Understandings of Anderson's (2007) 'Imagined Communities' - Essay Example

?Valerie Djulianto ESSAY PLAN Introduction This work shall include the thoughts of Anderson and other analysts, on the topic of ‘Imagined communities.’ The film ‘Patu’ shall be analyzed in the context of the theme ‘Imagined communities.’ ‘Imagined communities’ work on the notion that, a nation is one- despite the varying affiliations. Body Each paragraph brings out the idea of ‘Imagined communities’ and how the same applies to the unification of a nation. The paragraphs also draw a huge connection of the New Zealanders protest towards their ‘imaginings’. Specific terms will be used to prove the ‘Imagined communities’ fact as well as bridge the gaps that might be brought forward by analysts who do not believe in the concept like Partha Chatterjee. Other analysts for the concept will be included in the essay. Conclusion This compilation provokes will thought that ‘Imagined communities’ actually exist and that all nations have endeavored to strive towards accomplishing their imaginings. Anderson's 'imagined communities' The concept of imagined communities has had numerous opinions among various analysts and researchers in the context of geographical notion. In the words by Anderson, the concept of imagined communities is of the opinion that nations are not fallacial as the word imagined contemplates (6). Rather, this concept means that the making of a nation is of the meaning that the states are created from various processes that are common to the populace of that particular state. According to the research conducted by Anderson, the concept of ‘imagined communities’ relates to the fact that all persons hope to have touch with the members of their state and all that these members engage in (7). At most times, the members of the nation do not have the opportunity to interact with each other, meet all the members of the nation or even interact with all, but they all act in communion. Anderson continues to emphasize that imagined communities are mostly shaped by the institutions that are put in place in the nation (6). These institutions range from the political to cultural systems. Through these institutions, the beliefs, opinions and outlooks shared by a people in the nations are shared generally. The nation is indeed a large territory that encompasses numerous persons from all walks of life, with finite boundaries. These boundaries, must however bar persons from interacting with each other, but bring them together at all times (Chasteen & Castro-Klaren, 117). Additionally, Anderson is of the opinion that nations are imagined from the fact that all nations hope to be free (142). This relates to the sovereignty of the state and limited demography or spatial barriers. The hierarchies present in a nation as expected of a sovereign nation are in one way or another imagined being absent, and freedom is the pillar of the nation. The nation is expected to have assumed the archaic systems and replaced them with societal systems that include all persons in the social order. The nation, in this case, is one that should be inclusive of rule and sovereignty. Anderson emphasizes that this form of rule must be allow the nation exercise its authority over its citizens (6). On another point of view, the nation is imagined for the reason that all nations always hope to have a form of solidarity despite the forms of inequality and abuses prevalent in the nations (Anderson, 137). Members of the nation will always endeavor to uphold respect for each other for the nation is considered greater than all the individuals. It is also in this line that the members of the nation uphold respect and love for each other and will not watch the nation derail due to their individual differences. The imaginings by the members of these nations steer the nation towards heights of success. It is also evident that the members of the nation will be more than willing to offer anything to see the achievement and maturation of their imaginations of a successful nation. This is a depiction of patriotism and nationalism by the residents in the nation (Anderson, 116; Shavit, 24 &15). A good example is the case of national calamities that may face a nation, for instance war, drought, hunger, that bring the citizens of the nation together to battle the calamity. Survival, in this case, does not concern the individual differences, boundaries or the greatness of the communities, but greatness and oneness of the nation. All nation citizens have a role to play in alleviating the challenges facing the nation. Other theorists/ researchers on 'the imagined community' In an attempt to explain this theory, Anderson analyzed the thoughts of other researchers especially the ones that used Marxism and liberal theories to analyse nationalism. All these researchers endeavored either to oppose Anderson’s concept or to add on what the proponent of the concept had set pace. Among these researchers include Gellner Ernest and Hobsbawm Eric who believe in the contemporary view of explaining nationalism (Anderson, 212). According to Ernest and Hobsbawm, nationalism emanates from modernity of the nation. Modernity, in this case relates to the political and economic policies set by the nation. Though the nation is said to have existed since the advent of humankind, Ernest and Hobsbawm indicate that the modern nation is in no way comparable to the archaic nation. Edward Said is yet another researcher who indicates that the imagined communities are resultant from social constructions (Anderson, 214; Valentine, Kitchin & Hubbard, 20). Other researchers include Smith Anthony, who is of the opinion that nations are products of modernity though bits of pre-modern factors are still existent in the nation (Anderson, 214; Vierkant, 4). Nations, according to the works complied by Smith have undergone series of evolution to a point of modernity. The work by Partha Chatterjee is yet another that relates to the work of Anderson’s ‘Imagined communities’. This work by Chatterjee emphasizes that the nations have their roots and traces from colonization (7). These nations, however, keep drawing references from their colonial masters under the supervision of the white man. In this case, Chatterjee responds to Anderson by saying that nationalism is so much confined in the thoughts of the colonizers (7). Chatterjee also indicates that anti-colonial nationalism is simply an imagined fact that revolves around colonialism (8). Merata Mita's Patu! Film and representation of imagined communities, across geo-political and cultural-historic dimensions This remarkable film is one that revolves around the story of the apartheid rule that was existent, notable in South Africa. Under the Gleneagles Accord, all sporting activities were banned by the commonwealth form 1977. The case of New Zealand comes in since; the country’s rugby union had long planned to go for the tour and would stop at nothing. The moves by the government would also not ban the team from attending the long awaited tour to South Africa (Lusk, 1). As the