Part 4 of: Hollywood and Higher Education: Teaching Worldview Through the Stories We Live By
If imitation is the highest form of flattery, then we are constantly flattering the people and communities who have transmitted their “scripts” to us… for good or for ill.
by Gary David Stratton • Senior Editor
Crash, 2006 Academy Award-winner for Best Picture, provides a powerful metaphor for why worldview change is so difficult.Crash follows a stellar ensemble cast through multiple story lines, most of which explore deeper and deeper levels of worldview.It is one of my favorite films for helping students explore “memes” and the “inciting events” that evoke worldview transformation journeys. [1]
In 1961, literary critic extraordinaire René Girard first introduced the idea that we borrow most of our desires from other people rather than developing our personal desires from scratch. Girard developed his highly influential concept of memetic borrowing throughout his long career, branching out from literary theory into theology, philosophy, and psychology. (See René Girard: The Greatest Christian Intellectual You Never Heard of.) [2]
Then in 1976, Oxford zoologist Richard Dawkins made the idea of memetic borrowing more palpable when he coined the term meme (short for the Greek root of “imitate”) to convey the idea of a single “unit of cultural transmission, or a unit of imitation”(in the same way that a gene is a unit of biological transmission.)[3] In Dawkins’ memetic theory, memes jump from “brain to brain via a process which, in the broad sense, can be called imitation” (p. 192). Since Dawkins’ initial publication, the field of Memetics has grown both in influence (it helped birth the idea of “viral marketing”) as well as skepticism as to its value as a theory of cultural evolution.
Staying on Script
The concept of memes is a useful interpretive key for helping for understanding why our worldview is so resistant to change. As memetics proponent Susan Blackmore explains, “Everything that is passed from person to person (by imitation) is a meme. This includes all the words in your vocabulary, the stories you know, the skills and habits you have picked up from others, the games you like to play, the songs you sing and the rules you obey.” [4]
In other words, like actors in a screenplay, we all follow “scripts” provided for us largely from outside of our own self-awareness. (Think of the role of “Tradition” in Fiddler on the Roof.) If imitation is the highest form of flattery, then we are constantly flattering the individuals and communities who have transmitted their “scripts” to us. Our worldview is so deeply rooted within us that we glide through thousands of “preconditioned” decisions each hour, following the cultural and philosophical scripts provided for us by the stories that have shaped us. We simply do what we do without giving a great deal thought as to why we do it. (See, Casablanca and the Four Levels of Worldview.)
These “scripts” exert such a powerful influence on our daily lives that it normally takes a significant “crash” to reexamine them. These crashes—unexpected events or decisions, often called “inciting events”–are a common devise in nearly all (good) films, but they are particularly evident in Crash. Writer/Director Paul Haggis predicates Crash on the simple premise that no one in Los Angeles deviates from the script of their daily “commute” without a crash.
In the words of Crash’s narrator, Det. Graham Waters (Don Cheadle):
WATERS: In L.A., nobody touches you. We're always behind
this metal and glass. I think we miss that touch so much,
that we crash into each other, just so we can feel something. .
Officer Dan Ryan’s racially-charged traffic stop ends horrifically for Cameron and Christine Thayer
Officer Ryan’s Scripts
One notable story line traces the interplay between LAPD Officer Dan Ryan (Matt Dillon), and socialite Christine Thayer (Thandie Newton). In one of the film’s early scenes, Officer Ryan gropes Christine in a racially motivated traffic stop. Later, he heroically risks his own life to save Christine from a burning car. In each case, he is unreflectively following “scripts” (memes) transmitted to him by the best and the worst of police culture. Only the “crash” of a life-and-death encounter with Christine jolts him into a completely new script of tolerance and understanding.
Ryan’s first “script” is rooted in the story of his father’s relationship with the African-American community. As a young man Ryan watched his father dare to treat his African-American employees with dignity only to lose his business to the city’s affirmative action policies. Now, his father suffers in agony from what Ryan fears is prostate cancer, and the one person standing between him and the specialist he needs is a no-nonsense African-American insurance adjustor named Shaniqua Johnson (Loretta Devine).
RYAN: I'm not asking you to help me. I'm asking that you do this small thing for a man who lost everything so people like yourself could reap the benefits. And do you know what it's gonna cost you? Nothing. Just a flick of your pen.
