TIPRR 9

A key point of the reading that intrigues me (and I would say that is a direct reflection of my typical preference to do the opposite) is in the deconstructionist digging deep into the world of exposing contradictions and paradoxes of a particular text. I think I tend to be a structuralism-minded individual (if I had to choose between these two modes of thinking) and I look for parallels and “bigger picture” thinking (which is why my analysis of the film will take a structuralism stance). I have to say, however, because of this intriguing factor regarding deconstructionism I am completely interested in learning to think more in this modality. I like that it is a “philosophical” perspective and I’m especially fond of its “multiplicities of meaning” because I am not so much a scientist (or linguist in this case) and I love to look at things from multiple perspectives more so than say, “This is the way it really is” because of a “univocal” reading. The reading made me wonder about myself and my tendency to like the harmony, the unity and coherence of something rather than pointing out the “flaws” of textual disunity. I believe, though, that it is perhaps best to start with structuralism in order to better ground the deconstructionism.

Attempting to look at the film, “Chosen,” from a structuralism perspective (because I am not even sure if I am doing this right), I would say we are looking at a film that is built on the nuances of dichotomies. First of all, we have the relationship of boat and automobile as the sea and the road come together on a dock. In turn, we have a vehicular ballet as the cars chase after the BMW as it zips about the dock’s quarters. The music itself is oddly dichotomous between the introduction of Asian culture (the “Chosen” himself) and a very Western musical genre (I don’t typically expect to hear classical music when an Asian character is the focal point). In the second half of the storyline, the fake monk is dressed in traditional Tibetan monk garb except the extreme clash of cowboy boots. When Clive Owen clobbers the fake monk, the violent action is accompanied by the spinning of the traditional prayer wheel, which is meant to bring purification and power in Tibetan Buddhist religion. Ultimately, the symbol of the Hulk (also a violent being) used as a band-aid for a minor flesh wound brings together the whole of the text – this is especially true as the box is at the beginning of the film and finally its contents revealed at the end of it, thus creating a bookend effect to the narrative. The end result is one where the violent nature of the West is the way to accomplish the Eastern nonviolent ends; the two are balancing of one another, neither existing without the other. If not for the Eastern insurgence of the “Chosen” character, there would not have been the violence. If not for the typical Western violence of Clive Owen knocking unconscious the confederate, there would not have been the resulting peace. Cyclically, the two need each other and balance one another. I could perhaps become post-structuralism here and begin to discuss how this all is equally a subversion of itself, but I will leave that for our discussion in class.