Exploring Steven Spielberg's Films from a Human Perspective
Steven Spielberg's Films from a Human Perspective
Exploring Steven Spielberg's films reveals an artistry built on foundations from a human perspective. In addition to promoting "human compassion" in his films, several of his movies included an exhortation towards "international cooperation" among nations of people in the world today; in particular, relations between Russia and the United States.
Human Compassion in Spielberg's Films
Spielberg has always had compassion for others less fortunate than himself. He has carried this character trait throughout his life, and his compassion for others is evidenced through his filmmaking. For example, in Saving Private Ryan, Spielberg presents a "bereaved mother (here, one who has lost three of her four sons in action), the surviving son who becomes the object of a rescue operation, the compassionate captain eager to located Private Ryan so that he can return to his family and his teaching job" (Dick, 2002, p. 147).
A Plea for International Cooperation in Spielberg's Films
Spielberg not only shows compassion for people at an individual level, but on national levels as well. This is exhibited through his plea for international cooperation. Steven Spielberg's E.T. (Extra-Terrestrial) and Close Encounters of the Third Kind "metaphorically dramatized the need for understanding and the eventual thaw in [Cold War] relations between" Russia and America (Palmer, 1995, p. 209). Spielberg's extraterrestrials were not bent on destroying people on earth such as that which was promoted in the 1953 thriller entitled War of the Worlds. Instead, he depicts the extraterrestrials as "non-treachorous" (Dick, 2002, p. 174) with a different "attitude toward humans." (Dick, 2002, p. 174). Rather than aggression, they have the goal "to enlighten humans about the nature of aliens in the hope of bridging the gap between 'us' and 'them'" (Dick, 2002, p. 174). For example, in Close Encounters of the Third Kind, the child does not fear the aliens because they bring love to the human race. In E.T., the alien's "tone is one of love, friendship, and understanding replacing suspicion, fear, prejudice, and belligerence" (Palmer, 1995, p. 232). Through these films, "Spielberg is advocating tearing down the wall that divides one group from another, one race from another" (Dick, 2002, p. 177), such as that which existed between Russia and America throughout the Cold War period. The philosophy of these films is demonstrated through the metaphoric example of aliens as they relate to humans. Through superb directorial artistry, Spielberg brings forth a message that advocates doing away with America's traditional efforts of dehumanizing the Russian people. In contrast with suspicion and lack of trust, he exhorts Americans to take interest in the Russians "as people" (Palmer, 1995, p. 209). Therefore, Close Encounters of the Third Kind and E.T. are essentially fables "for international cooperation, a warning that people cannot continue to react violently toward those who are different from them." (Palmer, 1995, p. 232). Spielberg does an absolutely superior job in these films by suggesting that "Russians and Americans [begin] working together for common goals" (Palmer, 1995, p. 232).
Examples of Novel Writing from a Human Perspective
I incorporated the human perspective filmmaking principle in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. In the first excerpt of the story below, I emphasize the element of human compassion. In the second excerpt, incorporated a plea for international cooperation.
Story Excerpt #1 -- Human Compassion
In this scene, the protagonist, Sir Geoffrey Talbot, is engaged in a battle of swords with an enemy Dark Rider from the evil Land of Trisidian. After a furious sword fight, the Dark Rider suffers a severe injury causing him to drop his sword and fall to the ground. As Geoffrey stands over the injured enemy soldier, he lets him live. Geoffrey decides to not to thrust the sharp blade of his sword into the defenseless enemy soldier and kill him. Rather, Geoffrey walks away and lets the soldier live. My goal was to stir feelings of deep sympathy and sorrow for the injured enemy soldier who was stricken by such great misfortune in battle. In doing so, my hope was that the reading audience would have sympathy for the fallen soldier and understand why Geoffrey showed compassion over his fallen enemy by letting the soldier live. The story excerpt of this scene from my book on The Wolves of Trisidian is as follows:
During the final moments of the fight, I kept my sword raised from the middle of my torso to the top of my head. This allowed me to quickly block against any maneuver he made against me. Then, he made an incurable error. He made a thoughtless thrusting maneuver towards me. His blade completely missed my body. I immediately took advantage of his fatal mistake and ended the fight with a blow that completely separated his left arm from the shoulder. The Rider immediately fell to the ground. He was squirming in pain. The injured Rider got up on his knees and tried to crawl away from me. With a severed arm, it was apparent to me he was no longer a threat to anyone. He pulled himself across the ground like a wounded snake that drags its slow length along. I had pity on him and let him be.
