“I’ve come to the conclusion that mythology is really a form of archaeological psychology. Mythology gives you a sense of what a people believes, what they fear.”
Propaganda is most effective when it enhances beliefs that already exist in a society or culture. That was the conclusion that marketing analysts came to after studying German propaganda from the 1930s and 1940s. The Nazis did a superb job of disseminating their obnoxious brand of hate. They did not create the anti-Semitism that culminated in the Holocaust. It already simmered covertly and sometimes overtly in Germany and the other countries that fell under German control. All they did was encourage it, make it legal and allow it to flourish. It was perhaps similar to the witchcraft hysteria that swept Europe in the Middle Ages and the belief that if “evil” scapegoats were exterminated, everything would return to an Eden-like Utopia. Precedents have proved important in making incidents happen throughout human history.
Even the Nazi symbol of the swastika means “hooked cross” in German. The symbol of the swastika had benignly existed in Neolithic times and in other cultures until Hitler twisted it into his genocidal logo. Even so, the Nazi swastika was surreptitiously piggybacking on the Christian iconography of the crucifix to sweeten a bitter pill and render it acceptable en masse.
“The story being told in ‘Star Wars’ is a classic one. Every few hundred years, the story is retold because we have a tendency to do the same things over and over again.”
Propaganda is the propagation of an idea. That goes for creativity too. George Lucas managed to collapse and rebrand many different mythological and historical archetypes, icons and structures into his Star Wars series. Take the Jedi knights for example. They were the protectors of the Old Republic. Just as King Arthur had his Knights of the Round Table, Roman Emperors had their Praetorian Guard and Hitler had his SS Liebstandarte personal bodyguard, the Jedi/Sith orders were riffs on structures that people were consciously or unconsciously aware of. Thus it leant an automatic credibility to Lucas’s ideas.
Ridley Scott did something similar with Alien. There were vague suggestions in the script as to what the creature looked like but nothing concrete. Screenwriter Dan O’Bannon gave Scott a 1978 book by conceptual artist H.R. Giger titled Necronomicon. Giger had an incredible and unique surreal style that came across as suffocating biomechanical erotica. When Scott saw one of the many creatures in Giger’s book, he knew he had found his monster.
The creature collapsed many of our darkest sexual fears into one beast; its phallic head and tail, its erectile teeth and slavering mouth that recalled the vagina dentata (the folk myth of toothed female genitalia that goes back as far as Ancient Greece). So the creature was at once alien yet oddly familiar in ways that were not apparent at first.
It could be one reason why some sequels don’t work as they move too far away from what people already know and want. The best artists know how to give the public something similar in a new way.
© Stewart Stafford, 2015. All rights reserved.