Indian Genocide Essay - 1269 Words

Indian Genocide The United States government used military force to follow a policy of genocide toward the Native Americans. Politically, the policies of removal, concentration, and assimilation caused the death of thousands of Native Americans. Economically, the United States government used military force whenever any valuable resource was discovered on Indian Land. Socially, the near extermination of the Buffalo caused starvation and death among the tribes. The evidence clearly indicates that the United States government used military force and economic pressures to conduct a policy of genocide towards the Native Americans. nbsp;nbsp;nbsp;nbsp;nbsp;For decades, the United States practiced policies of removal to gain valuable land†¦show more content†¦The Sioux war was fought over gold that the U.S. government found in the mountains occupied by the Sioux Indians, and it ended with the Indians being forced to live on reservations. In 1861, settlers wanted land that Indians occupied, so that led them to move them to the Sand Creek reservation. The local whites in the area ended up massacring 400 Indians that were under protective custody. Apparently even the Indians that were supposed to be protected by treaties were not safe from the wrath of the U.S. government. The Song â€Å"One Tin Soldier† by Coven describes the discovery of gold in the Black Hills and shows just how far the United States would go to gain wealth at the expense of the Indians. The Natives wanted to live in peace, but the whites wanted the treasure that was buried there. â€Å"Now the valley cried in anger, mount your horses, draw your sword. And they killed the mountain people, so they won their just reward.† This describes the situation that was faced when the whites found a valuable resource on Indian territory. The whites usually bought out the Indians and when they couldn’t they killed them and got what they wanted. Among the most famous of the men who massacred Indians for the benefit of the whites was General Custer. He had no problem with massacring women and children to help the government gain money. However, the whites were not always successful in pushing the Indians around. In the Battle of Little Bighorn, GeneralShow MoreRelatedIndian Residential School Case Law, Genocide, And Settler Illegitimacy, By Leslie Thielen Wilson1693 Words   |  7 Pagesrole in the cultural loss or genocide of the Aboriginals. Presently, IRS litigation is trying to reveal the effects of the IRS and how the justice system needs to acknowledge that cultural genocide was a consequence of IRS. T his socio-legal issue is the focus of the article,† Troubling the Path to Decolonization: Indian Residential School Case Law, Genocide, and Settler Illegitimacy,† written by Leslie Thielen-Wilson. Author’s Argument: The author argues that the Indian Residential School litigationRead MoreLakota Indian Genocide Essay1204 Words   |  5 PagesZack Siemsen Merri Ferles HIS 202 02-12-13 Native American Genocide The Convention on the Prevention and Punishment of Genocide states that according to Article 2. â€Å"Genocide, deems any of the following acts committed with intent to destroy, in whole or in part, a national, ethnical, racial or religious group. Such as killing members of a group, causing serious bodily or mental harm, inflicting the group member lives to cause destruction, imposing measures intended to prevent birth, and forciblyRead MoreSexual Violence And American Indian Genocide1168 Words   |  5 PagesAndrea Smith’s book Conquest: Sexual Violence and American Indian Genocide read passionately about Native American Indians experiences relative to violence and related topics. Part of Smith’s goal is to aid understanding of Native women’s plight and spotlight how treating their sufferings separately was limiting the pain they lived through to this day. Smith pointed out that though other writers have keen interest in bringing native women’s plight mainstream, these writers fell short of taking anRead MoreEssay on The Genocide of the Chiricahua Indian Tribe3514 Words   |  15 PagesThe Genocide of the Chiricahua Indian Tribe United States history is taught in public schools from the time we are able to understand its importance. Teachings of honorable plights by our forefathers to establish this great nation are common. However, specific details of this establishment seem to slip through the cracks of our educational curriculum. Genocide by definition is the deliberate and systematic destruction of a racial, political or cultural group. The Chiricahua Indian Tribe ofRead MoreEssay about The Trail of Tears: Indian Genocide2310 Words   |  10 Pagesâ€Å"Our nation was born in genocide when it embraced the doctrine that the original American, the Indian, was an inferior race.