limits to this as it does not pertain to fate.
During the final scene of “Safe” one could see the impact the outside world has on the self. She is sheltered in a dark room, there is only one bright light, very little space and she seems filled with despair and lack of hope. However she gets up and her back is turned to the cabinet. The cabinet is loaded with products. She looks into the mirror, a direct view of herself and says “ I love you, I really do love you.” Here she is trying to re-iterate the stance that human emotion can overcome any ideology pertaining to profit, rapid expansion, or things viewed as destiny. Here she is looking at herself, as the lighting gets brighter with the progression of the scene, and she repeats the word love. Through that word she is getting strength and this scene shows a critique of the ideology of manifest destiny through the power of human emotion pertaining to the self. Love brought us in the world, love can over-power everything, including the self. Before we think of generating profits, rapid expansion and the idea of destiny, love has the capability of destroying any of these aspects because love is powerful beyond belief. While she does not seem convincing in the scene, she did muster up the strength to get off the bed and look at herself in the mirror. As the scene progressed she got stronger and stronger, which showed flaws in the emotionless systems pertaining to the generation of profit, capitalism, etc.
In the ending of “Hyenas” not only does the scene critique the ideology surrounding manifest destiny but it also shows how destructive the self can me. Here we see the obvious problems with capitalism/globalization. The fact that there are no limits and people are willing to explicitly kill in an effort to gain money is quite alarming. However, as the scene continues the characters continuously state “we are not doing this for money” even though it is clear that it is the motive. The scene repeatedly cuts to a charcter, in red at the top of the mountain looking at this from a point of view shot. This is supposed to represent the self, looking at the chaos and destruction that is taking place. As the scene continues and the man below is killed, the one individual looking up turn from a heightened distance turns his back and walks away. Manifest destiny tells us that the sweeping expansion is done for the greater good, in the name of things like democracy. However, this has nothing to do with democracy, it has everything to do with capitalism and in the eyes of clear destruction, the self turns its back and walks away.
The construction of the self, pertaining to manifest destiny is supposed to expand and create profit, in Hyenas they show the flaws of what occurs when this happens. Morality is thrown out the window and people would do everything they could in an effort to get a dollar, including taking the lives of one of their “own.” This is exactly what occurs in Hyenas and while the man looks down through the point of view shot, he does nothing but walks away once the killing is taken place. Everyone who participated in the killing re-iterated, to themselves in a systematic order that they were not doing this for money. They were doing this in an effort to reassure themselves that their morality is indeed intact and they are doing nothing wrong. Similar to the Westerners who used destiny as an excuse, these characters are using conscience as an excuse. They want to clear their conscience from any wrong-doing and thus they are trying to make themselves think they are doing the right thing.
In all 4 clips, we see the relationship between the self/manifest destiny and the reasoning behind this assumed construction of the self. The Westerners used fatalism and Hyenas used capitalism, though Hyenas showed limits of the self through the point of view shot. Safe showed that human emotion, specifically love, could overpower anything pertaining to rapid expansion and profit while The Harder They Come showed that there is an upside (pursuit of money seemingly equals happiness) and a downside (position of authority, limitation of the self and discontentment) to the ideology surrounding manifest destiny and things the self are supposed to do.
