Aspects of Myths and Their Use in Films - Essay Example

Task: Analysing Myths Introduction Explicit and implicit religious things exist in most societies as part of definingcultural aspirations and customs. Notably, there are myths in traditional societies that enable its people to believe in the legend of its heroes and villains. In modern society, aspects of myth still abound because there is deep relationship between the past, present and future. As the paper will show, myths are still popular films in order to advance particular themes and ideologies. Film 1: Prometheus (2012) The myth of machine or computer as depicted in the Prometheus has interesting issues to note. Based on the crew ship called Prometheus, the movie shows the idea of averting foreseeable threats that could destroy human beings. Through the use of Artificial intelligence, the director has created David, the android, who has human attributes, but does not prefer the life of humans. Instead, David is critical of his creators and wants answers from them. In other words, the film evokes the myth that programming through computers could offer individuals feasible solutions to their lives. However, the myth of computer as a machine is not true because David’s programmer called Weyland eventually dies the idea of technological power is eradicated (Dalton 135). Overall, the myth of machine not only wreak havoc to the ship crew, but it also gives them the false belief of invincibility against their creators. Film 2: 2001: A Space Odyssey (1968) A science fiction movie, 2001: A Space Odyssey recounts the encounter between black monoliths and human beings in a quest to understand aspects of human evolution. The scientists are determined to discover the signals that come from one of the monoliths in their voyage to Jupiter. Interestingly, the myth of machine or computer is observed in the illusion that only artificial intelligence and technology can save humanity from itself. Analysis of extraterrestrial life, for example, is largely aided by the use of a Space Odyssey venture that uses Pan Am Space plane and the landing in Lunar US outpost. The two named features are critical in explaining the belief myths as a means of attaining scientific exploration particularly on human evolution (Doniger 112). Additionally, the ability of HAL 900, a ship computer, to manage all events demonstrates the myth of the machine as the ultimate power in discovering truths hidden in other planets. Film 3: Metropolis (1928) The biblical myth is explicit in the 1928 movie, Metropolis, a drama film that is largely dystopian in its storyline. It is about wealthy industrialists who exploit their workers in high-rise tower complexes in a future Germany. However, Freder, the son of the wealthy industrialist, Joh Fredersen, is concerned after his brief meeting with a charity worker called Maria. The meeting in a city cathedral between the two is what elicits the biblical myth of achieving a final redemption of saving the suffering workers. It is also the ideal spot when love blossoms especially when Freder declares his love for Maria (Mazur 199). In other words, the attachment to the cathedral reveals the myth of sanctity and purity when affairs are conducted in a place of worship. Alternatively, in Metropolis, the cathedral is another indication of solace and serenity as noted with actions of other characters such as the Thin Man when attempts to locate Georgy. Film 4: Star War (New Hope 1977) The hero’s journey as a myth is notable in the epic space opera film that tells the narrative of Rebel Alliance, a gang of freedom fighters whose leader is Princess Leia. According to the script, the heroic acts of Leia particularly when she steals plans of the Galactic Empire demonstrates how humanity believes in mythical figures to understand the world. Similarly, by concealing the plans in an astromech droid called R2-D2 including the use of holographic recording, the idea of heroic myth Leia shows the processes of winning a civil war. On the same note, the movie uses the myth as a means of evaluating the plans of Death Star even as TIE fighters plot to ambush Luke’s X-wing ship (Lyden 137). Overall, the civil war that ensnares the galaxy can only be saved by Leia’s Rebel Alliance to enforce the myth of a heroic journey. Film 5: Star Trek 2 (The Wrath of Khan 1982) As a part of the earlier Star War series, The Wrath of Khan perpetuates the myth of frontier. The myth is seen by comprehending the fight with Khan Noonien Singh, a genetically-engineered tyrant who plans to avenge against Kirk. Kirk is a space crew determined to acquire a powerful device called Genesis capable of performing terraforming functions. Consequently, the mission of USS Enterprise, a starship commanded through the simulation of Lieutenant Saavik engages on a rescue plan to assist a crew with a damaged ship. The rescue plan is revelation of the myth of frontier used by film’s director to control most of habitable worlds that are being prepared for colonization (Scott 145). Additionally, the obsession by Kirk to the elements of Ishmael in spite of his crew’s refusal show the mythical belief of