† -― Martin Luther King Jr. The Trail of Tears is a historical title given to an event that happened in 1838.In this event, the Cherokee community of Native Americans was forced by the USA government to move from their native home in the Southern part of the contemporary America to what is known as the Indian territories of Oklahoma. While some travelled by water, mostRead MoreAmerican Manifest Destiny and the Genocide of the American Indian1739 Words   |  7 PagesUnited States Manifest Destiny and the Genocide of the American Indian Manifest Destiny is a phrase used to express the belief that the United States had a mission to expand its borders, thereby spreading its form of democracy and freedom. Originally a political catchphrase of the nineteenth-century, Manifest Destiny eventually became a standard historical term, often used as a synonym for the territorial expansion of the United States across North America towards the Pacific Ocean. The UnitedRead MoreManifest Destiny and the Genocide of the Native American Indian1366 Words   |  6 Pagesthe Pacific Ocean. Throughout this time Native Americans were seen as obstacles because they occupied land that the United States needed to conquer to continue with their Manifest Destiny Ideal. Many wars were fought between the American’s and the Indians. The conflict between these two groups of people led to the infamous â€Å"Trail of Tear.† During the 1800’s Native Americans were forced out of their homes and off their native land. This forc ed excavation of the Native Americans lead to a massive numberRead MoreThe Killings And Destruction Of Cultures Throughout The Us, Australia, And German South Africa1750 Words   |  7 Pagesdifferent perspectives. Comparing four cases of genocide which formed in the United States, Australia, British India and German Southwest Africa, allows for a better comprehension of genocide as defined by the UN Convention. The four cases raise question as to why we can consider the cases to be genocide, and what similarities and differences each case has. Considering the UN definition , I acknowledge all but the British Indian case to be genocide. There are multiple similarities between the massRead MoreCauses of Genocide Essay1675 Words   |  7 Pages Genocide is an action that is not unique to any one set of specific circumstances. It knows no bounds of time or location. From thousands or years ago to present day and on every civilized continent, the eradication of entire groups of people has occurred. The current definition of genocide was established by the United Nations in 1948: â€Å"(a) Killing members of [a] group; (b) Causing serious bodily or mental harm to members of the group; (c) Deliberately inflicting on the group conditions of lifeRead MoreForeign Influence and Its Positive and Negative Impacts1285 Words   |  5 Pagesfighting and hatred. The majority of people believe that there isnt a specific cause for genocide. However – as shown by the Sudanese and Rwandan Genocides—foreign influence, and the absence of it, plays a big role in causing genocide. Before exmaning the effects of foriegn influence in causing genocide, it is important to understand the concepts of foreign influence and genocide. The UN defines genocide any of the following acts committed with intent to destroy, in whole or in part, a national

A Cartoon That Depicts One Of Many American Realities...

Cesar Cruz Instructor Chris Ellen July 20, 2015 There is a funny Garfield cartoon that depicts one of many American realities about coffee, â€Å"I’m still a sleepy head, after 1 cup of coffee, To really wake up! I need at least 3 cups of coffee, and to really Rise and shine I need way too many cups†. In the United States specialty coffee sales have reached the multibillion dollar level and are increasing on an annual basis. (Coffee Universe, 2011). This is one of the reasons why there is such a great market for coffee houses, coffee baristas, coffee mugs, coffee makers, and coffee companies like Starbucks. Starbucks not only sell coffee in their top notch coffee houses but also distribute it. Starbucks has a reputation of providing their customers with the best coffee bean available and in order to get such a high grade bean they help the coffee bean plantation owners to improve their business to provide a better quality coffee. Starbucks and coffee are an American staple. The first Starbucks opened in 1971 with a simple goal to sell good hot beverages, its original name was â€Å"Starbucks Coffee, Tea, and Spices†. Back then, the company was a single store in Seattle’s historic Pike Place Market. From just a narrow storefront, Starbucks offered some of the world’s fines fresh-roasted whole bean coffees. The name, inspired by Moby Dick, evoked the romance of high seas and the seafaring tradition of the early coffee traders. In 1981 Howard Schultz; Starbucks chairman, presidentShow MoreRelatedSwot Analysis25582 Words   |  103 Pagesproducts. By 1973, Sunbeam had sold 3.5 million frypans, one for every three Australians. Aiming to be the first in the market with product innovations, Sunbeam introduced a range of new appliances—including an iron that featured a patented safety cut-out mechanism; the first plastic jug-style kettle and a fast-boil kettle, the Express kettle; the Oskar food processor; Quantum, a cordless automatic kettle; and the Toast ’N’ Crumpet toaster. Many of the new products became top sellers, and their excellenceRead MoreJazz Albums as Art Essay4662 Words   |  19 PagesJazz Albums as Art In the Process of Completing Research for This Issue, I Realized That What I Want to Say May Be Divided into Two Sections. Part One Surveys the General Topic of Album Art; Part Two (Outlined in the Accompanying Sidebar) Considers the Conspicuous Absence of Black Artists from the Process of Designing Jazz Packages: Covers, Liner Notes Etc. This Second Part Will Be Published in an Upcoming Issue.