SHANIQUA: Your father sounds like a good man. And if he'd come in here today, I probably would've approved this request. But he didn't come in. You did. And for his sake, it's a real shame! [To security guard.] Get him the hell outta my office!
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Ryan’s bitterness is no match for Shaniqua’s commitment to company policy
Dan’s frustration creates unstated presuppositions of injustice, anger and retaliation against all blacks that are only reinforced by the worst elements (memes) of LAPD culture. Dan never examines the cultural, philosophical, or mythical basis of his decision. He never asks how his father’s story, and the “racist meme” in LAPD culture shape his actions. He simply acts. With horrific brutality, he uses his power as a police officer to abuse Christine.
Click here to watch scene: Traffic Stop from Hell (Warning – Disturbing content)
In an instant, Christine’s life is shattered. Now part of Officer Ryan’s story of racism has deeply impacted Christine‘s story. His actions fill her with unspeakable anguish. Her personal life disintegrates in anger and confusion. Her relationship with her husband, Hollywood director Cameron Thayer (Terrence Howard) begins to spiral out of control as she begins to act out a “reverse racism script” she barely understands, but which her husband knows all too well.
CAMERON: You need to calm down here.
CHRISTINE: No, what I need is a husband who won't just stand there while I'm being molested!
CAMERON: They were cops! They had guns! Where do you think you're living, with mommy and daddy in Greenwich?
CHRISTINE: --Go to hell.
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An unexpected crash brings Officer Ryan and Christine face-to-face in a fiery wreck
The Crash
Ryan and Christine’s new scripts begin with a crash (literally). Christine’s SUV crashes and flips. Gasoline spills everywhere. She is trapped in a burning car with a malfunctioning seatbelt and no hope of escape. No hope, that is, except Officer Dan Ryan. First to arrive on the scene, Ryan quickly springs into action following the hero script written for him (the meme transmitted to him) by the best of LAPD culture.
Then comes the real crash. Christine and Ryan face each other in an inferno that threatens both their lives. Christine suddenly recognizes Ryan and responds according to the script provided by the personal, cultural, philosophical presuppositions of her story. Despite the approaching flames, she refuses Officer Ryan’s frantic attempts to help her.
RYAN: Lady! I’m trying to help you!
CHRISTINE: #&$% you! Not you! Not you! Somebody else! Not you!
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Transformed by their encounter (at least for a moment) Officer Ryan pulls Christine to safety
Momentarily confused, Dan suddenly recognizes Christine, not just what she is, but who she is, that she too has a story separate from his. The screenplay reads, “Ryan looks into her face and sees her pain and humiliation, and knows he was the cause of it.” His worldview begins to shift.
Full of shame, he begins to treat Christine with the dignity and respect he never afforded her in the ill-fated traffic stop. But to no avail. As the flames envelope the car, it is obvious that there is nothing to be done for Christine. Ryan’s partner begins to pull him to safety before it’s too late. The secret that could ruin Ryan’s life will die with Christine.
Suddenly, against all odds, Ryan completely rejects his racist script (meme) and fully embraces his heroic script. Kicking off his partner he dives back into the burning car, risking his life to save the same woman whose life he so carelessly degraded just a few days earlier.
Against even greater odds, Christine rejects her hatred script and accepts help from the man she has hated with archetypal passion. Her worldview shifts as she accepts his now dignified help and heroic rescue. Everything they thought about one another is changed in an instant; everything they thought about themselves is changing as well. As they weep together in a rescuers embrace both characters hover at the edge of transformation.
Click here to watch Unwanted Rescue scene. (Warning: explicit language.)
CHRISTINE throws one look back over her shoulder – hate filled with fear and gratitude.
RYAN watches her, equally confused, overwhelmed and embarrassed by his feelings.
As the scene ends it is clear that Ryan and Christine have each entered a new story–a story that will alter their future value and belief system, personal practices, and decisions. Their scripts (memes) change because they crashed into each other’s stories with sufficient force to jolt them out of their culturally transmitted roles. Christine returns home to reconciliation with Cameron (who has been in his own transformation journey). Ryan returns home and begins to treat his father with a new tenderness and dignity.
Snowfall in L.A.
Cameron Thayer (Terrence Howard) watches flames rise to meet a once-a-century snowfall
Paul Haggis’ masterpiece, concludes with the most unlikely crash of all—a once-a-century snowfall in Los Angeles. The snow is as unimaginable as a worldview shift. It is also symbolic. For decades, snowfall has served as a favorite Hollywood metaphor for “something is changing.”
