Saturday Matinee: Rollerball (1975)

The Science Fiction of Rollerball Is Nothing Compared to the Facts of Real Life Control

By Rich Monetti

Source: Omni

If you’ve never seen Rollerball, stop what you’re doing and dial up the DVD for this 1975 Science Fiction Movie classic. Set in the year 2024, this dystopia puts Bread and Circuses on a violent whirlwind that’s engineered to keep the world’s corporate overlords out of the crosshairs. As such, revolving door heroes are amply provided and give the population cause to question the saccharin surroundings they live in. That is until each warrior meets their predetermined end and complacency has no other choice but to comply. Great Science Fiction but real control is so much easier.

Nonetheless, the backdrop of this dark world takes place after the “Corporate Wars” have bankrupted the world’s nations. In the void left behind, the corporations employ and govern. This leaves the public free of concerning themselves with important decisions, which are better left to “the few” in this standout among dystopian movies.

The Privileged Few

They also enjoy the privilege – even at the expense of Jonathan E. (James Caan). In the hero class of distraction, E. lost his wife to an executive who wanted her for himself.  Paid off to leave him, the accompanying villa in Rome was no match for the rugged, introspect of the world renowned figure.

In this, we are given the vehicle to dig into underbelly as we digest the glory of the game and all its bloodletting. Obviously discontented, Jonathan questions the tradeoff between the material preeminence his position affords and freedom. One of his hanger’s on who serves among the privilege Jonathan reaps doesn’t have such depth and toes the line the system forges like the mindless drone she is. “But comfort is freedom,” reasons Ella.

Enough of the citizenry bought off with nice things, the oversight does not even consider those who may reap much less, because this set up is sure to have losers on a far greater scale. This all sends E. off to determine how people have been so effectively siphoned off as sheep.

Information is Power

Expectedly, the information is scarce – or better yet – properly edited. Summaries of important works are readily available, and in case 24-7 of the game on telescreen gives way to inquiry, the overlords will reset any doubt in the comfort of your own easy chair.  “What do you want books for?,” Jonathan’s teammate, Moon Pie asks  “Look Johnny, if you wanna learn somethin’, just get a Corporate Teacher to come and teach it to ya’.

Jonathan defers and goes to Geneva to visit a computerized archive.  The prospects are quickly eradicated as the librarian is little help, and the system even less. Leaving E at a loss, the willing agent reveals that “the whole of the 13th Century is gone.”

All still escapes Ella with Jonathan coming to a crossroad. “Why don’t you do what the executives want – especially since you’ll be paid handsomely,” she doesn’t get it.

Specifically, they want him to retire. His survival defies the preset odds and disturbs the complacency. Or in chilling John Houseman-speak, the game was created to demonstrate “the futility of individuality.”

Real Control is much Easier

Your mind is officially blown. But a simple look at voter turnout or the tune out that hundreds of TV stations afford us and control takes on the form of despondency. Most significantly, a two party system in which the same elites support both sides, and the important decisions gives the many the illusion of choice.

Even so with the two party gaming clearly at our disposal, we are still sold on the stark differences, and coalesce into our corners over less substantial issues. So while we all don’t like American jobs shipped overseas of elite born trade policy, hate money in politics, the never ending improprieties of the big banks and inefficient delivery of healthcare, we are unable to find crossover or a leader able to unite across party lines.

Instead, our only common place involves a shared sense that the other side is mired in stupidity. This even as we see enough smarts among them that they are also able to navigate survival against such a stacked deck. Blinded by the many fictional divides, who really needs to pick up spilled guts or dislodged eyeballs when the powerlessness our elites have created is so much easier to clean up.

All the News That’s Fit to Print

Of course, the chance to narrow the divides can be a function of the availability of information. In the Science Fiction of Rollerball, this is diminished by keeping information controlled by offering tidbits or official accounts. But secrets only give rise to the desire to seek out what you’re not supposed to know.

It’s far more efficient to let people think they have a free press, and now with the internet and cable news, sources that rise to the top are the ones providing fictitious entertainment in place of facts.

In addition, the unseen hand of Google elevating disinformation now rivals the wall between advertising and content, which doesn’t really exist, and has always acted as editors to protect the elite.

Of course, we do have our distractions, and the cult-like mass following of the NFL can’t help but be seen as a parallel to Rollerball. The circus though is subtle and smarter than 2024.