--R.G.OM. The enclosed portfolio of album cover art springs from my ongoingRead MoreProduct Placement10682 Words   |  43 Pagesso that the visibility of the brand increases. Attempts are made for the viewer to read the product or the brand as a quality of the characters using and approving it. Researchers have shown that viewers like product placements (unless there are too many) because they enhance realism, aid in character development, create historical subtext, and provide a sense of familiarity. For marketers, the availability of a captive audience with greater reach than traditional advertisements, and the advantageRead MoreProduct Placement10670 Words   |  43 Pagesthat the visibility of the brand increases. Attempts are made for the viewer to read the product or the brand as a quality of the characters using and approving it. 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Pressure To Compete On Price There are enormous pressures on nearly all firms to engage in price competition. In all industries from computers to cars to frozen dinners to airlinesRead MoreHuman Resources Management150900 Words   |  604 PagesResources, he and his staff began by restructuring and decentralizing the HR entity so that each functional area of the company has an HR manager assigned to it. The HR managers were expected to be key contributors to their areas by becoming knowledgeable about the business issues faced by their business functional units. Today, HR managers participate in developing business strategies and ensure that human resource dimensions are considered. For instance, the HR manager for manufacturing has HR responsibilitiesRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 Pageselectronic, mechanical, photocopying, recording, or likewise. 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Van Sant’s ‘Death’ Trilogy Gerry, Elephant and Last Days Free Essays

Gus van Sant’s three films, Gerry, Elephant and Last Days, are, in essence, a trilogy, linked by their common structures, compositions, and representations of death. In this paper, I will analyze these similarities and discuss the treatment of each film’s central event. Van Sant’s early career showed a unique experimentation with story structure and plot devices. We will write a custom essay sample on Van Sant’s ‘Death’ Trilogy: Gerry, Elephant and Last Days or any similar topic only for you Order Now In films like My Own Private Idaho, Drugstore Cowboy and To Die For, he displayed a freedom of narrative, creating esoteric, poetic pieces that challenged and often bewildered viewers. His career then became more conventional, and he hit somewhat of a lame lowpoint with the film Finding Forrester, a sappy story about a young black teenager whose writing gifts are altruistically recognized by an aging author played by Sean Connery. His next film, however, was completely different than anything he had directed. It starred Matt Damon and Casey Affleck, who, along with van Sant, would normally create box office demand with their work. Yet the film was not widely released or widely seen. It was mostly dismissed as an indulgent experimental piece, something created by Hollywood artists bored with their usual work and with easy access to too much funding. Van Sant followed this with a film that premiered at Sundance and, surprisingly, took the top prize. It purported to be a representation of the Columbine killings, even though Columbine was never mentioned, and several liberties were brazenly taken with facts that most people were intimately familiar with. It featured no professional actors; actually, the characters were all essentially playing themselves, even using their real names and shooting in their actual school. The film was much more widely seen, and the unique treatment of time and plot proved to be very similar to his previous work. His most recent film, officially titled Gus van Sant’s Last Days, premiered at the Cannes Film Festival and attempted to vaguely recreate the death of Kurt Cobain. The thematic elements and structure were by now easily recognizable. The film’s first reviews were harsh, but eventually, critics seemed to warm to it, and it was widely praised for its bravery and patience. Van Sant refers to them as a â€Å"news story† trilogy, in that they are all based on real events. Gerry