As the audience considers this final image, they are challenged with the questions:“Will we continue gliding through the thousands of “preconditioned” decisions we make each day, or will the “Crash” of this movie cause us to reexamine them deeper levels? Will we dare to change?”
And as we rise we see the twisted chaos of the intersection, the cars and people and the (now freed) Illegals disappearing into the maw of the churning city. And it starts to snow.
FADE OUT.
Next post in the series: It’s a Wonderful Worldview: Frank Capra’s Theistic Masterpiece
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See also:
Hollywood and Higher Education: Teaching Worldview Through Academy Award-winning Films
Casablanca and the Four Levels of Worldview: Why Everyone Meets at Rick’s
Fiddler on the Roof: Worldview Change and the Journey to Life-Interpreting Story
Bungee-Jumping to Eternity: The Existential Angst of Dead Poets Society
Deep Culture: Is Winning an Oscar a Reliable Indicator of a Truly Great Film?
If you Live it, They Will Come: The Blind Side and Better Faith-Based Filmmaking
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Related Posts:
Using Zombie Movies to Teach Politics, by Daniel W. Drezner
The Joker Is Satan, and So Are We: René Girard and The Dark Knight, by Charles Bellinger
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Notes
[1] Paul Haggis, Cathy Schulman, Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito, William Fichtner, and Brendan Fraser. Crash. (Santa Monica, Calif: Lions Gate Entertainment, 2005). All quotations from, Crash. Story by Paul Haggis; Screenplay by Paul Haggis, and Robert Moresco. (Bob Yari Productions, Bull’s Eye Productions, Blackfriar’s Bridge & the Harris Company, 2004).
[2] René Girard, Deceit, Desire and the Novel: Self and Other in Literary Structure (Baltimore: Johns Hopkins Press). See also, Cynthia Haven’s excellent mini-bio in the Stanford Alumni magazine, “History is a Test: Mankind is Failing it.” See also, Michael Kirwan, Discovering Girard (London: Darton, Longman & Todd, 2004), The Girard Reader, James G. Williams, Ed. (New York: Crossroad, 1996), Mimesis and theory : essays on literature and criticism, 1953-2005 (Stanford University Press, 2008.)
[3] Richard Dawkins, The selfish gene (Oxford: Oxford University Press, 1976). See also, Robert Aunger, Darwinizing culture: the status of memetics as a science (Oxford: Oxford University Press, 2000). Kate Distin, The selfish meme: a critical reassessment (Cambridge: Cambridge University Press, 2005). Robert Boyd and Peter J. Richerson, The Origin and Evolution of Cultures (Oxford: Oxford University Press, 2005).[4] Susan J. Blackmore, The meme machine (Oxford: Oxford University Press, 1999), p. 16. “So, for example, whenever you drive on the left (or the right!), eat curry with lager or pizza and coke, whistle the theme tune from Neighbours or even shake hands, you are dealing in memes. Each of these memes has evolved in its own unique way with its own history, but each of them is using your behaviour to get itself copied” (p. 16).
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This was the third time that I’ve seen this film, and I think that I was better able to notice some of the subtleties while they happen vs. recalling them after the fact. The two that caught my attention the most were the carjacking and the hitchhiker, with Ryan Philippe’s character being the most reveling to me. He tries the hardest throughout the film to see through others perspectives, but reverts back to unconscious thoughts in the end when he kills Don Chile’s brother. Exposing me to others and getting out of my comfort zone is something that I’ve done to get a better understanding of different viewpoints. I’ve utilized the food as the central theme in my sharing in different cultures and viewpoints, as it helps give everyone a good starting point to jump off from.
So I watched this movie once before and only made it about half way through it. See I have a problem with racism and racist people even if it is “only a movie”, and this movie was full of it. I am not saying that racism still doesn’t exist, but I think this movie might go a little over the top. Everybody hates everybody I this movie. I do like the pyridine shift in Officer Ryan’s worldview. I feel that even though he starts to change his view when he helps Christine, but I think it is a little too late. I don’t think I could ever watch this movie again as it goes against everything I was both taught and believe in.
