Don't be Oblivious: The Obvious Myth in Oblivion

[This post has spoilers.

Really quickly, where did Spring go? We've started the Summer Blockbuster season, and I havn't posted in over a month! Mostly because there wasn't much interesting going on. Besides the ends of several comedy TV series... ]

Okay, who though Oblivion (Universal Pictures, 2013) was going to be another weird Tom Cruise movie? I certainly did. Cruise is generally not an actor I follow, because I associate him with the 80s and 90s (and Scientology). Really that's not fair. His career doesn't have the normal dips and turns as other action movie stars; he's consistently made three star and above quality films since the start of his career, and the only year 21st century he didn't have a movie coming out was 2009, which is kind of excusable since he had two movies come out in 2008.

When I heard Oblivion was "actually really good," I was skeptical. Through a coin-toss I saw it instead of The Place Behind the Pines. Good choice. It contains a lot of New American Mythology themes and motifs. The following is a quick rundown of these. I thought the plot was fairly obvious, but if you're wanting to keep the movie's plot twists a surprise, don't continue to read, particularly the ones marked with ***. They're all kind of spoilers though.

Basically, I've highlighted how Oblivion uses the motifs in New American Mythology. The terms are not literal representations, but act more as metaphors. Brush up on the terminology by clicking on "Lexicon" above. Use this post as a way to better understand the Myth, and how it influences our culture.

Astronaut - Jack Harper, the main character, lives in isolation with his work and love partner, Victoria. He repairs drones which guard saltwater collectors. The saltwater will be converted into energy for humanity's exodus to Titan. Jack uses his high and low-tech know how to keep the drones running and protect the human race. ***We find out Jack Harper was actually an astronaut in his previous life. He and a crew were going to Titan to assess if human could live there; when their mission changes he chooses to pursue the danger alone (with Victoria) rather then put the rest of his crew in danger. Jack's final sacrifice at the movie's end, solidifies his mythological Astronaut status.

Cowboy - Jack acts directly against his orders multiple times, mostly on gut reactions. His collection of various human objects connects him to his true human self. His "lonesome" rides in the helicopter and fondness for his motorcycle are not unlike a man in the desert on a horse. 

***Zombie - Jack's previous incarnations followed orders, blindly killing off most of humanity. It sounds like they traveled in hordes, acting senselessly en mass. Victoria remains a Zombie, blindly following her programing to her demise, despite the evidence in front of her. Also, Jack dies and 'comes back to life' through Tech 52 in order to live happily ever after.

Illumination!

 

Black - Of course Morgan Freeman plays the Black god (of war)! In this narrative, Malcolm Beech leads humanity's last stand. Not only does he come up with the strategy for taking down TET, he's the one who sees Jack as the key to their salvation and shows him the Road to self-discovery. ***His death marks the end of the war, a passing of an era. With his and Jack's death, the world can be reborn.

Girl - Victoria tries to break away from the 'system' that holds her, but in the end she cannot side with Jack. She finds the small plant he gives her abhorrent, because it may ruin their chances of going to Titan with the rest of humanity. Really, it shows her lack of humanity and her assimilation into the TET's false reality.

Amazon - Julia, a 'Russian' cosmonaut, is only an Amazon when compared to Victoria. Overall she's a weak female character, but does hold important knowledge that allows Jack to free his mind, proving herself not to be a threat to Jack and superior to Victoria.

Scavs in the concept art from the unpublished (non-existent) graphic novel Oblivion was based on.
Illustration by  Andrée Wallin

 

Aliens - The Scav are Jack's main threat. They attack the drones, but without any real purpose. Victoria ponders why they would try to destroy the drones, why they would send an off-world signal, and why they are there at all. They are irrational, threatening creatures. (Or are they...?)

