Yazz on Film: District 9 (2009) and South Africa
Below is an essay I wrote whilst I was studying International Relations; the assignment was to discuss an artefact of popular culture which represents a state or region and explore how the identity of the region was constructed.
Neill Blomkamp’s (2009) film ‘District 9’ was a cinematic hit; it shocked audiences as it was a combination of powerful allegories for the socio-political events that have shaped and continue to shape South Africa as a state. The film is set in Johannesburg in the modern world and explores themes of xenophobia, racism, sexism and inhumane treatment. Although the feature is from the perspective of a white man, Blomkamp distorts the lens of the typical science-fiction (sci-fi) film and provides a reflection of South Africa, as well as the impacts of segregation, poverty and colonisation on world and state order. The state’s identity is constructed through representations of the past, present and possible future condition with the real-life locations, historical allegories and South African mise-en-scene making the film seem realistic. ‘District 9’ depicting the experience of Wikus, a Multi-National United (MNU) employee, who is used to highlight the attitudes of humans towards the extra-terrestrials/aliens commonly referred to as “prawns” throughout. The film is shot documentary-style with interviews, handheld cameras and ‘uncut’ scenes, this adds a sense of verisimilitude and magnifies the social issues of the world. This essay begins by exploring the character of Wikus as the mediator between humans and aliens, focusing on his decline from the ‘superior’ white man to the alien ‘other’. Then it moves onto a discussion of the past - apartheid South Africa – vs post-apartheid, modern South Africa, before finally assessing the portrayals of Nigerians and in particular Nigerian women in the film. This essay aims to argue that ‘District 9’ creates a world in which aspects of the past, present and possible future socio-political climate of South Africa (and other states) is presented accurately, making it a powerful artefact.
Wikus’s character is used to blur the lines between ‘whiteness’ and ‘non-whiteness’/’other’; initially, the protagonist is a typical white, South African man, but after contracting a virus due to exposure to an alien liquid, Wikus becomes a hybrid human-prawn. Prior to these events, a clear divide between white South African society and the extra-terrestrials is established. Interviews played at the opening of film mimic comments of xenophobic people – “they don’t belong here”, “at least they’re keeping them separate…” (Blomkamp, 2009). Establishing shots of the film reinforce this conflict; the MNU office is tidy and spacious with cubic shapes of desks and shelving units suggesting organisation and discipline. The slums, on the other hand, are heavily populated and built with cheap materials. The contrasting shots suggest the normalisation of the conflict between the humans and “prawns” and socio-economic differences between the two groups. However, the structure is also implied through the aerial shot of the slum area – shacks are square and divided neatly; this juxtaposition suggests that although the two locations may be home to ‘civilised’ humans and ‘uncivilised’ aliens, both communities have their own sense of social order.
Wikus’s job immediately emphasises his character as the blur between the groups; as a liaison, he is expected to travel into ‘District 9’ and communicate with the aliens. The awkward bureaucrat only holds power through his status of ‘white man’ and an MNU worker, seeing the prawns as inferior. As an MNU employee, the character essentially has the ability to save lives or cause death when it comes to the prawns through bureaucratic oppression; the combination of documents and firearms show the power of the government and the connection of violence with the law – something Wikus is heavily reliant on. Shortly after the central character and his team enter the slum, audiences witness an act of genocide - the protagonist torches a grub growth site. The brutal actions emphasise the lack of respect and empathy the humans feel toward the aliens. This view alludes to the racist gaze, perceiving ‘the other’ as monsters; this gaze is evident throughout history with racist discourse continuously presenting the object of ‘other’ as harmful to the ‘superior’ – in most cases viewed as white – race. Blomkamp’s prawns are a metaphor, with multiple interpretations being of merit. The hierarchical relationship may act as a reference to the apartheid with the racist views toward of people of colour. This is further reinforced through the historical evidence of the relocation of South Africans from District Six – the title of Blomkamp’s film purposely references this. It began with the displacement of black South Africans in 1901 before ultimately 60,000 people were removed and District Six was declared “white” (Ross, 2007). The complicated extra-terrestrial vs. human relationship may also be interpreted to show views incredibly relevant nowadays with xenophobic attitudes towards refugees and immigrants – people fearing that boundaries will be broken and the groups will merge. Both interpretations are valid and will be discussed in further detail later on in the essay.
As Wikus transitions from a character of ‘whiteness’ and social power to his place as an extra-terrestrial ‘other’, he begins to fear humans. Due to his job being so reliant on laws, the protagonist’s reaction to being treated as ‘the other’ is to demand his rights – “you are legally obliged to serve me” (Blomkamp, 2009). However, the socio-political structures in place mean that this plea is ineffective; the character is no longer seen as human and is further ostracised after a news report claims he had sexual relations with a prawn.
Ironically, Wikus is stereotypical most ‘manly’ when he has accepted that he is no longer human; the protagonist shows typical traits of masculinity with courage and determination fuelling the fast-paced final act of the film. The central character works with the prawn that caused his transformation, Christopher Johnson, the use of this relationship reinforces the view that ‘whites’ and ‘the other’ are in fact very similar. Christopher Johnson demonstrates high levels of intelligence and compassion, earning the respect of Wikus, which leads to the protagonist elevating to a hero – willing to give his life for the protection and survival of the extra-terrestrials.