is about two guys who get lost in the desert, and one of them eventually kills the other one. Even if we’re unfamiliar with the event, we can picture the sensational headline, probably depicting the event as horrific and the murderer as an animal. Van Sant’s portrayal of the event, from the characters losing their way to the actual murder, reveals his intent to fully immerse himself in the event and depict how such an act could occur. When we witness the murder, it appears natural and even compassionate. The circumstances under which the characters are behaving are unusual and extreme, but their intentions and humanity are always recognizable. The next two films are events with which the culture is very familiar. Almost everyone who sees them has a strongly formed emotional impression of the stories. The Columbine massacre and the suicide of Kurt Cobain are two of the most omnipresent cultural events for this generation of Americans, and van Sant chooses to take them on. His intentions are similar to those of his first film in the series; he wants to discover, through the process of filmmaking, how such acts could occur. It is unclear as to whether van Sant intended to create a trilogy, but these films are unmistakably similar in several different ways, including their shooting and editing style, their themes, and their attempt to depict a â€Å"found story†. Common Style Cinematographer Harry Savides shot the trilogy, and his style remains consistent; it can best be described as meditative. Most of the elements and techniques were developed in the process of making Gerry. The shooting period lasted twenty-one days. There were lots of problems during the shoot, and the scenes were always planned and executed on set, in collaboration with the actors, and with very little adherence to a shooting script or written dialogue. During this process, van Sant and Savides developed what would become a signature style for them. They composed very long tracking shots of the characters simply walking through the desert. Some shots were close-ups of their faces as they trudged, always with a definite purpose and determination. Others were long shots of their tiny bodies against the hugeness of the landscape. The most famous shot is the two of them barely moving, close to death, silhouetted against the sunset, still moving slowly towards nothing. Another element they developed is a lack of adherence to any definite sense of time or chronology. The films are edited haphazardly, with several scenes repeated at different points in each film from different perspectives. In Gerry, the two men never find water, yet the sun rises and sets at least eight times during the movie, in very different settings. In Elephant, one hallway encounter between two characters, with another character running by, is seen three times from each characters’ perspective, and continually serves as a warning that the killers are about to enter the school. There is no attempt to operate by any logical standards of time or character arc. The focus here is on a creation of atmosphere. The flexible chronology and the long static shots create a strong sense of freedom for the actors to immerse themselves in their characters. In each movie, and especially in Gerry and Last Days, the characters operate in a trance-like state, moving through the world of the film with no attempt to relay an emotion or communicate to anyone in any way. They simply are, and we watch them as voyeurs, knowing in each case that they are moving slowly towards death. The process of close collaboration with the actors is similar for each film as well. The actors are very much a part of the development of the story and their own characters. This trust in the actors to create their own worlds adds a unique element to the trilogy. Common Theme The central theme of the three films is â€Å"young death†. The first death is a compassionate murder; the second deaths are emotionally empty executions; the last is a slow wasting away. They all seem tragic because of the age of the victims and the somewhat easily avoidable circumstances under which the deaths occur. The deaths are also empty of crescendo. There is no sense of narrative closure in the deaths of the central characters, or an attempt to draw moral or dramatic conclusions from the deaths. This treatment of death is similar to the films analyzed by Catherine Russell in her work Narrative Mortality: Death, Closure and New Wave Cinemas. She notes that conventional cinematic narratives â€Å"codified the desire for meaning as a desire for meaningful death, and the desire for ending was formalized as a desire for death.† 1 She claims that new wave films â€Å"consistently split death from closure, and prevent meaning and ending from fitting neatly together.