film progresses, the feelings of upcoming hostility and war that is to be experienced in the course of the film is felt from the mood set by the director of the film. The captivating events, as they unfold, pull the viewers to having a quick glimpse of the feelings of the protestors towards the racism in the country and abroad. At this instance, the viewers can also take a quick and tangible stand on what side of the parties they support and for what reasons. Additionally, the film ‘Patu’ is one that portrays immense civil insubordination by the populace of New Zealand. The 1983 film is a remarkable one that set off in the winter of 1983 that majored its story on a protest against a tour that was set for South Africa. A close scrutiny of the film is one that explains and represents ‘imagined communities’, across geo-political and cultural-historic dimensions. Merata Mita’s documentary is one that fits in the history and times of New Zealand, as well as represents the bravery and zeal of film makers to bring out a particular concept by the use of film. From Patu, this film can simply be described as a landmark in the history of the New Zealand people being difficult and of no passion. The remarkable objection by the New Zealanders to attend the rugby tour was aimed at showing their disgust on the apartheid system that was existent at the time. In response, therefore, as a nation- New Zealanders decided to stage a protest that was to stop the matches. With campaigns and mobilization staged throughout the country, it is evident that New Zealanders were to stop at nothing until their pleas were heard as well as change effected with an immediate effect. As a result of the campaigns, a lot of civil unrests were witnessed, that saw collisions between the place and the rugby players. The rest of the country also joined in the race to championing for abolition of apartheid in the country. In relation to the concept of imagined communities, one would argue that Merata Mita's film is one that explains the bond and unity between a people and how well the nation’s pleas can unite them towards a common goal. The race issue in the country’s activities- sports, politics- was way above what the New Zealanders’ could handle. The need to reform the attitude towards sports in the nation and its association with politics was at its peak. The film is said to have had numerous honor s despite the denial to air by some mainstream cinemas. After its launch in 1983, ‘Patu’ attained international acceptance with Mita- the director- gaining full recognition for the completion of her piece, as an editor, narrator, designer, presenter, amongst others in a remarkable manner. Across geo-political and cultural-historic dimensions, ‘Patu’ explains a nation that is on the verge of changing on a Maoris’ point of view. The New Zealand filmmaker is more concerned about the nation, and the role of the activists in championing for that change. Having gone through traditional upbringing in the Maori culture, Lusk argues that Mati can be indicated to be extremely ware of the role and impact a film and its images can have on driving change (1). This also explains her motivation towards completion of the film independently, despite the wrangles and political debates behind the film. Lusk is also of the opinion that, it is through the Mati’s memories of the films projected at her age in the neighboring wharenui that drove her to ‘Patu’s’ completion (1). She also aimed at using films to educate the youth in the locale. The concept of imagined communities also takes shape from the one hour 50 minutes long film when all the members of the nation- clergymen, children, and grannies- come together for one common goal of championing against apartheid. Whether Maori or Pakeha, Patu, demonstrates a general disgust of all the members of the nation on the race relations that had taken deep root in New Zealand and outside the country. The togetherness of the nation is evident from Patu that portrays a once peaceful protest turning bitter. The ‘imagination’ of the nation also steered them towards coercing the authorities to make sure that nothing blocked the tour. Patu is a film that can be portrayed as having been displayed under tense times of fear and force that is vivid from the actions in the film. The violent exchanges in the film also leave the viewer to have a glimpse of what the filmmakers went through. Numerous protests are viewed in Christchurch, Auckland, Napier, and Hamilton amongst other places. Coordination by the camera persons was also quite dangerous, since they had to withstand the protests between the police, supporters and protestors. It is palpable that they had to escape ‘flying bottles’ whilst at the same time taking the best views of the happenings. The sounds produced and the dramatic scenes in the film are more of an explanation of the hideouts by the camera operators. In relation to the film, this is an elucidation of the bitterness that the people of New Zealand had and how much they would pay, and how far they would go to fight for what they termed as what they deserved. Conclusion The concept of ‘imagined communities’ by Anderson is one that is more concerned to the well being of a community or a nation towards attaining a specific goal. From the discussion, it is validated to argue that the members of a particular nation are more than willing to fight for what belongs to them or what I seemingly not to their satisfaction. Drawing examples from Mati’s film, Patu, it is evident as the people of New Zealand were too willing to stage a protest that would see to the end of racism that was prevalent in their community. Mati clearly brings out the social and political ills that saw massive protests by the nationalities in the streets to fight for what would be termed as their ‘imaginings’. The film is indeed one that brings out the concept of ‘imagined communities’ by Anderson, as an emphasis of the oneness of a state, despite the variations in personality affiliations. Works cited Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. New York: Verso, 2006. Print. Chasteen, John. & Castro-Klaren, Sara. Beyond imagined communities: reading and writing the nation in nineteenth-century Latin America. New York: Woodrow Wilson Center Press, 2003. Print. Chatterjee, Partha. The Nation and Its Fragments: Colonial and Post-colonial Histories. Princeton: Princeton University Press, 1993. Print. Lusk, Jon. ‘Merata Mita: Pioneering Maori film-maker who charted social and political upheaval in New Zealand’. The Independent; Tuesday 27 July, 2010. Web. 17 August. 2012. Patu. Dir. Merata Mita and Preston, Gaylene. NZ On Screen, 1983. Film. Shavit, Uriva. The New Imagined Community: Global Media and the Construction of National and Muslim Identities of Migrants. London: Sussex Academic Press, 2009. Print. Valentine, Kitchin, R., & Hubbard, Phil. Key Thinkers on Space and Place. London: SAGE, 2004. Print. Vierkant, Paul. Imagined communities - What Makes a Readership Share a Certain Idea of Newspapers. New York: GRIN Verlag, 2007. Print. Read More