Story Excerpt #2 -- A Plea for International Cooperation
In this scene, I incorporated a plea for international cooperation by citing an example of the people living in the City of Granador, the smallest member nation of the Jandor Alliance. By the people's own decision, Granador is an unwalled city. As a plea for international cooperation, the people of Granador believe that unwalled cities bolster the Alliance's ultimate goal of world peace and unity. However, as you read the story narrative below, you will discover that many other citizens who live in other areas outside the City of Granador firmly believe that walled cities and strongly built castles are a necessary deterrent to war and essentially promote peace through powerful military strength. In this scene, my goal was to spark interest in the reading audience by stirring their thoughts and perhaps even reframing their perspective on both sides of the issue by assessing their own views regarding the controversial topic of international cooperation.
“Even though their surrounding villages and towns have been massacred in the past, the people of Granador still do not permit construction of protective walls around them.”
Sir Vezian replied, “The leaders of the Province of Granador believe the absence of walls promotes peace and trust within the region. They are strong in this belief.”
“Their belief is stalwart, especially after having endured such terrible hardship over the years. They have endured many attacks from the Dark Riders and Black Wolves of Trisidian.”
“The people of Granador remain steadfast in having unwalled cities. It is a testimony to the regions around them.”
“They are sincere in their thoughts concerning this matter.”
“They believe walled cities tear away from the Alliance’s ultimate goal of world peace and unity,” Sir Vezian said.
“Having unwalled cities puts the lives of the people at great risk. They are constantly facing the danger of being invaded by military forces outside their region, like the Army of Trisidian.”
“True, but to help avert this temptation by their enemies, the Province of Granador became a member of the Alliance of Jandor. They are trusting their membership will dissuade aggressors from attacking them.”
“It apparently is still not sufficient to stop Trisidian from launching their upcoming invasion upon Granador,” I said.
“The issue of walled cities versus unwalled cities has always been a controversial issue among the people of Jandor.”
“The Jandor Alliance is definitely a strong, stabilizing force and deterrent to other military forces from attacking member nations. Nevertheless, I still believe that strong, defensive walls still help ensure peace and security in the land.”
REFERENCES
Dick, Bernard. (2002). Anatomy of Film, 4th Ed. New York: St. Martin's Press.
Palmer, William. (1995). The Films of the Eighties: A Social History. Illinois: Southern Illinois University Press.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
Exploring Steven Spielberg's films reveals an artistry built on foundations from a human perspective. In addition to promoting "human compassion" in his films, several of his movies included an exhortation towards "international cooperation" among nations of people in the world today; in particular, relations between Russia and the United States.
Human Compassion in Spielberg's Films
Spielberg has always had compassion for others less fortunate than himself. He has carried this character trait throughout his life, and his compassion for others is evidenced through his filmmaking. For example, in Saving Private Ryan, Spielberg presents a "bereaved mother (here, one who has lost three of her four sons in action), the surviving son who becomes the object of a rescue operation, the compassionate captain eager to located Private Ryan so that he can return to his family and his teaching job" (Dick, 2002, p. 147).
A Plea for International Cooperation in Spielberg's Films
Spielberg not only shows compassion for people at an individual level, but on national levels as well. This is exhibited through his plea for international cooperation. Steven Spielberg's E.T. (Extra-Terrestrial) and Close Encounters of the Third Kind "metaphorically dramatized the need for understanding and the eventual thaw in [Cold War] relations between" Russia and America (Palmer, 1995, p. 209). Spielberg's extraterrestrials were not bent on destroying people on earth such as that which was promoted in the 1953 thriller entitled War of the Worlds. Instead, he depicts the extraterrestrials as "non-treachorous" (Dick, 2002, p. 174) with a different "attitude toward humans." (Dick, 2002, p. 174). Rather than aggression, they have the goal "to enlighten humans about the nature of aliens in the hope of bridging the gap between 'us' and 'them'" (Dick, 2002, p. 174). For example, in Close Encounters of the Third Kind, the child does not fear the aliens because they bring love to the human race. In E.T., the alien's "tone is one of love, friendship, and understanding replacing suspicion, fear, prejudice, and belligerence" (Palmer, 1995, p. 232). Through these films, "Spielberg is advocating tearing down the wall that divides one group from another, one race from another" (Dick, 2002, p. 177), such as that which existed between Russia and America throughout the Cold War period. The philosophy of these films is demonstrated through the metaphoric example of aliens as they relate to humans. Through superb directorial artistry, Spielberg brings forth a message that advocates doing away with America's traditional efforts of dehumanizing the Russian people. In contrast with suspicion and lack of trust, he exhorts Americans to take interest in the Russians "as people" (Palmer, 1995, p. 209). Therefore, Close Encounters of the Third Kind and E.T. are essentially fables "for international cooperation, a warning that people cannot continue to react violently toward those who are different from them." (Palmer, 1995, p. 232). Spielberg does an absolutely superior job in these films by suggesting that "Russians and Americans [begin] working together for common goals" (Palmer, 1995, p. 232).