† These films have no plot or story; they end abruptly, with no attempt at coherent explanations. Their focus is on the world of the characters as they hypnotically and obliviously move towards their death. Common Intentions: A ‘Found Story’ This refusal to exploit the deaths of the central characters for emotional or dramatic effect highlights van Sant’s focus on creating realist cinema. He strives to present each scene as naturally as possible, with no cinematic affectations or even unnecessary camera movements. They wanted no â€Å"moves†. He and Savides make it clear that their intention is to recreate reality on screen. Realist theorist Siegfried Kracauer defines a ‘found story’ as one that â€Å"emerges from the filmmaking†. 2 This description aptly describes van Sant’s triptych; the process clearly defines the product. An example of this comes from the production of Last Days. Van Sant was in the costume designer’s office when a Yellow Pages salesman entered and delivered his pitch. The director envisioned the affect this would have on his drugged-out, detached lead character and threw the two worlds together. The effect was brilliant in that it intensely highlighted the two different worlds that these characters inhabited. It also reveals van Sant’s attempts to infuse his films with as much realism as possible, down to the actors who portray the characters. In fact, the actors are usually playing themselves. In Elephant, each character uses their real name and moves around their actual high school, interacting with their actual friends. The scenes are meticulously composed, but the dialogue and relationships, the individual moments, are mostly improvised, providing the audience with a strong sense of voyeurism and recognizable interactions. The affectations occur during editing. The sound design and aforementioned obscure chronology are the clues as to how we interpret the reality that they present. In Elephant, a character that most recognize as the eventual killer walks through the cafeteria drawing up his ‘plan’. He stops and we hear the sound slowly rise and overwhelm the boy, implying his â€Å"special mode of reality†.3 In Last Days, a somewhat bizarre element is employed in one of the final scenes. Blake, the Cobain surrogate, is lying in his garden house, close to death. Suddenly, his spirit emerges from his naked body as an apparition and hovers beside him. This mystical element meshes with the hypnotic, often spiritual mood of the film. At first glance, it seems to stand in stark contrast to the dogmatic realism of the rest of the film. However, the scene effectively illustrates the characters’ state, and in this sense, remains consistent with the production’s intentions. These common elements all serve the common event in each film: the eventual deaths of the major characters. Gerry Gerry depicts two characters, both ostensibly named Gerry, wandering through the desert looking for â€Å"the thing†. They see tourists with lame visors taking one path, and they decide to take another. They lose their way and spend the film attempting to survive. Each interaction between the characters is infused with purpose and a wry humor. They always have a new plan and never lose their forward-thinking state of mind. They resist despair and anger and seem always to assume that they will make it out ok. The majority of the ninety-minute film consists of the characters moving through the desert, searching always for the way home. There is maybe fifteen minutes of dialogue and, except for the tourists, no other characters. We see them simply walking, moving together, sometimes in what seems to be a competitive state, and other times alone, separately climbing different peaks to get a better view. The desert scenery is beautifully composed, and there are few shots less than a few minutes long. The characters are resisting death. They are slowly succumbing to the elements, fighting thirst and fatigue, never wanting to appear weak to the other. They always keep moving. Once, when they have stopped to rest, one of them comes to the other, tired but satisfied. He says, simply, â€Å"I found the car. I have water. I know the way out.† He is convinced of the truth of this claim, and is extremely disheartened when, after a few minutes of forceful persuasion, he realizes it is an illusion. Eventually, after moving around for what could be days, they lie down, exhausted and in a trance. One is clearly stronger than the other and is capable of continuing; one is finished. They lie next to each other, staring at the sky. Suddenly, the strong one moves on top of the weak one, wrestling him, literally shaking the life out of him. He stabs him and he bleeds, giving in quickly to the loss of consciousness. No emotion is displayed, and the event seems natural and pure. The act is clearly one of compassion for the pain of the weak one, a hastening of the inevitable and a cessation of the pain and agony and waiting. It is an act of euthanasia. However, it is also an act of survival; the strong one is now free to move again and attempt to survive on his own, which he eventually does, seeing the highway before him shortly after the murder. There is no lesson in the death, or any sense of closure. It