One issue raised was whether using a white, male lead was for the purpose of catering to western audiences. However, the use of Wikus’s state as a white male was likely a conscious decision; as a heterosexual, middle-class, white man the protagonist is privileged and his social ranking puts him in a position of power, despite this, he is still able to be perceived as the ‘everyman’ trope, allowing audiences to empathise with him later on. As the film is a metaphor for the treatment of minorities in a state of exception, Wikus’s decline in his social status emphasises the influence of social construction in South Africa. Joo (2015, pg. 75) states that the character’s state is “crucial to understanding the process of racialization in the policing and regulation of bodies under the GWT [Global War on Terror]”. ‘District 9’ allows audiences to witness a gradual loss of whiteness and privilege and the impact that has.
Many feel the film comments on a post-apartheid South Africa; shooting in Chiawelo - a squatter camp in Soweto – aids ‘District 9’ in reinforcing the issues of poverty and inequality as leading factors in the social unrest of the country. The modernity of the time period of the film is implied through the “deliberate depiction of black South Africans in all capacities of society” (Joo, 2015, p. 73). It is suggested that humans as a collective – no matter what race – dislike the extra-terrestrials - “they must just go” (Blomkamp, 2009). Joo (2015, p. 73) states, “this blurring of the two histories, one of apartheid and the other [fictional] of alien contact, forces the question of when exactly the state of exception started in South Africa that has led to the film’s focus on the injustices of the (alien) camps.”
Other aspects of the artefact suggest the film is rooted in South African culture and history; the use of Afrikaans swearing and slang suggest so. Forced removals and the functions of MNU mirror the actions of previous organisations and ‘ghetto clean-ups’. Bureaucratic oppression was a key tool in place in order to reinforce power structures and, as it is portrayed in Blomkamp’s film, was presented as being rule of law. The discussion of what should be done with the alien community mimics that of what white South Africans believed should be done with black people in the past; forced relocations, evictions and ultimately the intent to maintain hierarchies of white superiority were evident in the past and are evident in ‘District 9’ highlighting the relevance of the discussion nowadays. The director himself, however, stated “…Johannesburg represents the future. What I think the world is going to become looks like Johannesburg." (Smith, 2009) In saying this, Blomkamp suggests that the atrocities of the apartheid are both distant and close; the apartheid may be seen as part of history but the effects are still evident today and similar socio-political tensions continue to worsen and rise.
Certain elements of the film are clearly focused on South African context and histories, with “echoes and hints calling on of the pre-apartheid era” (Walder, 2014, p.152), yet, a questionable contemporary allusion in ‘District 9’ may be that of the Nigerian (and at times general black South African) community. Some viewers interpreted Blomkamp’s portrayal of the group as racist, feeling it was a missed opportunity for a positive presentation of the culture. The Nigerians are instead suggested to be violent and obsessed with voodoo. Nevertheless, it may also be argued that this aids the verisimilitude of the film; Onanuga (2009), states “a key part of the film's success is that it invites audiences to look deeper, rather than just accept its flawed characters at face value.” The majority of groups represented in the artefact have a lack of respect and regard for the law - corrupt politicians and MNU workers, scientists torture prawns, soldiers come across as brainwashed and similar to the military thugs of the apartheid. Although upon first look the Nigerians may seem to be presented inferior, outcast with the extra-terrestrials, they too hold “power over the aliens by controlling their weapons and food supply” (Onanuga, 2009). Power struggles in slums are the reality of the South African state, therefore this portrayal adds realism, emulating the real-life problems faced.
Sexism is also highlighted as an issue in the state, ‘District 9’ features few women and none of them are in positions of influence or authority. The Nigerian women are dehumanised and exploited with their sexuality used as a tool for trading with the prawns for arms. There is little detail about their characters – they are nameless – reinforcing their objectification. Moreover, there is little reaction to the sexual encounters of women with the prawns, however, when Wikus – as a man – is rumoured to have had relations with a prawn, there is outrage. This highlights the double standards for the genders and suggests that women, particularly those living in poverty and of lower classes, are oppressed and exploited in South Africa (Lewis, 2010, p. 321).
Neill Blomkamp’s artefact ‘District 9’ provides a strong representation of the South African state through its ability to encompass multiple allegories. Through its protagonist Wikus transforming from man to prawn, the audience are encouraged to engage with the discriminatory discourse played out on screen. The socio-political decline of the character generates feelings of empathy and understanding, allowing viewers to reflect on the representation of, and possibly their own prejudices toward, ‘the other’ and the impacts. Through merging the past and present conditions of South Africa, Blomkamp gives the film a great sense of context and verisimilitude reinforcing its messages. Furthermore, the director’s choice of including multiple minority groups and characters representative of minorities, a variety of realities are portrayed highlighting the multiple levels and intricacies of social structures and hierarchy in politics.
Bibliography:
Joo, H. (2015) ‘Reluctant Heroes and Petty Tyrants: Reproducing Race in the Global War on Terror in Children of Men and District 9’ p. 61-86 Access URL: https://muse.jhu.edu/article/582673
Lewis, A. (2010). ‘District 9. Journal of Feminist Family Therapy’, 319-321. Access URL: http://www.tandfonline.com/doi/abs/10.1080/08952833.2010.526066
Onanuga, T. (2009) Guardian, ‘Why District 9 isn't racist against Nigerians’ Access URL: https://www.theguardian.com/film/filmblog/2009/sep/08/district-9-racism
Ross, M. H. (2007) ‘Cultural Contestation in Ethnic Conflict’, p. 270
Smith, D. (2009) Guardian, ‘District 9: South Africa and apartheid come to the movies’ Access URL: https://www.theguardian.com/film/2009/aug/20/district-9-south-africa-apartheid
Walder, D. (2014) ‘Hysterical nostalgia in the postcolony: From Coming Home to District 9. Consumption Markets & Culture’, p. 143-157. Access URL: http://www.tandfonline.com/doi/abs/10.1080/10253866.2013.776306