As Freud summarized in Civilization and its Discontents: “this battle of the giants: the struggle between Eros and Death, between the instinct of life and the instinct of destruction, is what all life consists of.” Especially once the thin veneer of small-town respectability collapses.
As the new, preppy preppers throw on a new coat of paint on the historically disheveled ideological space that is survivalism, they are also turning some of its most distinctive landmarks on their head. While keeping the canned goods chic of yore.
If South Park is an analysis of the American cultural psyche, its cast are the different protagonists of Freud’s composite view of the human mind.
To each epoch it’s narrative and structure that brings meaning to the violence we, as human beings, instinctively fear. Through 100 years of existence of the genre, it is also the history of the 20th Century that is told. And what a frightful century it has been…
From the unlikely duo formed by the Dude and Walter to the mostly silent role played by Donny, the film is an allegory of American political life during the Gulf War.
Not only do both criticisms fail to grasp the historical circumstances that gave birth to the modern Christmas, they also fail to comprehend the far-reaching consequences of its founding on the American way of life.
While some still claim there is nothing political behind the Star Wars Trilogies, that assessment is far wide of the fictional world that George Lucas so carefully traced from our own.
What Mazower described as “the nightmarish revelation of the destructive potential of European civilization” is the latent fear throughout Hergé’s albums and the one Tintin’s morality seeks to counter.