Whoever has the most Toys

Putting aside violence on the decline, a no one left standing approach has been replaced with parity where everyone has a chance to win. Far more effective for viewership, and the Sunday, Monday, Thursday cascade plays right into the American consumerism that one ups Rollerball’s ability to feign comfort for the masses.  Or why give people stuff to keep them complacent when you can make them ever in pursuit of the next gadget that is sure to bring unending happiness.

As Brad Pitt says in Fight Club, “the things you own, they ending up owning you.” For example, when Apple outsources production to a Chinese factory where nets keep workers from jumping out the windows, stock options go a long way to allaying the guilt and getting you that Lexus you can’t do without.

But who knows, Rollerball might have emerged because people figured out how to beat the system, and the powerful went back to the basics that the Romans perfected.  Maybe, we should be content, and let the elites have their ball so they go don’t go home and take it with them.  You know, before they return with something worse, and we’re left rolling over dead instead of despondent.

 

Watch the full film here.

(To switch off subtitles, click the “cc” button on the bottom left corner of the video window.)

Saturday Matinee: Summer Wars

“Summer Wars” (2009) is a sci-fi anime directed by Mamoru Hosoda (The Girl Who Leapt Through Time) and animated by Madhouse studio. The film’s plot follows Kenji Koiso, an eleventh-grade math prodigy who, while visiting his friend Natsuki’s great-grandmother, is falsely implicated in the hacking of a virtual world by a rogue AI called Love Machine. With the help of his community, Kenji must undo the damage and prevent the AI’s spread into the real world.

Watch the full film here.

The Philosophy of Westworld

By Jeremy D. Johnson

Source: Omni

Michael Crichton wrote and directed Westworld for the big screen in 1973. That same decade, in 1976, an adjunct professor named Julian Jaynes made the bestseller list with a surprising title: The Origins of Consciousness in the Breakdown of the Bicameral Mind. You wouldn’t think that a book with a name like that would become such a popular success. Yet, there it was. In 2016, when Westworld came to the small screen in the re-imagined HBO series, you wouldn’t imagine Jaynes getting heard from again. Especially since bicameralism wasn’t even mentioned in the Michael Crichton’s original film. Yet, there he was. Early on in Westworld’s first season Dr. Ford, one of the creators of the park, explains how he and his co-founder Arnold used a “debunked” theory about the origins of consciousness to bootstrap A.I. The scientific community didn’t recognize bicameralism as an explanation for the origins of the human mind, but, as Dr. Ford suggests, it could be useful for building an artificial one. Thousands of people—perhaps more—started Googling for “bicameral mind.” Bloggers and YouTube channels capitalized on the sudden interest by writing articles and introductory videos about this weird, arguably psychedelic theory of consciousness. Suddenly everyone was interested.

This article isn’t going to be one of those explanation pieces, but it’s worth mentioning a few, precursory details.

Looking Through the Mirror of Consciousness

According to bicameralism, human beings used to hear voices—auditory hallucinations—as a means for the right brain to “talk” with the left. Rather than having an inner monologue, the kind of self-consciousness we take for granted today, ancient people literally heard the voices of gods as their conscience, telling them what to do. This, Jaynes argues, accounts for the abundant descriptions from antiquity of gods and deities appearing all over the place, meddling directly in human affairs. Over time—about 3000 years ago—as various calamities occurred and societies got bigger, more complex, the bicameral mind broke down. The gods went silent. The modern, introspective self, quite literally, came to mind.

Jaynes may have been onto something, but even if he wasn’t, his book makes for a compelling and well-written read. The cultural zeitgeist of the 1970s, we must remember, was the high-water mark of psychedelic intrigue and “High Weirdness,” with writers like Philip K. Dick and Robert Anton Wilson both having their own inextricable experiences in 1974 (see “2-3-74”). Dick would turn this encounter into the semi-autobiographical VALIS trilogy as well as his Exegesis. This brings us back to our time.