The West - Jack's excursions in the the wastelands gives him the freedom to explore the world around him without the rules of the Sky Tower. He can fix drones with gum, pick up curious objects, and wear a Yankee cap, all of which don't follow protocol. The potential run into the dangerous Scavs doesn't deter him from the potential of finding something new. Additionally, his (Rocky Mountain) retreat is an eden free from TET's (society's) prying eyes.

***Space - TET, which exists in space, is Jack and Victoria's source of information, their salvation (to Titan), their creation (via cloning), and their destruction (drones). On the flip side of the coin, Jack must enter TET's realm in order to save humanity, recreate himself, and destroy the threat.

***The City - TET supposedly holds most of the human race, waiting on a few techs to return before blasting off into Space. However, it turns out to be the lack of humanity rather than its salvation. TET programs Jack and Victoria to despise the past human life. Victoria especially follows TET's orders, fearing she'll lose her spot to Titan while not realizing she's lost her humanity.

Nostalgia - Jack's fascination with artifacts and history goes beyond topical interest. He collects small items and arranges them lovingly in his cottage. They remind him of the past glory of humanity, whereas Victoria sees them as radioactive remenants of war.

***The Road - After meeting Morgan Freeman's character, Jack must take a journey of self discovery. He starts out on a bike and drives to the Empire State building, where he finds his other half. He then returns to the Sky Tower, where he must destroy his past beliefs/self. Then, he goes through an hazardous journey across the radiation zone and meets his true self. This journey gives him the strength and conviction to save humanity.
 
 ***The Tower - 1) TET, a tower in the sky, supposedly awaits to deliver humanity to Titan and save all of mankind. However, we find out that it's not the salvation of mankind, but its destruction. This technological entity that Jack and Victoria believe holds the entire world has destroyed it. 2) The Empire State Building holds the key to Jack's humanity; his memories of the tower remain, and it's where his memories return to him. Before his memories return, the tower signifies the destruction of his past, and (literally) signals for its return. 3) The Sky-Tower (home-base) protects Jack and Victoria from Scavs and radiation. It's how they can live in such a hostile environment. However it also shelters them from the truth, preventing Victoria particularly from reconnecting to her original self.

At the Tower, all is made clear.

 There you go folks. Now stop saying I'm making this shit up! The terms may be outlandish, but sometimes we only notice the extremes.

Comment below!

To Infinity

AXE, the adolescent fragrance line, has taken a note from Redbull. They're sponsoring a private trip to space and using it to advertise their product line, Apollo. However, the 'astronauts' on the trip won't be some daredevil or the CEO; they're holding a competition where contestants must be up-voted. The top ten will then go to space camp, and the two that do best there will strap in and ship out to space.

Both AXE and Redbull produce products largely aimed towards males, and, arguably, towards white males. AXE, obviously, is made for males only, so it makes sense for them to only advertise to males. They do have some commercials featuring non-whites (see below), but they all give about the same message.

 

As in all AXE commercials, the spot implies that using AXE products negates women's sexual selection process, and they will all but lay down and spread their legs for you based on the scent. Effective for a teenage boy. The product supposedly allows the teenager to enter into a fictional realm of happily ever after. It will create an aura around him of sexual worthiness, much like that of the hero of myth.

The new product line, Apollo, takes it one step further. Watch this commerical:

Earlier AXE commercials merely gave ordinary boys (I will not say men) the ability to catch a sexually willing woman without any sort of effort. No clear job, no saying hello, no smile. Divine women would lower their standards for him, just because he smelt good. With the Apollo line, boys don't even have to compete with the handsome, athletic, and productive. It doesn't even the playing field, but gets rid of it with a mask of musk.

I love, love, love these commercials because they are pretty clear evidence of my theories on New American Mythology. "Nothing Beats an Astronaut ... Ever" I mean, come on, that's awesome. It reverses the 'angels fall to earth' scheme to 'we'll send yo to the heavens'. Even the tagline for the space academy competition creates a sense of epic purpose: "Leave a Man. Come back a Hero" Its so beautifully full of New American Mythology.