The Blind Side:
After watching The Blind Side, I learned that my own story is really falling short. I have a rather selfish lifestyle. In the movie mother, Mrs. Tooie, does not hesitate to take action and do what she knows is best. She may realize there is some risk to taking Michael into her home, but she does so regardless. In my own life, my circumstances are somewhat similar to Mrs. Tooie. I work FT, have a couple of kids, have a house large enough for more people, etc. However, I would simply never take in another person unless I was intimately involved. Sadly, I am not sure that I am at a point in my life that I am would consider a change. In fact, I know that I would not. I have gone to pretty far extremes to help animals that need a home, etc. Mrs. Tooie was heroic to take in Michael and help in all the ways that she did. Then again, maybe if life brought such a circumstance to me, I may have a change of heart. It is hard to say how one would react until faced with the challenge/opportunity.
Yes, and she did have more of a personal relationship with Mike before she invited him into her home than the movie explores.
I think this movie was an amplified attempt to reflect our society and I think they did an entertaining job. The movie portrayed things I'm sure we wouldn't say out loud, but like most of you already commented we all have a little bias in us. The value in this is to reflect on our life daily so we don't have to constantly wait for a "crash" moment to change and understand different world views.
What I learned from the movie Crash was it takes major events in our lives to change our cultural MEME. We will imitate what we have been taught by our cultural upbringing until a crash in our life causes us to reexamine our worldview. We make judgments based on these meme’s without even knowing we are doing it. Crash has multiple story lines that have very diverse points of reference which caused people in the movie to respond to one another in a very stereotypical manner. My real take away from this movie is let’s not wait until we have a crash to reexamine our meme, start by asking “ do I know this to be real or am I arriving at this conclusion based on my cultural environment”. Then we will be open to finding out where other people’s life stories have brought them.
We make hundreds if not thousands of judgment calls every minute and I now find myself asking, “is this my story or the prerecorded version making the calls?” It is very interesting to track a decision back to where you first remember the topic coming up in our life and then weighing it against what we believe to be true today. Sometimes for me it is hard to understand how I arrived at what seems to be a flawed or inconsistent believe. For me, it all seems to come down to reaching out to people so crash in not needed.
I thought Crash was a beautiful portrait of shifting/crashing worldviews from multiple perspectives. I’d seen it before, several years ago, but I don’t think I fully appreciated what was happening. It illustrates many different people, all going through the motions of their lives with worldviews provided to them by society's stereotypes, and how those worldviews are not challenged until there is a 'crash' that causes them to reevaluate. One of the things I found most interesting is how the movie tells us that we are all connected, and uses that concept in the ways that the characters 'crash' into each other and are changed, as with Christine and Ryan illustrated above. I think that is so true – we often accept the stereotypes or generalizations that society gives us into our worldview until a situation, or person, that doesn't fit into that mold 'crashes' into our lives – but sometimes it's more subtle than that.
Part II
The movie had many different stories that related to each other in unusual ways, every story was set with their own worldview, The Rich family, the ever devoted husband with a very unhappy wife, demanding from everyone and everything, nothing seem to be right or enough. The locksmith working class, loving dad, and responsible husband judged by his tattoos and Latino looks. The police officer upset at the situation he faced with his father and the lady that would not offer his dad any help and the transformation he is forced into by the “crash”
My favorite Story is Anthony’s he lived in a world were steeling was a way of living and an acceptable career…but he was given a chance by Cameron, that changed his heart otherwise he had taken the money offered to him for the immigrants, but he decided to give them a change, the opportunity to change their destiny.
Anthony was my favorite protagonist also. I see that hypocrisy all the time – preaching your philosophy (in this case on discrimination and racism) and then living the opposite values. The scenes where he took the bus and then let the trafficked humans go despite a possible financial gain completed his character arc and it was rewarding to see the change in him because of his 'crashing' worldview.
Cameron's crash caused him to look at this differently and when he did, he found an opportunity help someone else. In this part of the movie it seems that the crash between Cameron and the "would be" carjacker starts a chain reaction of collisions much like that of interstate 405 in L.A. Anthony then goes on to have a worldview shift and a way to help others which in turn could only have a positive effect on the people in the van.
One thing that I learned from the movie crash is that people have worldviews very different than mine and there are many things that I have not experience but that does not mean those things are not happening to others. I also learned that those worldviews can be change by watching others around us, by our own will or when we are forced to change them by “crashes”, unexpected events that force our perspectives to change.
Good point about people having different worldviews about things that you have not experienced. It's so easy for us to judge other people having never walked in their shoes. I also found it interesting how two people in the film who most likely had similar experiences, Anthony and the brother of Det Waters, had completely different worldviews.