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The Gods Must Be Crazy 1, a South African comedy film, delves into the life of Xi, a Bushman from the Kalahari Desert. Xi's blissful existence takes a turn as the film unfolds, bringing to light various cultural differences and intercultural communication concepts. Our aim is to dissect the movie through the lenses of ethnocentrism and values.
The exploration begins with a review of ethnocentrism, a term coined by William G. Sumner, defining it as the inclination to view one's own group as the center of everything.
Sumner highlights the stages of ethnocentrism: denial, defensiveness, and minimization.
In the denial stage, individuals are reluctant to recognize cultural differences, clinging to a traditional worldview. Defensiveness involves negative judgments of these differences, while minimization entails accepting diversity while maintaining a belief in the fundamental similarity of all human beings.
Cultures possess values that guide members in evaluating what is deemed good or bad. These values, transmitted through family, media, education, and religion, shape perceptions and behaviors.
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The concept of universal values, cultural values, and personal values is introduced, offering a framework for understanding the clash of values in the film.
Two key segments (S1 and S2) shed light on ethnocentrism in the film. In S1, Xi's encounter with Kate Thompson triggers a negative judgment based on his cultural perspective. The defensiveness stage comes to life as Xi fails to comprehend the cultural attire and modesty of another group. In S2, Xi's arrest for shooting a goat illustrates the denial stage, where the legal system imposes its worldview on Xi's actions without understanding his cultural context.
Exploring the concept of values, there are two significant segments (S3 and S4) from the film. S3 delves into the impact of a dropped Coke bottle on the Bushmen's values. The newfound concept of ownership sparks conflicts and changes their societal dynamics. S4, the courtroom scene, highlights the absence of a translation for "guilty" in Xi's language, emphasizing the vast difference in values between the Bushman and the legal system.
The analysis distinguishes between positive and negative ethnocentrism in specific film segments. In S1, Xi's negative judgment of Kate Thompson's attire reflects defensiveness, whereas S2 portrays the denial stage through the legal system's condemnation of Xi's actions. The Coke bottle incident in S3 showcases the negative repercussions of cultural change, leading to competition and disagreement among the Bushmen.
Further exploration reveals numerous segments in the film that touch on intercultural communication concepts. To better understand them, the audience might require prior knowledge of the concepts. The film's relaxed tone and easy accessibility make it a valuable tool for studying intercultural communication, allowing audiences to grasp concepts without the need for multiple viewings.
The film's narrative unfolds as a tapestry of cultural clashes, and the clash of cultures portrayed serves as a microcosm reflecting broader themes of cultural diversity and understanding. One cannot overlook the significance of the portrayal of ethnocentrism in the film, as it not only highlights the challenges faced by the Bushmen but also invites viewers to reflect on their own biases and preconceived notions.
The segments discussed earlier provide a glimpse into the ethnocentric challenges encountered by Xi and his tribe. However, it is essential to delve deeper into the nuances of ethnocentrism as depicted in the film. Ethnocentrism, as a concept, is not confined to mere judgments; it permeates every aspect of the characters' lives, influencing their interactions and shaping their perceptions.
In S1, when Xi sees Kate Thompson for the first time, the audience witnesses not only a visual judgment of her appearance but also a profound lack of understanding of her cultural practices. Xi, deeply rooted in his own cultural norms, fails to comprehend the significance of clothing and modesty in Thompson's world. This inability to appreciate cultural differences is a hallmark of ethnocentrism, pushing the narrative beyond a simple clash of appearances.
S2, the arrest scene, unveils the denial stage of ethnocentrism. The legal system, represented by police, lawyers, and judges, imposes its own cultural lens on Xi's actions. From their perspective, Xi's act of shooting a goat is illegal, without considering his cultural context or reasoning. This stark clash of legal systems underscores the deep-rooted nature of ethnocentrism, where one's cultural values are deemed superior and absolute.
Positive ethnocentrism also finds a place in the narrative. S1, despite its negative connotations, can be viewed as an attempt by Xi to protect the sanctity of his cultural norms. The defensiveness exhibited is a reaction to what Xi perceives as a threat to his way of life. This positive aspect sheds light on the defensive mechanisms individuals employ to safeguard their cultural identity.
The film not only serves as a canvas for ethnocentrism but also unravels the intricacies of cultural values. S3, the Coke bottle incident, serves as a poignant portrayal of how an external object can disrupt and reshape societal values. Before the bottle's arrival, the Bushmen share resources equally, symbolizing communal values. However, with the introduction of private ownership, a shift occurs, leading to conflicts and a reevaluation of their values.
This shift is not merely a cinematic device but a reflection of real-world consequences when cultures collide. The sudden introduction of a foreign object challenges the existing value system, triggering unforeseen consequences. The film, through this narrative, prompts viewers to ponder the fragility of cultural values and how external influences can redefine societal norms.
S4, the courtroom scene, takes the exploration of values further by highlighting the linguistic gap between Xi and the legal system. The absence of a translation for "guilty" in Xi's language becomes a metaphor for the incompatibility of values. The inability to convey a fundamental legal concept underscores the vast differences in how guilt and responsibility are perceived between the Bushmen and the external legal framework.
The film's relevance to intercultural communication studies cannot be overstated. As an educational tool, it offers a nuanced portrayal of ethnocentrism and values, prompting viewers to engage in critical reflections on their own cultural biases. To fully harness the educational potential, a prior understanding of these concepts becomes imperative.
By watching the film after a study of concepts, audiences can navigate through the narrative with a heightened awareness of the intricacies of ethnocentrism and values. This approach transforms the viewing experience into an intellectual exercise, where viewers can identify, analyze, and appreciate the layers of intercultural communication embedded in the storyline.
In conclusion, "The Gods Must Be Crazy 1" transcends its comedic facade to offer a profound exploration of cultural clashes and communication dynamics. The film's contribution to the understanding of ethnocentrism and values extends beyond entertainment, making it a valuable resource for students and enthusiasts of intercultural communication. As the credits roll, the echoes of Xi's journey linger, leaving viewers with a lasting contemplation on the complexities of navigating a world where cultures collide.
The Clash of Cultures: Analyzing "The Gods Must Be Crazy". (2017, Feb 07). Retrieved from https://studymoose.com/the-gods-must-be-crazy-movie-analysis-2-essay
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