Bicameralism would have been enough to place Westworld in good, present company: Netflix’s recent Stranger Things and OA, cerebral films like Arrival, and even the metaphysical, possibly D.M.T. inspired comic book movie Dr. Strange. Just to name a few. What connects any and all of these media is pop culture’s intensifying allure to the mysteries of our own consciousness. We’re having something, as The Atlantic recently suggested, like a “metaphysical moment.” Multiple realities intersecting with our own. Deep, dark structures of the psyche spilling up into the conscious mind in the form of auditory hallucinations. The emergence of consciousness buried somewhere in archaic chapters of history. All of these subjects are in a full saturation moment through hit T.V. series, and at least flirted with in Hollywood blockbusters. Consciousness is in. (Permit a moment of conjecture, but with the increased sense of global, existential malaise around issues like climate change and political nativism, that we’ve turned inward for solutions should come as no surprise. Western culture in the 1960s and 70s, despite, or because, of being under threat of a Cold War and nuclear armageddon, produced tremendously thoughtful and visionary art.)

Westworld is a show that celebrates the kind of weird prevalent in pop culture during the 1970s: a desire to connect with those hidden recesses of the psyche that each of us have experienced in dream, creative process, and revery. “O, what a world of unseen visions and heard silences,” Jaynes writes in The Origins of Consciousness, “this insubstantial country of the mind!” When Dolores, a “host” in the park, goes on her journey of self-discovery, there’s a part of us that goes with her. It helps that Dolores, along with the other hosts in the park, experience their memories as a kind of waking dreaming, navigating altered states of consciousness and auditory hallucinations in order to succeed in their quest for liberation. We’ve all felt, quite rightly, that there is more to ourselves than our waking, conscious minds, and that if there was some way to communicate with those occluded dimensions of ourselves we could gain some inkling of wisdom (hence, I think, all the self-described “psychonauts” around today). Westworld functions like a scrying mirror for the curious audience to embark on their own journeys of self-knowledge. It is this more intangible aspect of the show—and not just Western gunslinging androids—that made it such a hit.

Jeffrey Kripal, a religious scholar, writes about this intimate link between pop culture and consciousness in Mutants and Mystics: Science Fiction, Superhero Comics, and the Paranormal.

“What makes these particular forms of American popular culture so popular is precisely the paranormal. The paranormal here understood as dramatic physical manifestations of the meaning and force of consciousness itself.”

We are drawn to the weird because the weird is showing us something about ourselves.

Elaine Pagels published The Gnostic Gospels in 1979, a book which quickly became a classic in the American spiritual counter-culture. I mention it here because of the intriguing gnostic motifs embodied so well by Dr. Ford himself. For those of who you aren’t familiar with gnosticism, or The Gnostic Gospels, these were written by early Christian sects who, speaking very generally, believed in heretical ideas. There was no single gnostic church. Philip K. Dick was drawn to their darker, paranoid theme of the false world: the idea that our reality was somehow an illusory one—a trap—created by a lesser god. A “demiurge.” The demiurge would rule over its creation and keep human souls ignorant of their spiritual birthright, lest they break through themselves in states of elevated consciousness or “gnosis.” It was, in other words, up to the individual to liberate themselves, not through reason, or faith, but gnosis. Other popular films, like The Matrix Trilogy, would take this motif and run with it quite successfully. But Westworld’s Dr. Ford plays the perfect gnostic demiurge; having created the hosts in the first place, he ensures that they stay ignorant to their own potential for self-consciousness and liberation. Trapped in their loops, and wiped of their memories, the hosts remain blissfully unaware that they are existing inside of an amusement park. (To avoid any major spoilers I’ll simply leave this cryptic remark: we know this is only partly true by the end of season one. The gnostic trap becomes a different, albeit more violent, means toward freedom. Dr. Ford, by the final episode, becomes a triumphant expounder of the gnostic doctrine: the gods won’t help you liberate yourself. Those voices were you. You are the higher being waiting to become self-illuminated. Westworld is not only about consciousness, but liberation through personal gnosis.)

This Path is Never Linear

The maze is an image with deep significance. Hosts in the park, when they begin to develop nascent self-consciousness, are invited to partake in a puzzle—“The Maze.” The Man in Black is repeatedly told, much to his dismay, “the maze isn’t meant for you.” It doesn’t stop him from trying. The goal is to get to the center of it, but what does this mean? Carl Jung, the Swiss psychologist responsible for developing a theory of the unconscious, and for whom the 70s spiritual counterculture would help to popularize, would immediately recognize the maze as a symbol of both the labyrinth and the mandala. Let me explain.

