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Men with Guns
Men With Guns is not so much a film about economic processes as it is a film about the effects of a certain economic system - feudalism. It is more a film about cultural and political processes than anything else, a film that deals in depth with the grave consequences of a country in Central or South America whose Indians are subjects to the knights - the “men with guns” - who control and terrorize their existence.
Cultural processes can be defined as the creation, or transfer, of knowledge. It is the way in which the rules of an economic system are communicated. In Men with Guns, the rules of the feudal economic system are translated through the men themselves. The “sugar people” or the “corn people” know their place in society because the army or the guerrillas tell them what it is through force. Every Indian that the doctor meets tells him that they are subject to the men with guns, and that they are in control. As long as one has access to a gun, then that individual becomes a knight, no longer a feudal serf, and it does not matter if that person has began life as a white person or an Indian.
Because the “men with guns” happen to be the army, the army acts as feudal knights, forcing the serfs to live in extreme poverty and fear of death, torturing who they like with no consequences, and moving entire villages. They are able to do this because of the political system in the rural part of the country. Political processes can be defined as the rules, or laws if they are established by a legitimate government, that are enforced within a political system. In the feudal system in “Men with Guns,” the rules are made by the army. In the feudal system, the rules are made legitimate purely through the ownership of firearms. It appears as though the people are helpless politically because the political system is the army.
There is a feeling in the movie that two different political systems exist within the country, and that most definitely two different economic systems are present. The country can be split into two different cultures - the city and the rural areas. The city operates much like that of any other Western city, and the doctor appears to live with relative freedom and economic prosperity.
Men With Guns contains in it many of the essential ingredients for a feudalist economy, some being more explicitly demonstrated than others, but important and evident all the same. In a feudalist society, distinction between private rights and public authority oftentimes disappeared and local control tended to become a personal matter. Feudal leaders often took over the responsibility for the economic security of "their" territories and dictated how resources were to be produced and used. There was also generally a contract of some sort between the workers and the bosses, such that the bosses could then more easily count on the "faithfulness" and obedience of the workers. Under a feudalist system, the bosses are able to exhibit hegemonic power over the workers as the workers have few options or choices. As this film demonstrates, workers can either work, starve, and or be killed. There are really no other good alternatives, and thus the bosses can extract all monopoly rent and continue to exercise feudal exploitation. This absence of "free choice" is one of the most essential ingredients in separating feudalism from other types of systems, such as capitalism. Another characteristic of feudalism is that those in charge often hired other individuals to enforce their established rules and to keep the workers under control (for example Knights).
John Sayles' Men With Guns (Hombres Armados). In Men with Guns, John Sayles depicts a feudal economic system in an agricultural South American setting. Using the travels of Dr. Fuentes, a concerned doctor from the city, to reveal numerous aspects of peasant life, Sayles shows the economic whirlwind in which these peasants are caught. Men With Guns demonstrates how the feudal economic system operates by revealing the economic and political power the rich plantation owners possess and lord over their lessers.
2. Why was this culture described in this article. If you do not know the answer to #1, you will not be able to answer this question correctly. (Minimum of 100 words)
Jared Diamond begins Guns with a prologue which sets the stage for the rest of the book. Approached in New Guinea by his friend and local politician Yali, he is posed a question: "Why is it that you white people developed so much cargo and brought it to New Guinea, but we black people had little cargo of our own?" Yali's question flared a nerve in Diamond. This question brought about the thesis of his book, that environment is more persuasive on development of civilization than people may have once thought.
- in June of 1961, the NAACP chapter of Monroe, North Carolina decided to picket the town’s swimming pool that was forbidden to Negroes although they formed one quarter of the population
The Taming of the West: Age of the Gunfighter: Men and Weapons of the Frontier 1840-1900.
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
In order to understand the unrest created and represented in Matewan, one must first understand the inherent differences of the two economic systems on dispaly in the film. An economic system is defined and can be understood through a series of questions that attempt to determine the relationships surrounding the production, distribution, and control over resources. These queries include: How do you gain access to materials useful inproduction? How do you get people to perform labor? How is the labor and production controlled and monitored? How do you get the products to the consumer? And finally, who gets the surplus? In feudalistic economic society, a worker has the freedom to choose to work, but he does not have a choice in who he works for. (As a result, he may be forced to work out of the basic human need to survive...
I was surprised that the soldiers of the Reserve Police Battalion 101 in Browning’s book were willing to shoot the amount of unarmed men, women, and children that they did without more men refusing to do so. Even though the Battalion Commander offered a way out by offering no personal consequences for not participating in the shooting, I would have thought the moral conscience of more men would have made them step out of the formation in order not to participate. Browning’s argument that these were ordinary men and that any ordinary man could have participated in murdering thousands of people in such personal way, showed me that the comradeship and unit cohesion of the men in Police Battalion 101 was stronger than the values of the individual
In the memoir A Long Way Gone, written by Ishmael Beah, the concept of guns give people power is continuously present in the book. Throughout the story there are situations in which the rebels, who gained weapons, used their newfound power to inflict fear, create chaos, and to take that which is not theirs. The extent of power that guns can is shown when Beah, the author, said, “The soldiers, who somehow anticipated the attack and knew they were outnumbered, left town before the rebels actually came” (23-24). It would be somewhat understandable if the common civilians of the village left before the attack, but the fact that soldiers, the people who are supposed to defend the common folk, fled the town shows how powerful the rebels were seen
With respect to the play, in all societies money acts as a key initiator to most of the problems seen within martial relationships. Ibsen has skillfully taken this everyday struggle, and turned into a unique situation, with a dramatic plot and an intense ending. With the use of dramatic irony, the reader is able to witness the development of the plot, significant character relationship progression (Nora and Krogstad), and lastly how money has torn family and friends a part and proves to possibly be the root of all-evil.
Officially, a militia is part of the organized armed forces of a country that is called upon only in an emergency. There have been paramilitary groups with revolutionary ideas throughout America’s history, but today’s militia movement is a new more organized and violent presence (Meyers). Today the militia are unofficial citizens’ armies organized by private individuals, usually with antigovernment, far right agendas. They rationalize that the American people need armed force to help defend themselves against an increasingly oppressive government that is becoming part of a global conspiracy called the “New World Order” (Sonder, 2000). These armed groups call themselves militias; to both imply the image of the Minuteman of the Revolution and to try to claim legitimacy by asserting that these paramilitary groups were the “unorganized militia” of federal and state law. The causes for the militia movement are many, but most center around a fear of gun confiscation and the role such confiscation would play in their various one-world conspiracy theories.
Western movies such as Rio Bravo and El Dorado illustrate America’s rugged and picturesque scenery explaining life as it was in the wide open country, at a time when few laws were in place to safeguard the public. These two films tell the story of four men who arrest and
You want to stand up, for freedom, for your family, but you can’t. The government will kill you, your family, even your friends, but if you don’t, they’ll probably die from disease, or will keep on living in oppression. They don’t want people to get revolution ideas, which could tear down their pretty little system. The soldiers are guarding you, but not from attackers, or other harmful things. They’re guarding you so you can’t do anything. So you can’t make things better.