http://www.youtube.com/watch?v=1QEFrI-D_3c
This scene represents a new beginning. It is when Jake Sully first wakes up in his new body on a new planet and runs with his own legs for the first time. It is an extremely crucial turning point in Jake's attitude towards Pandora and the people of Pandora. At first, he is seen to be extremely skeptical of the new experiences he’s having and the people he’s meeting. However, once he realizes that these ‘new people’ have provided him with the power to walk and run again, he feels a sense of jubilancy.
This scene starts off right away with various computers, electronic devices, and scientists staring intently at glowing screens. Then it jumps into the examination room where Jake Sully is laying on the table. Just watching this at first reminds me of Jake being a specimen at who the doctors and scientists are extensively scrutinizing. These signifiers, the doctors, scientists, and lab equipment, emphasize the point that Jake is an artificial being. Jake himself provides a stark contrast to the humans in the room (blue skin, height, facial features, tail, etc.) However, if looked at from an opposite perspective, this beginning of this scene can also represent ‘birth’. The signified (doctors, scientists, equipment) highlight the situation present when a child is born in a hospital. The beeping instruments, people in lab coats, and the examination table are all present during the birth of a child. To the viewers, this represents a new beginning. Yet, at this moment of transition between his old human form and his new avatar form he is at the mercy of the doctors (signified). However, he soon realizes that he can (and will) do whatever he pleases. At first, he is just occupied with brand new control in relation to his legs, especially his brand new toes (the signifier). Jake now has his liberty back, something that was taken away from him years ago. His disability left him in shambles…and extremely grumpy. But now, since his body is complete again, he can resume showing his determination that had long since evaded him (signified). This gives the viewers a great sense of hope along with a little bit of Jake’s determination. It even creates a sense of joy to see Jake finally able to walk and run. Moreover, this scene shows the great differences between a human and an avatar and illustrates the difficulties of becoming accustomed to such differences. For example, Jake has troubles just getting used to his massive height and an extra appendage…his tail. When he first gets up, he begins to accidentally destroy the machines and wires in the room. But when he runs outside, he realizes how great it feels to have such freedom. Therefore, the movie attempts to surround the viewers with a feeling of wonder and plain curiosity. From new toes to new surroundings Jake, along with the audience, is submerged into a different world. The scene endeavors to bring out the child in all of us by introducing us to so many new ideas. We are then left to use our imagination to envision the assortment of possibilities available to us.
I almost chose this scene myself!
ReplyDeleteWhat I thought was most interesting was Jake's eagerness to be on Pandora. The doctors tell him to take it slow, sit back down, take tests first, but he simply can't. He has been forced into a restraint on Earth in his wheelchair, but on Pandora he is completely mobile.
As a viewer, I too felt liberated. I could see where Jake's joy was coming from. Jake was given his second chance, and we all know how good a second chance and a fresh start feels. He, and I, felt like nothing was holding us back on Pandora.
This is an awesome scene to analyze! It has so many aspects that can be taken apart. I like how you defined the signifiers and signified aspects of the scene. I think you could also look at the scene as material vs. nature. The equipment and machines symbolize the technology we, as the audience, base our lives on, and when Jake gets up and runs out is demonstrating that we we need to get out and back to nature just like Jake is doing.
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