AXE is using the Astronaut to sell their products to teens who subscribe, subconsiously or not, to the mythology behind the archetype. The Astronaut always wins, the Astronaut is the hero. And its not a phenomenon only AXE has picked up on:

This minute-long origin story implies that all babies (read: the winning sperm) are Astronauts.  They go through an mystical epic journey launching from an eden [West] to the unknown of Space, to arrive here on Earth. How heroic.The fact that the dad 'saves the day' (obscures the truth) and turns on the CD player via voice command serves to reinforce the idea of the fictionalized world as better than reality.

That is to say, the ideas behind Mythology hold a more valuable lesson than those of science. And this is an American truth. You, small boy, were one out of a whole planet, chosen(?) to launch into space and arrive here. You are special. E pluribus unum. Because you did that, you can do so much more, like get any girl to throw herself on you, and all will be well.

Star Trek, 2009
AXE Apollo worked for resident nerd Spock.
How else would he have gotten Uhura over Kirk? Brains? psh.

 It is a much nicer thing to say than: After a lot of maturation, courting, and financial stability, your mother and I did the horizontal mambo, where one of my sperm happened to run into one of your mom's ~400 eggs at the right time, and made it through the crazy thing called gestation without any major mutations or hiccups. One day you can do that too, but only after you figure out how to make your advantages stand out more than your flaws to a woman, then convince her its a good idea to commit to you (or vice versa), and then hope that everything will not be disastrous.

The odds are against us all. We need mythology to give us some direction in our lives, to give us aspirations, to give us examples of what we could do. AXE is tapping into the mythology blurring the line of reality even more. Whoever goes up is not going to be a real astronaut, not in the sense of James Lovell or Buzz Aldrin- they won't be in charge. They will get a simulacra of an experience in which all will be real except for their actual roles as astronauts. But that's not the point. AXE isn't just offering a free ride to space; it's offering an escape from reality.

Plan B: Cosplay!
Found here.

AXE Apollo promises to the males out there that they can, in fact, become the Astronauts they see in the movies. The AXE Apollo campaign will send you to Space, to infinity. Just like Disneyland and Universal Studios, AXE Apollo Space Academy allows you, the person from reality, to enter the realm of mythology. Just a a fashion photo shoot in TeenVogue promises young girls buying such-n-such products will make you more like a 'princess'/heroine, therefore more appealing, and therefore happier, AXE Apollo promises to make boys more of a hero, more appealing, and therefore happier.

Emma Watson in TeenVogue, August 2009
The situation is a bit ridiculous, but, hey, I'm jealous.

The difference in a fashion magazine and a TV commercial, however, is very, very different. In the relevance hierarchy of New American Mythology, print media is always at the bottom AND heroic epic always trumps fairy tales.* If 'nothing beats an Astronaut', where does that leave Ms. Watson? As far as I could tell magic couldn't launch her into space, and those ponies can't pull a carriage10ft, let alone to the moon.

Advertising heroism to only men has multiple implications to both male and female psyche. However, I'll save that rant for the next post: And Beyond



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*Or not. I'm currently working out the new fairy-tale fad.

"Reach for the Sky!"

Stephen Colbert had actor Tom Hanks on his show the other day. The skit features trick-or-treaters showing off the diversity of heroic characters the actor has portrayed (while plugging Cloud Atlas where Hanks plays multiple characters). It was a fantastic example of New American Mythology on several levels. First, both the real person and the characters have become icons of American culture. Everyone recognizes the names Tom Hanks, Woody, and Forrest Gump and views them as separate icons. This is different than  Will Ferrell characters for example. People recognize Ferrell as an iconic actor, but he is not separate from his characters- instead its Ferrell as racecar driver, Ferrell as man-child, Ferrell as a news anchor. (There are exceptions of course, such as Buddy the Elf.) For Hanks, both being an icon and portraying/creating icons means he has a strong presence in New American Mythology in both the past an present.