is simply an act, and it bleeds into the reality of the rest of the film, having no special significance. It comes and passes in the same manner as the rest of the journey. It is a violent act, somewhat selfish, and it occurs in the vague context of an allegorical journey. The film is about being lost and eventually succumbing. However, there is never a sense of panic from the characters, or a sense that they have lost control or even hope. There is an acceptance at one point, when they lie down, and some timid shedding of tears from the weaker Gerry. But the characters admirably remain focused on survival and getting out, on proving their strength against the elements and their own thirst and exhaustion. The stronger character’s devotion to this elusive hope eventually saves him, and he finds his way, leaving behind a friend who, all elements aside, he had murdered. He rides away in a car, still in a trance, looking back at the desert. The film is beautiful, and it is essentially a meditation on the struggle to survive. Elephant Elephant is a montage of different students at a public high school. Because the audience knows it is about the Columbine murders, the outcome is a given. Each ‘victim’ is introduced with a title card, and we see them in their world, interacting with their friends, with no exposition or context. We know what high school is, and we understand and recognize the basis of the conversations and relationships. Scenes and characters intertwine as new characters are introduced and followed. Various social issues are broached in the context of the characters’ lives, issues that have all been mentioned in the context of the killings as an attempt at explanation or blame. The first shot is a weaving car, casually sideswiping a parked car and almost hitting a biker. It creates a reckless and irresponsible tone, depicting apathy towards life and danger. We see that it is a drunken father driving his son to school, and the son demands that his father pull over and let him drive. He is not angry, just exasperated, and the issue of parental carelessness and forced responsibility of the child is depicted. We see the boy being disciplined by the principal and feel pity for him and his circumstances. We are introduced to three popular girls as they flirt with a boy and then eat lunch. They enter the bathroom, awkwardly discuss their body issues, and casually, simultaneously, vomit. The killers are at home, receiving weapons in the mail, which they have ordered over the internet, and practicing with them in the garage. The shy, geeky one, earlier seen picking spitballs out of his hair and plotting in the cafeteria, is playing Beethoven, slyly invoking A Clockwork Orange. The blond, outgoing one, who slyly invokes Eminem, enters his room and plays a generic video game, playing a character wandering through a vast white empty landscape shooting men in suits in the back as they slowly and obliviously walk towards the horizon. Video game violence is thus invoked as a ‘factor’. Later, as they prepare to enter the school for the massacre, the blond one enters the shower with the shy one and says, â€Å"I’ve never even kissed anyone, have you?†, and they embrace. Another element, repressed homosexuality and a sense of separation, is introduced. These issues are peripheral to the mood of the film. It is amazingly ominous. We see the killers entering the school with their arsenal very early in the film, and are repeatedly reminded of their entrance as other characters pass through the same time period. We never know when the first shots will occur. We know from the news that the library and the cafeteria were the scenes of the massacre, and we repeatedly hover there, watching characters, picturing the chaos about to occur. It is visceral and exciting, and sickening and bizarre. Van Sant, without affectation, makes us fall in love with some of the characters, simply from the purity of their interactions and their lives. He highlights their beauty, and exposes their talents and quirks. Even the killers are presented almost sympathetically, or at least without any attempt to vilify them. We observe their normal lives, at breakfast with their family, practicing the piano and playing games, and their relationship is almost pleasant to watch. We see their psychosis, however, and realize very soon that they are capable of total detachment and extreme violence in retaliation for a vague sense of being underappreciated and emotionally tortured. The killings finally begin, a few scenes after we hear the machine gun being cocked in the library. The geeky girl with the long pants in gym class arrives late for her job in the library, and as she speaks to the boys with their arsenal, they splatter her blood against the books. They turn and randomly shoot into the crowd of scurrying students. The killings are not gruesome or ugly; they are simple and easy. We meditate on the killers’ callousness and the painful pointlessness of the act, rather than recoil at