Examples of Novel Writing from a Human Perspective
I incorporated the human perspective filmmaking principle in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. In the first excerpt of the story below, I emphasize the element of human compassion. In the second excerpt, incorporated a plea for international cooperation.
Story Excerpt #1 -- Human Compassion
In this scene, the protagonist, Sir Geoffrey Talbot, is engaged in a battle of swords with an enemy Dark Rider from the evil Land of Trisidian. After a furious sword fight, the Dark Rider suffers a severe injury causing him to drop his sword and fall to the ground. As Geoffrey stands over the injured enemy soldier, he lets him live. Geoffrey decides to not to thrust the sharp blade of his sword into the defenseless enemy soldier and kill him. Rather, Geoffrey walks away and lets the soldier live. My goal was to stir feelings of deep sympathy and sorrow for the injured enemy soldier who was stricken by such great misfortune in battle. In doing so, my hope was that the reading audience would have sympathy for the fallen soldier and understand why Geoffrey showed compassion over his fallen enemy by letting the soldier live. The story excerpt of this scene from my book on The Wolves of Trisidian is as follows:
During the final moments of the fight, I kept my sword raised from the middle of my torso to the top of my head. This allowed me to quickly block against any maneuver he made against me. Then, he made an incurable error. He made a thoughtless thrusting maneuver towards me. His blade completely missed my body. I immediately took advantage of his fatal mistake and ended the fight with a blow that completely separated his left arm from the shoulder. The Rider immediately fell to the ground. He was squirming in pain. The injured Rider got up on his knees and tried to crawl away from me. With a severed arm, it was apparent to me he was no longer a threat to anyone. He pulled himself across the ground like a wounded snake that drags its slow length along. I had pity on him and let him be.
Story Excerpt #2 -- A Plea for International Cooperation
In this scene, I incorporated a plea for international cooperation by citing an example of the people living in the City of Granador, the smallest member nation of the Jandor Alliance. By the people's own decision, Granador is an unwalled city. As a plea for international cooperation, the people of Granador believe that unwalled cities bolster the Alliance's ultimate goal of world peace and unity. However, as you read the story narrative below, you will discover that many other citizens who live in other areas outside the City of Granador firmly believe that walled cities and strongly built castles are a necessary deterrent to war and essentially promote peace through powerful military strength. In this scene, my goal was to spark interest in the reading audience by stirring their thoughts and perhaps even reframing their perspective on both sides of the issue by assessing their own views regarding the controversial topic of international cooperation.
“Even though their surrounding villages and towns have been massacred in the past, the people of Granador still do not permit construction of protective walls around them.”
Sir Vezian replied, “The leaders of the Province of Granador believe the absence of walls promotes peace and trust within the region. They are strong in this belief.”
“Their belief is stalwart, especially after having endured such terrible hardship over the years. They have endured many attacks from the Dark Riders and Black Wolves of Trisidian.”
“The people of Granador remain steadfast in having unwalled cities. It is a testimony to the regions around them.”
“They are sincere in their thoughts concerning this matter.”
“They believe walled cities tear away from the Alliance’s ultimate goal of world peace and unity,” Sir Vezian said.
“Having unwalled cities puts the lives of the people at great risk. They are constantly facing the danger of being invaded by military forces outside their region, like the Army of Trisidian.”
“True, but to help avert this temptation by their enemies, the Province of Granador became a member of the Alliance of Jandor. They are trusting their membership will dissuade aggressors from attacking them.”
“It apparently is still not sufficient to stop Trisidian from launching their upcoming invasion upon Granador,” I said.
“The issue of walled cities versus unwalled cities has always been a controversial issue among the people of Jandor.”
“The Jandor Alliance is definitely a strong, stabilizing force and deterrent to other military forces from attacking member nations. Nevertheless, I still believe that strong, defensive walls still help ensure peace and security in the land.”
REFERENCES
Dick, Bernard. (2002). Anatomy of Film, 4th Ed. New York: St. Martin's Press.
Palmer, William. (1995). The Films of the Eighties: A Social History. Illinois: Southern Illinois University Press.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
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