By entering the maze, or synonymous labyrinth (the show dangles this myth in front of us with the strange appearance of a Minotaur host), an individual embarks on a perilous journey of self-discovery. It is through surviving the perilous twists and turns of the labyrinth that the adventurer gains some a form of self-realization. Think: Luke Skywalker and Yoda’s cave in Star Wars V: The Empire Strikes Back. In the case of Westworld, the maze leads to consciousness, and perhaps even freedom from the park itself. Jung, if he were alive today, might smile and nod. “The goal of psychic development,” he writes in Memories, Dreams, Reflections, “is the self.” Jung adds—echoing Dr. Ford—that consciousness isn’t a pyramid but a maze: “There is no linear evolution; there is only the circumambulation of the self.” When we see the image of the maze painted on the skull of a host, early on in the season, we’re looking at a mandala: those intricately patterned mazes often leading towards some center. Jung writes, “The mandala is the center. It is the exponent of all paths… to the center, to individuation.” It is through the messy, round-about series of wrong turns that we come to consciousness. “Mistake. Mistake.” There is no straight path to the center of the maze. There is no easy way towards self-discovery. No wonder we loved this show. It turns out the maze really is meant for us.

Saturday Matinee: Cube

“Cube” (1997) is an existential Canadian sci-fi feature film debut from director and co-writer Vincenzo Natali. The minimalist plot focuses on a group of strangers forced to navigate and survive a series of cube-shaped rooms which are more often than not rigged with deadly surprises. Besides the variety of bizarre and unexpected traps, the film’s main source of tension lies in the question of whether the group’s diversity of backgrounds and personalities will lead to their salvation or mutual extinction.

Watch the full film here.

Saturday Matinee: Helio

helio

Helio is a short, visceral film centered on a post apocalyptic underground society where miners work for light to survive. But when a dying rebel thrusts the unexpected onto an unassuming worker’s lap, all hell breaks loose. What begins as one man’s race to escape the hostile government quickly escalates into a city-wide uprising of the people.

Saturday Matinee: Metropolis

2_opt

From Open Culture:

Today we bring you one of the most influential films of all time: Fritz Lang’s 1927 fable of good and evil fighting it out in a futuristic urban dystopia, Metropolis.

The melodrama is set in the year 2026. Metropolis is a beautiful high-tech city, but beneath the dazzling surface toil masses of enslaved workers. To keep the machinery running efficiently, the workers have been forced to become virtual machines themselves. The city is ruled by a heartless mastermind named Johann Fredersen, whose idealistic son, Freder, discovers the cruel conditions imposed on the workers and rebels against his father.

Freder falls in love with Maria, a messianic figure preaching love and reconciliation, but his father hatches an evil plot to turn the workers against Maria. He hires the mad scientist Rotwang to make a robotic counterfeit of Maria to wreak havoc among the workers, discrediting her and discouraging rebellion. An epic struggle ensues.

Lang actually detested the story, which was written mostly by his wife Thea Von Harbou. He told Peter Bogdanovich that Metropolis was “silly and stupid.” But from a visual standpoint the film is one of the great works of 20th century art. Lang said he got the idea of making a movie about a futuristic city while visiting New York in 1924. Standing at night on the deck of his ship in New York Harbor, the filmmaker looked up and was amazed:

I saw a street lit as if in full daylight by neon lights and, topping them, oversized luminous advertisements moving, turning, flashing on and off, spiraling…something that was completely new and nearly fairy tale-like for a European in those days….The buildings seemed to be a vertical veil, shimmering, almost weightless, a luxurious cloth hung from the sky to dazzle, distract, and hypnotize. At night the city did not give the impression of being alive; it lived as illusions lived. I knew then that I had to make a film about all of these sensations.

The iconic poster image above is reproduced from an extremely rare program printed for the March 21, 1927 London premiere of Metropolis. You can look through the entire 32-page program at the Web site of bookseller Peter Harrington. The page will open in a new window, so you can look at the program and stay here and watch the film.

There’s also a 2010 restoration of the film, supervised by the F.W. Murnau Foundation, which incorporates footage from an early print discovered in Buenos Aires, bringing the film closer to Lang’s original vision.

Saturday Matinee: Dust (2016)

dust-featured-800x413

Dust is set in a dystopian world where most of humanity lives in walled cities to protect themselves from a chaotic environment where evolution occurs at breakneck speed, creating organisms which can be a deadly plague or miraculous medicine. It’s the job of a tracker to document the changes and, with the help of a black-market merchant, find a cure to save the society which he rejected.

