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Inidana Jones Paper - All media falls under the regime of...

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All media falls under the regime of representation. The most prominent of these media are films. A prime example of a film being fueled by the differences in race is Indiana Jones and Temple of Doom . The movie stars Harrison Ford as the legendary hero Indiana Jones who seeks to retrieve ancient artifacts and preserve history. Indiana Jones’ Asian sidekick Shorty Round aids him as well as his love interest Willie Scott. Indiana Jones must rescue a sacred rock from an evil Indian shaman in order to save a poor village from extinction. Indiana Jones and the Temple of Doom was a film made purely to entertain. However, the film promotes the ideology of white supremacy over all other races. By presenting the native Asian people as ‘exotic’ and ‘strange’, the movie then promotes the notion of whiteness being the norm and the accepted. By purely focusing on the antics of the film’s hero, Indiana Jones and the Temple of Doom creates a world in which white people take the center stage, while the rest of the world’s cultures are forced to remain in the shadows. Indiana Jones and the Temple of Doom creates distinct binary oppositions throughout the duration of the film. The most notable of these distinctions is that of the hero/villain (Jennifer Fuller, 2008). Harrison Ford is the obvious hero of the story; he is a strong white male, and nothing that is thrown his way is too much for him to handle. On the other side of the coin are the villains, the tribal Indians who want nothing more than to enslave the poor village children and to sacrifice the hearts of their enemies to their dark and evil god. The evil Indians are always seen with war paint on their faces and looks of insanity in their eyes. There is also another separation created within the Indian people themselves. There are the evil Indians who are portrayed as antagonists to Indiana
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Jones, and then there are the victims. Indian villagers are completely incapable of helping themselves, only by the miraculous appearance of the strong white American are they given hope. These representations create a hierarchy within the film (Jennifer Fuller, 2008).
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