exploring the frontier to gain contentment. Film 6: Terminator 2: Judgment Day (1991) Dystopian and sacrificial myth in Terminator 2 starring Arnold Schwarzenegger, Robert Patrick and Linda Hamilton is meant to achieve certain goals. First, the director intends to cast a world whereby prototypes such as T-1000 are controlled by Terminator from Skynet to torment human beings (Santas 124). Second, the idea to kill Sarah Connor’s son called John Connor equally demonstrates the perpetuation of the myth of sacrificial lamb especially when he is taken to a mental hospital for a felony. As a result, the pursuit by T-1000 only reveals a dystopian world where programmed creatures will hunt individuals such as Sarah, John, and the Terminator as part of an evil scheme to sacrifice them for scientific futility. The excessive use of computer-generated imagery (CGI) in the creation of the two main Terminators also endorses the myth of a dystopian world when machines control human life. Film 7: Blade Runner (1982) The myth of dystopia and sacrificial myth is equally used by the director of Blade Runner to meet specific goals and objectives worth noting. For instance, through the use genetically engineered objects called replicants in November 2019, the film casts the excesses of Tyrell Corporation in its quest to confuse adult humans. On that account, the depiction of replicants and their functions in the off-world colonies is a futuristic attempt of explaining a dystopian world where the police will over-control individual lives. The role played by Blade Runners as special police operatives to supervise and hunt down deviant replicants is another testimony of an unequal world where the myth of sacrifice is glorified. Critically, the clash between past, present, and future also show how sacrificial myth is fundamental in narrating the story of human beings faced with threats of attacks from outer space (Pucker 133). Film 8: The Flash Gordon (1980) Explaining the myth of modern is clear in The Flash Gordon, a science fiction flick that is an adaptation of comic strips created by Alex Raymond. Through its narration of the plan by Emperor Ming the Merciless to finish the Earth using natural disasters, the movie attempts to comment on the myth of reclaiming a modern world destroyed by bad leadership. The myth is actualized when Flash Gordon and Princess Aura, Ming’s daughter escape to Arboria. Arboria is a kingdom belonging to Prince Barin where Flash learns to operate telepathic communicator machines and also strategies on how to attack Mingo City (Levinson 89). In other words, Arboria is the ideal paradise modern place where through the use of a spacecraft, human characters can understand the movement of the Moon and the Earth. It equally permits Flash and other characters to visit planet Mongo where they are safe from Ming’s soldiers. Film 9: Twilight Zone the Lonely Set in 2046, Twilight Zone illustrates the myth of paradise through the imprisonment of Corry on far away asteroid for 50 years. However, the idea of the myth is explained especially when Corry receives visits from a Spacecraft that often gives him updates on happenings of the Earth. The spacecraft equally brings him supplies to ensure that his incarceration supervised by Captain Allenby is humane and tolerable. Consequently, the myth reveals the idea of tranquility and quiet in a world distant from the Earth inhabited by human beings (Hammer 109). Additionally, the myth of paradise is meant to fend off loneliness and boredom that constantly assails the inmate until he is re-united with a female robot called Alicia. His eventual pardon and falling in love enforces mythical belief of paradise a place of happiness and life’s contentment. Conclusion It is, therefore, fundamental to observe that the various myths discussed above only show the evolution of myth into being either contemporary or modern forms. Contemporary myths are beliefs and traditions that accepted by the present generation as part of understanding the narrative of life. Contrastingly, modern myths are emerging beliefs that borrow from past myths that define human narratives as noted with some of the science fiction movies. Works Cited Dalton, Russell. Marvellous Myths: Marvel Superheroes and Everyday Faith. Belmont, MA: Chalice Press. 2011. Print. Doniger, Wendy. Other Peoples Myths: The Cave of Echoes. New Jersey, NJ: University of Chicago Press. Hammer, Tonya. Myths, Stereotypes, and Controlling Images in Film: A Feminist Content Analysis of Hollywoods Portrayal of Womens Career Choices. New York, NY: ProQuest. 2008. Print. Levinson, Julie. The American Success Myth on Film. Mason, OH: Springer. 2009. Print. Lyden, John. Film as Religion: Myths, Morals, and Rituals. New York, NY; NYU Press. 2003. Print. Mazur, Eric. Encyclopedia of Religion and Film. Mason, OH: ABC-CLIO. 2011. Print. Pucker, Sharon. Dreams in Myth, Medicine, and Movies. Mason, OH: Greenwood Publishing. 2002. Print. Santas, Constantine. The Epic in Film: From Myth to Blockbuster. New York, NY: SAGE. 2008. Print. Scott, Niall. Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. Mason, OH: SAGE. 2007. Print. Read More