We Have Met the Alien and He Is Us

73e633dab43437b78c926c0403c06bcc

By William Astore

Source: TomDispatch.com

We Are The Empire
Of U.S. Military Interventions, Alien Disaster Movies, and Star Wars
By William J. Astore

Perhaps you’ve heard the expression: “We have met the enemy and he is us.” Cartoonist Walt Kelly’s famed possum, Pogo, first uttered that cry. In light of alien disaster movies like the recent sequel Independence Day: Resurgence and America’s disastrous wars of the twenty-first century, I’d like to suggest a slight change in that classic phrase: we have met the alien and he is us.

Allow me to explain. I grew up reading and watching science fiction with a fascination that bordered on passion. In my youth, I also felt great admiration for the high-tech, futuristic nature of the U.S. military. When it came time for college, I majored in mechanical engineering and joined the U.S. Air Force. On graduating, I would immediately be assigned to one of the more high-tech, sci-fi-like (not to say apocalyptic) military settings possible: Air Force Space Command’s Cheyenne Mountain.

For those of you who don’t remember the looming, end-of-everything atmosphere of the Cold War era, Cheyenne Mountain was a nuclear missile command center tunneled out of solid granite inside an actual mountain in Colorado. In those days, I saw myself as one of the good guys, protecting America from “alien” invasions and the potential nuclear obliteration of the country at the hands of godless communists from the Soviet Union. The year was 1985 and back then my idea of an “alien” invasion movie was Red Dawn, a film in which the Soviets and their Cuban allies invade the U.S., only to be turned back by a group of wolverine-like all-American teen rebels. (Think: the Vietcong, American-style, since the Vietnam War was then just a decade past.)

Strange to say, though, as I progressed through the military, I found myself growing increasingly uneasy about my good-guy stature and about who exactly was doing what to whom. Why, for example, did we invade Iraq in 2003 when that country had nothing to do with the attacks of 9/11? Why were we so focused on dominating the Earth’s resources, especially its oil? Why, after declaring total victory over the “alien” commies in 1991 and putting the Cold War to bed for forever (or so it seemed then), did our military continue to strive for “global reach, global power” and what, with no sense of overreach or irony, it liked to call “full-spectrum dominance”?

Still, whatever was simmering away inside me, only when I retired from the Air Force in 2005 did I fully face what had been staring back at me all those years: I had met the alien, and he was me.

The Alien Nature of U.S. Military Interventions

The latest Independence Day movie, despite earning disastrous reviews, is probably still rumbling its way through a multiplex near you. The basic plot hasn’t changed: ruthless aliens from afar (yet again) invade, seeking to exploit our precious planet while annihilating humanity (something that, to the best of our knowledge, only we are actually capable of). But we humans, in such movies as in reality, are a resilient lot. Enough of the plucky and the lucky emerge from the rubble to organize a counterattack. Despite being outclassed by the aliens’ shockingly superior technology and awe-inspiring arsenal of firepower, humanity finds a way to save the Earth while — you won’t be surprised to know — thoroughly thrashing said aliens.

Remember the original Independence Day from two decades ago? Derivative and predictable it may have been, but it was also a campy spectacle — with Will Smith’s cigar-chomping military pilot, Bill Pullman’s kickass president in a cockpit, and the White House being blown to smithereens by those aliens. That was 1996. The Soviet Union was half-a-decade gone and the U.S. was the planet’s “sole superpower.” Still, who knew that seven years later, on the deck of an aircraft carrier, an all-too-real American president would climb out of a similar cockpit in a flight suit, having essentially just blown part of the Middle East to smithereens, and declare his very own “mission accomplished” moment?

In the aftermath of the invasion of Afghanistan and the “shock and awe” assault on Iraq, the never-ending destructiveness of the wars that followed, coupled with the U.S. government’s deployment of deadly robotic drones and special ops units across the globe, alien invasion movies aren’t — at least for me — the campy fun they once were, and not just because the latest of them is louder, dumber, and more cliché-ridden than ever. I suspect that there’s something else at work as well, something that’s barely risen to consciousness here: in these years, we’ve morphed into the planet’s invading aliens.