the blood and shock of the shootings. We also never see a panicked face or hear a shrill scream; the deaths, as in Gerry, blend with the everyday we have adjusted to seeing. The world does not change because of the acts that occur. The ending is extremely abrupt; the killers meet in the cafeteria, and as the blond brags about his kills, he is ruthlessly shot in the head by the shy one. He is speaking, we hear a shot and see blood, and he falls out of frame. At first, we are not sure if he was shot by another student or a sniper, but when we see the shy one, in the same long shot, moving towards the freezer looking for more victims, we realize. The film ends as he finds a popular couple whom we know and he obviously despises, and tortures them happily, pointing the machine gun at them and reciting eenie meenie miney mo. The film takes place in a single morning, in the span of a few hours. The characters we meet have no thoughts of their fate, wandering through their lives as death approaches in a sedan with a devil hanging from the windshield. Van Sant chooses an extremely familiar event and gets inside what might have happened. What he manages to create is a total sense of normalcy in the high school. There is no sentimentality in this film, this depiction of an event that is so loaded with emotion and sentiment and anger and backlash and blame in our culture. He strips it down and rips away all the sensation, and reveals easy to know people in an easy to know situation about to face something horrific and familiar to us all. His intentions and approach are similar to that of the film United 93, about the September 11th plane that crashed in Pennsylvania. We all know the details, we have all felt the sentiment, but the film attempts to forget all that and show real characters in a real situation, without any sentimental pretensions. It tries to depict how such an event really looked. In Elephant’s case, this is done in service of a meditation on the casualness of violent death. Last Days Last Days depicts the deterioration of a rock star, based on the suicide of Kurt Cobain. The first shots are of Blake walking through the woods, urinating in a pond, vomiting, and singing Home on the Range by a fire and a tent. He returns to his house and wanders ghost-like through the halls and rooms, avoiding contact with any of the stragglers in the house, cooking macaroni and cheese and watching a Boyz II Men video. We see the state of his life intimately, and his world becomes recognizable. He is out of it and detached, and has no desire to connect with anyone. He carries around an ominous shotgun in several scenes, and at one point, he mimics shooting two of his friends as they lie in bed. He is in a trance. He literally hovers in some scenes, slowly, slowly, collapsing to the ground and resting, comatose, against the door, falling violently when it is opened and a straggler checks for his pulse. No one in this film wants anything. No one, especially Blake, has any sense of purpose. This is the weakness of the film from a cinematic standpoint. Gerry and Elephant remain fascinating in large part because of the strength of their characters’ intentions and purpose. In this world, no one feels anything. The peripheral characters might have intentions relating to a vague sense of hedonism or greed, but that is not near enough to drive the film. This is about a wasting away, a slow, drawn out surrender to death, a suicide. The wallpaper is crumbling, the house is falling apart, no connections are made, and we are witness to a man who is totally numb to the world. It again features the long, static shots of seemingly nothing, zooming in on the television, holding on Blake’s lifeless body on the floor. There is a beautiful shot of Blake experimenting with sounds in his studio. The camera slowly moves backward, and we watch for an extremely long time as he moves around the room, haphazardly enjoying himself with his instruments, seemingly at peace, In the end, we see him cowering in the garden room, watching characters come and go, completely alone, and ready for an ending. This is a meditation on decay. Death These films very effectively reveal worlds that simply are. The characters we follow slowly approach their death, one at the hands of his friend, others at the hands of gun-toting teenage psychos, the last, presumably, by his own hand. But, in fitting with the tone of the trilogy, death simply is. It happens just as casually as the taking of a photograph or the preparation of macaroni and cheese. When it happens, nothing is done to signify or indicate any sense of change or profundity. The realism of the films is, to me, something almost euphoric. There is a real beauty in the interactions between the characters, in how recognizable their worlds are, and because of this, the audience receives a gift: there is a chance at a profound understanding of the nature of what happens to them. How to cite Van Sant’s ‘Death’ Trilogy: Gerry, Elephant and Last Days, Papers