An artwork by street artist Tom Hanksy
(as in Tom Hanks + Banksy)

Because of his pantheon of characters, Hanks' mythic presence reaches all types of people regardless of the genre preference, age, gender, and race. He appeals to everyone, allowing him to explore, perpetuate, or change New American Mythology with broader strokes than a single movie, show, or character could do on its own. People pay attention to what he does.

Which leads to the second point: Hank has the ability to influence New American Mythology's direction in the future. Hank has taken advantage of this through his recent roles which tend to convey a wholesome, positive message or somehow educate the audience. That is not to say his character in Philadelphia (Tristar Pictures, 1993) for example didn't do that. Rather, Hanks now seems to consciously create/seek roles that enlightens audience with morals or history. Specifically: Charlie Wilson's War (Universal, 2007), The Pacific* (Dreamworks SKG, HBO Films, 2010) as narrator and producer, Extremely Loud Incredibly Close* (Paramount Pictures, 2011), and Cloud Atlas* (Cloud Atlas Production Company,  2012). Of course, to fund such projects (and keep his status as mythic icons) Hanks still acts in movies like The Polar Express* (Castle Rock Entertainment, 2004) and Angels and Demons* (Columbia Pictures, 2009).

I found Polar Express to be on the edge of the uncanny valley.

Not that either category is more influential or better than the other. Take The Da Vinci Code (Columbia Pictures, 2006); A lone man (Robert Langdon) must solve a mystery to prove himself innocent, and in that process discovers the Vatican's secret. *Spoiler* The secret is that Jesus and Mary Magdalene had a daughter who would have been the 'true heir' of Christianity. Of course the patriarchal system of the Vatican found this terrible and stopped it. The movie critiques Catholicism, patriarchy, and authority as a whole while questioning the purpose of iconography that perpetuates certain ideals (i.e.Why do we revere da Vinci's deteriorating painting, Last Supper?). Larry Crowne (Universal Pictures, 2011) on the other hand is a more encouraging movie, where instead of falling into depression after losing everything, the main character seizes the day and goes back to college. A very feel good, happy movie that advises people to turn negatives into positives, but it's really not a reality shattering message.

So what does this all really mean? Tom Hanks' work reveals New American Mythology as spanning the past, present, and future on multiple fronts, influencing how Americans see and react to the world around them. The following character analysis shows that Hanks chooses roles that emphasize that all individuals can succeed, no matter what skills they have.

An Astronaut, Cowboy, and Zombie:

Forrest Gump (Paramount Pictures, 1994) - Forrest is a Zombie in the best way possible. He lacks rationality, is unthinking, acts out of compulsion, and has no real need for purpose in life. All these things of course make him a great football player, soldier, ping-pong player, and runner. His selfless nature often puts him in dangerous and inadvisable situations while his impassive personality allows him to not be governed by traditional wants and desires (i.e. money, fame, sexual conquest, etc). He is a Zombie. No arguing.

Apollo 13 (Universal Pictures, 1995) - Jim Lovell is a real figure in American History. Tom Hanks/This movie turned him into a real figure in American Mythology. Lovell is the most Astronaut of astronauts to ever grace the silver screen. He is rational, empathetic, and calm throughout the movie, despite his dangerous situation. And, of course, he placed himself in a situation (going to the moon) that he knew could go very wrong, just to better American's knowlegdge/image.

Toy Story (Pixar Animation Studios, 1995) - Woody is a not a Cowboy, but an Astronaut. He is rational, looks out for others, and willing to risk his happiness for others. The closest Woody comes to becoming a Cowboy is worrying about his position as leader of the toys when Buzz comes around. So when the doll says "Reach for the Sky!," he's not enforcing western law, but telling you to set your aims higher.

[Tom Hanks doesn't really play Cowboy characters, with perhaps the exceptions of Jimmy Dugan in A League of Their Own (Columbia Pictures Corporation, 1992), Joe Fox in You've Got Mail (Warner Bros., 1998), and Michael Sullivan in Road to Perdition* (Dreamworks SKG, 2002). This trend continues in the 21st century, unless you want to count...]

