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Will it play in Bolivia?

A South American take on Gore's film

Posted by Katharine Wroth at 12:05 PM on 25 May 2007

Jessica Weisberg is an American journalist currently based in South America. The following is her take on the peculiar cultural dominance of An Inconvenient Truth.

-----

I liked Al Gore's An Inconvenient Truth. Really, I did. But when I count off my reasons -- the special effects, the wet-your-pants astonishment, the drama -- I find myself applauding the film's popular appeal more than its take-home message.

The film has achieved a global monopoly in the fight against global warming, becoming not just a film about climate change, but the film about climate change. Even in South America, where the fight against climate change has a completely different character. Hollywood has an imperialistic grasp over our global understanding of beauty, normalcy, romance -- and now, with An Inconvenient Truth, of climate change.

The film emphasizes behavioral modifications that are an important stepping stone for environmentalism in the United States, but in South America ... well, the idea of Al Gore lecturing to a group of people from rural Bolivia about reducing their carbon emissions seems pretty off to me. Adam Zemans, a North American environmentalist working in Bolivia, said, "Audiences in Bolivia are going to leave the film thinking it's not their problem, that there's nothing that they can do."

Nonetheless, Zemans's U.S.-based NGO, Environment Americas, continues to organize screenings of the film all over the city of Cochabamba, as do other NGOs throughout South America. So what's going on here?

I have been working as a journalist in Bolivia and Paraguay for the last seven months and I've been rather stunned by the number of small-scale, NGO-run screenings of Al Gore's lecture -- and even more stunned by the politicized, underground feel these screenings tend to have. The organizers are often waiting on street corners passing out flyers to daydreaming pedestrians and chanting slogans under their breath, such as "make a difference, stop climate change." But the strange thing about these underground, political screenings is that there is nothing underground or political about An Inconvenient Truth. Nothing.

Gore goes into depth defining climate change in scientific and visual terms, but remains as politically neutral as possible -- no mention of neoliberal policies or corporate culpability. The film concludes with some very nice, very apolitical suggestions about how you can stop climate change: you can "carpool to work" or "buy a hybrid car" or even "recycle." The truth of the matter is that the main way your average South American citizen can help stop climate change is through political pressure -- by pushing their governments to tighten their country's regulations, by trying to ensure that these regulations are enforced upon international corporations, and by pushing Western countries to take responsibility for global environmental damages.

My instinct is to blame Hollywood, but as a filmmaker myself, I know the importance of targeting a specific audience; the film did an excellent job of communicating with U.S. audiences. And besides, it's Hollywood. They have to target a U.S. audience if they want to make any sort of profit. So who's to blame here? Is it the NGOs for pushing U.S. norms of environmentalism on a South American audience?

I think the blame lies in the paradox created by contemporary environmentalism. An Inconvenient Truth has brought the fight against climate change to the mainstream. And environmentalism has to go mainstream for U.S. citizens to modify their behaviors. The problem presents itself when the mainstream is so powerful that it mutes all the voices coming from the sidelines. I think it's just terrific that Wal-Mart offers organic produce, but not if it puts small, local farmers out of business. And it's great that Gore has reached millions -- but not if it quiets other voices.

I asked Zemans why he chose to screen An Inconvenient Truth over other environmental films. Zemans squinted his brow and looked at me skeptically: "There are other films about climate change?"

There are, indeed. Try Everything's Cool, directed by Judy Helfand and Daniel B. Gold, Ecological Footprint, directed by Patsy Northcutt, The Fires of the Amazon, by Adrian Cowell, or Developing Stories, a series of six films produced by some of the developing world's most talented filmmakers on what they see as the root causes of the world's environment and development crisis.

There are tons of films out there about climate change. I'm not arguing that they're better or worse than An Inconvenient Truth, but many of them are directed at niche markets overlooked by that blockbuster.

Gore's movie has brought climate change into the limelight, as only Hollywood can do. The film has given "climate change" sex appeal -- all of a sudden there are books, posters, articles sold on the presence of those two words alone. Truth is to climate change what Speed was for Keanu Reeves -- a public debut. But while Speed pretty much covered Keanu's complexity, the issue of climate change has many more layers than Hollywood cared to notice.

Good Points, But Just One Thing...

Hi Jessica,
  You make some very valid points. As my family is from Peru, and I've also seen firsthand the plight of "your average South American citizen," I agree---transplanting a film catered to a US audience to South America is on some levels slightly ridiculous ("Sure, I'll get a screw-in CFL; can you get me some electricity?")
  But when you say that the average SA citizen can most effectively help stop climate change "through political pressure -- by pushing their governments to tighten their country's regulations, by trying to ensure that these regulations are enforced upon international corporations, and by pushing Western countries to take responsibility for global environmental damages,"....isn't that true of North Americans as well? I guess here I would argue that the Inconvenient Truth's message is pretty universal: small-scale, individual change is good; political, systemic change is even better.