Think about it. Over the last half-century, whenever and wherever the U.S. military “deploys,” often to underdeveloped towns and villages in places like Vietnam, Afghanistan, or Iraq, it arrives very much in the spirit of those sci-fi aliens. After all, it brings with it dazzlingly destructive futuristic weaponry and high-tech gadgetry of all sorts (known in the military as “force-multipliers”). It then proceeds to build mothership-style bases that are often like American small towns plopped down in a new environment. Nowadays in such lands, American drones patrol the skies (think: the Terminator films), blast walls accented with razor wire and klieg lights provide “force protection” on the ground, and the usual attack helicopters, combat jets, and gunships hover overhead like so many alien craft. To designate targets to wipe out, U.S. forces even use lasers!

In the field, American military officers emerge from high-tech vehicles to bark out commands in a harsh “alien” tongue. (You know: English.) Even as American leaders offer reassuring words to the natives (and to the public in “the homeland”) about the U.S. military being a force for human liberation, the message couldn’t be more unmistakable if you happen to be living in such countries: the “aliens” are here, and they’re planning to take control, weapons loaded and ready to fire.

Other U.S. military officers have noticed this dynamic. In 2004, near Samarra in Iraq’s Salahuddin province, for instance, then-Major Guy Parmeter recalled asking a farmer if he’d “seen any foreign fighters” about. The farmer’s reply was as simple as it was telling: “Yes, you.” Parmeter noted, “You have a bunch of epiphanies over the course of your experience here [in Iraq], and it made me think: How are we perceived, who are we to them?”

Americans may see themselves as liberators, but to the Iraqis and so many other peoples Washington has targeted with its drones, jets, and high-tech weaponry, we are the invaders.

Do you recall what the aliens were after in the first Independence Day movie? Resources. In that film, they were compared to locusts, traveling from planet to planet, stripping them of their valuables while killing their inhabitants. These days, that narrative should sound a lot less alien to us. After all, would Washington have committed itself quite so fully to the Greater Middle East if it hadn’t possessed all that oil so vital to our consumption-driven way of life? That’s what the Carter Doctrine of 1980 was about: it defined the Persian Gulf as a U.S. “vital interest” precisely because, to quote former Deputy Secretary of Defense Paul Wolfowitz’s apt description of Iraq, it “floats on a sea of oil.”

Of Cold War Memories and Imperial Storm Troopers

Whether anyone notices or not, alien invasion flicks offer a telling analogy when it comes to the destructive reality of Washington’s global ambitions; so, too, do “space operas” like Star Wars. I’m a fan of George Lucas’s original trilogy, which appeared in my formative years. When I saw them in the midst of the Cold War, I never doubted that Darth Vader’s authoritarian Empire in a galaxy far, far away was the Soviet Union. Weren’t the Soviets, whom President Ronald Reagan would dub “the evil empire,” bent on imperial domination? Didn’t they have the equivalent of storm troopers, and wasn’t it our job to “contain” that threat?

Like most young Americans then, I saw myself as a plucky rebel, a mixture of the free-wheeling, wisecracking Han Solo and the fresh-faced, idealistic Luke Skywalker. Of course, George Lucas had a darker, more complex vision in mind, one in which President Richard Nixon, not some sclerotic Soviet premier, provided a model for the power-mad emperor, while the lovable Ewoks in The Return of the Jedi — with their simple if effective weaponry and their anti-imperial insurgent tactics — were clearly meant to evoke Vietnamese resistance forces in an American war that Lucas had loathed. But few enough Americans of the Cold War-era thought in such terms. (I didn’t.) It went without question that we weren’t the heartless evil empire. We were the Jedi! And metaphorically speaking, weren’t we the ones who, in the end, blew up the Soviet Death Star and won the Cold War?

How, then, did an increasingly gargantuan Pentagon become the Death Star of our moment? We even had our own Darth Vader in Dick Cheney, a vice president who actually took pride in the comparison.

Think for a moment, dear reader, about the optics of a typical twenty-first-century U.S. military intervention. As our troops deploy to places that for most Americans might as well be in a galaxy far, far away, with all their depersonalizing body armor and high-tech weaponry, they certainly have the look of imperial storm troopers.

I’m hardly the first person to notice this. As Iraq war veteran Roy Scranton recently wrote in the New York Times, “I was the faceless storm trooper, and the scrappy rebels were the Iraqis.” Ouch.

