James Cameron’s Avatar and the Filmic Legacy of the White Hunter

Datos Bibliográficos

ID11353057
AutoresHosein Jalilvand (0000-0001-6607-6989, Twitter (United States), autor de correspondencia)
Año2021
Volumen49
Número2
Páginas92-108
Fecha de publicación2021-04-03
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaJournal of Popular Film and Television (JOURNAL)
Identificadores de la revistaISSN: 0195-6051 • E-ISSN: 1930-6458
EditorialInforma UK Limited (PUBLISHER • GB)
DOI10.1080/01956051.2020.1870427
OpenAlexW3194790805
IdiomaEN
Citas recibidas1
Referencias citadas19

This article explores the representation of the White Hunter as an archetypal figure across different periods and genres in Hollywood, mapping the legacy of this colonial icon in James Cameron’s Avatar (2009). In its redefinition of the safari film genre, Avatar embeds colonial tropes of wild Africa in an alien fantasy world of simulations, where the “eco-romantic” postcolonial production codes regarding African wildlife cease to apply, allowing Jake Sully, the protagonist, to reenact a colonial big-game safari and rehabilitate his white hunting masculinity in an artificial Africa. In doing so, the film rebrands and propagates the acceptance of a number of colonial heroes and themes of yore in today’s popular culture

Archaeology · Art · Art history · Avatar · Colonialism · Fantasy · Hollywood · Icon · Literature · Masculinity · Political science · Politics · Representation (politics · Romance · Sociology · White (mutation · Cinema and Media Studies · Computer Science · Digital Games and Media · Gender Studies · History · Law · Utopian, Dystopian, and Speculative Fiction

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