Jessica makes sense

Maywa is right, too, to say that the message of An Inconvenient Truth is universal.  But it obviously was made to appeal primarily to Americans, with lots of US images, e.g. of destructive hurricanes, including Katrina; maps showing the effect of rising sealevels on NYC and Florida; Gore's references to American political and social history; and so forth.  Even non-American images, such as those documenting the melting of the snow cap on Kilimanjaro, could seem to be after a particular resonance with American viewers: Kilimanjaro as our tourist destination is being ruined!

Certainly an effective presentation could be made for Latin American viewers, showing such things as environmental destruction or environmentally destructive practices in Amazonia and elsewhere in Brazil, as well as in eastern Ecuador and the Galapagos, the effects of global warming in Patagonia and in the mountains of Costa Rica, and pollution, including carbon emissions, in over-crowded Latin American cities.

Also, it would not be at all surprising if force-feeding An Inconvenient Truth on non-American viewers would result in reinforcing the Bush-era image of the neo-Ugly American.  That is hardly a consequence that Al Gore himself would approve of.

The only Latin American country that I have visited and know at all well is Mexico.  Mexico City, which must have been one of the most beautiful and pleasant capitals in the world in the 19th and early 20th centuries, has dreadful air pollution, from a number of sources.  Things seem to be improving, thanks to reforms begun by the former mayor, Andres Manuel Lopez Obrador.  But it is hardly out of the woods.  And I have choked on tail-pipe emissions in other large Mexican cities too, Cuernavaca and Puebla.

It may have been my imagination, but I got the impression, during visits to parks in Chihuahua, Michoaca'n and Vera Cruz, that Mexicans are rather more cavalier about littering in such public places, than Americans, Canadians and Europeans.  That impression pained me, I certainly did not want to have it, and I very much hope that I am greatly mistaken.

In Malcolm Lowry's great novel, "Under the Volcano," his hero, the British consul to Cuernavaca in the 1930s, during one of his drunken ambles through what was then a rather smallish city, is amused by a sign that he sees in a public garden or small park:

"¿Le gusta este jardín, que es Suyo?  ¡Evite que Sus niños lo destruyan!"

"Do you like this garden, which is yours?  Prevent your children from destroying it!"

I actually saw a sign very much like that, in Tepoztla'n, a beautiful town a few miles east of Cuernavaca, closer to the foot of the volcano, Popocate'petl.  It bespeaks a certain sense of civic pride and civic responsibility.  Of course, in every society, the conscientiousness of parents in reining in their children and not indulging them in their anti-social and obnoxious conduct waxes and wanes.

I am happy to report that I saw no noteworthy litter during the spectacular, difficult, long up-the-mountain hike to the pre-Columbian pyramid overlooking Tepoztla'n.

On another matter: Yes, Keanu Reeves is a great disappointment, artistically.  But physically, just as a temporary decoration, he sometimes makes up for his talentlessness.  My favorite scene in "The Matrix" (which is not saying much, I admit) is when he is in the back of the car, and they grab him, throw him on his back, pull up his shirt and send a robotic arthropod to penetrate his belly button.  I find that scene incredibly sexy.  Oddly, I keep forgetting to mention it to my shrink ...

Not to doubt Jessica's judgment, but I would have thought that "My Own Private Idaho" was more of a breaking-out vehicle for Keanu than was "Speed."  The latter, in fact, was the first time I saw Sandra Bullock, who is wonderful in that, and it may very well have been HER break-out movie.

Back to Mexico, in a Keanu-related way: He did a movie which was not well liked, "A Walk in the Clouds," but which I think is very sweet, in which he is received into a Mexican-American land-owning family in, I guess, the Napa valley, or somewhere in California where they have vineyards.  The ever charming, late Anthony Quinn is the wise, all-knowing grandfather of the female lead character, in one of his very last movie roles.

Chickens deserve our true friendship! So do fish! So do other sentient beings! Let us learn to be kind.

In South Africa...

AIT is the longest-running movie ever at the smallish off-mainstream theatre in the Waterfront shopping centre in downtown Cape Town. Thousands have seen it, and thousands more are seeing it at school screenings etc.

Have you ever stopped to think that it's universal appeal lies in its very smart use of images, and the fact that US media is so all-pervasive that people all over the world 'get' its cultural biases?

Perhaps earnest 'developing world' filmmakers don't understand that Hollywood is successful not because of 'imperial hegemony' in movie distribution, but tbecause mainstream Hollywood knows how to tell compelling stories via images better than anyone else?

Maybe the other films you cite are just boring?

Whiskerfish in Africa

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