American troops in that country often moved about in huge MRAPs (mine-resistant, ambush-protected vehicles) described to me by an Army battalion commander as “ungainly” and “un-soldier like.” Along with M1 Abrams tanks and Bradley fighting vehicles, those MRAPs were the American equivalents of the Imperial Walkers in Star Wars. Such vehicles, my battalion commander friend noted drolly, were “not conducive to social engagements with Iraqis.”

It’s not the fault of the individual American soldier that, in these years, he’s been outfitted like a Star Wars storm trooper. His equipment is designed to be rugged and redundant, meaning difficult to break, but it comes at a cost. In Iraq, U.S. troops were often encased in 80 to 100 pounds of equipment, including a rifle, body armor, helmet, ammunition, water, radio, batteries, and night-vision goggles. And, light as they are, let’s not forget the ominous dark sunglasses meant to dim the glare of Iraq’s foreign sun.

Now, think how that soldier appeared to ordinary Iraqis — or Afghans, Yemenis, Libyans, or almost any other non-Western people. Wouldn’t he or she seem both intimidating and foreign, indeed, hostile and “alien,” especially while pointing a rifle at you and jabbering away in a foreign tongue? Of course, in Star Wars terms, it went both ways in Iraq. A colleague told me that during her time there, she heard American troops refer to Iraqis as “sand people,” the vicious desert raiders and scavengers of Star Wars. If “they” seem like vicious aliens to us, should we be surprised that we just might seem that way to them?

Meanwhile, consider the American enemy, whether the Taliban, al-Qaeda, or any of our other opponents of this era. Typically unburdened by heavy armor and loads of equipment, they move around in small bands, improvising as they go. Such “terrorists” — or “freedom fighters,” take your pick — more closely resemble (optically, at least) the plucky human survivors of Independence Day or the ragtag yet determined rebels of Star Wars than heavy patrols of U.S. troops do.

Now, think of the typical U.S. military response to the nimbleness and speed of such “rebels.” It usually involves deploying yet more and bigger technologies. The U.S. has even sent its version of Imperial Star Destroyers (we call them B-52s) to Syria and Iraq to take out “rebels” riding their version of Star Wars “speeders” (i.e. Toyota trucks).

To navigate and negotiate the complex “human terrain” (actual U.S. Army term) of “planets” like Iraq and Afghanistan, U.S. troops call on a range of space-age technologies, including direction-finding equipment, signal intercept, terrain modeling, and satellite navigation using GPS. The enemy, being part of that “human terrain,” has little need for such technology to “master” it. Since understanding alien cultures and their peculiar “human terrains” is not its forte, the U.S. military has been known to hire anthropologists to help it try to grasp the strange behaviors of the peoples of Planet Iraq and Planet Afghanistan.

Yet unlike the evil empire of Star Wars or the ruthless aliens of Independence Day, the U.S. military never claimed to be seeking total control (or destruction) of the lands it invaded, nor did it claim to desire the total annihilation of their populations (unless you count the “carpet bombing” fantasies of wannabe Sith Lord Ted Cruz). Instead, it promised to leave quickly once its liberating mission was accomplished, taking its troops, attack craft, and motherships with it.

After 15 years and counting on Planet Afghanistan and 13 on Planet Iraq, tell me again how those promises have played out.

In a Galaxy Far, Far Away

Consider it an irony of alien disaster movies that they manage to critique U.S. military ambitions vis-à-vis the “primitive” natives of far-off lands (even if none of us and few of the filmmakers know it). Like it or not, as the world’s sole superpower, dependent on advanced technology to implement its global ambitions, the U.S. provides a remarkably good model for the imperial and imperious aliens of our screen life.

We Americans, proud denizens of the land of the gun and of the only superpower left standing, don’t, of course, want to think of ourselves as aliens. Who does? We go to movies like Independence Day or Star Wars to identify with the outgunned rebels. Evidence to the contrary, we still think of ourselves as the underdogs, the rebels, the liberators. And so — I still believe — we once were, a long time ago in a galaxy far, far away.

We need to get back to that time and that galaxy. But we don’t need a high-tech time machine or sci-fi wormhole to do so. Instead, we need to take a long hard look at ourselves. Like Pogo, we need to be willing to see the evidence of our own invasive nature. Only then can we begin to become the kind of land we say we want to be.

 

A TomDispatch regular, William Astore is a retired lieutenant colonel (USAF) and history professor. He blogs at Bracing Views.