Cast Away (Twentieth Century Fox Film Corp, 2000) - Chuck Noland whose journey transforms him from a Zombie to a Cowboy and/or Astronaut. He begins as a Zombie- focusing on his job to get money, despairing at his situation, and hoping someone else saves him. Eventually he learns that he must fend for himself, fight to live, like a proper Cowboy in a purgatory West. However, one could also argue that he is an Astronaut, living in isolation and relying only on himself to survive trying to find the truth of himself in purgatory West. Even the movie's end could be argued either way- is he a Cowboy living on his instincts, going wherever the wind blows him, or is he an Astronaut journeying into the great unknown, searching for the mysterious Truth.

Shenanigans in The Terminal

The Terminal (Dreamworks SKG, 2004) - Viktor Navorski is a Brown. I wanted to include this movie, despite its relatively bad reviews to show that Hanks does not always stick to the main archetypes. Navorski not an isolated Astronaut who uses rationality to fight his situation. He is not a Cowboy who would have just busted out of there. He might be a bit of Zombie who only follows the rules, but he is a bit too compassionate, helpful, and resourceful to really fit in that archetype. Navorski, an Eastern European, has no power (politically, sexually, and seemingly socially). However, he still turns his situation into a positive experience helping his fellow man [maybe he is an Astronaut].

I could do this all day with Hank's films. I could go in depth to every one of them (especially the Toy Story franchise), but there are so many it might get boring for you.  However, feel free to leave your own observations, questions, and comments below. 

With that I'll leave you with an Astronaut Tom Hanks quote:

"I love what I do for a living, it's the greatest job in the world, but you have to survive an awful lot of attention that you don't truly deserve and you have to live up to your professional responsibilities and I'm always trying to balance that with what is really important."

----------------------------------------------------


*I have not seen these movie, so my analysis may not be correct

You Can Make a Coin Toss seem like Armageddon

" Why did football surpass baseball? Because football is perfect for the TV screen, which is actually shaped like a football field; because football is at once the most intellectual and the most brutal game in the world, in which the coaches think while the players bleed; because we love to see people knocked silly. But also, perhaps even primarily, because football mints the kind of uniquely vivid images that the Sabols could spin, over and over, into a Kip­ling poem about war." - Rich Cohen

If you're not a football fan, you probably hang around some of the 64% of Americans who watch NFL or the 200+ million who watch NCAA Football. Now, if you've been around a TV with a NFL game on,  you've noticed all the teams commemorating Steve Sabol, who died this week. Sabol apparently, made football into what we know it as today. Before it was just another sport. Sabol groomed it into a "never ending drama" (Producer Ken Rogers). Drama is the correct term, but not in the daytime television sense. Football imitates the grand epics of Beowolf and the Illiad; the narrator lauds the heroes as they enter the battle field, describing their previous victories and losses, their backgrounds, and their special gifts. The bard sings an anthem of previous heroics as the new heroes mentally prepare. Then- kickoff. The narrator continues to objectively explain the battle, postulating strategies of the generals/coaches, giving insight to warrior/player's emotions, and questioning the gods/referee's influences on the outcome.

However as Rogers said earlier, the epic in football never ends. It continues with new heroes cycling in as the old ones fall out of favor. Both college and professional football continually engage their followers- there's never a point of 'well that's settled.' Rivalries between teams, coaches, players, owners, etc deepen the drama of the games, and therefore get viewers emotionally invested in their outcomes. It's a tit-for-tat system that will never end. Such sentiments are well illustrated in this recent George Tekai post:

It's a bit silly. But football is not just a silly thing that a lot of Americans like. How many times have we heard people roll their eyes and say 'its just a bunch of guys running into people.' I was once one of those people. Then I went to a SEC school and saw thousands of people participating in this bizarre ritual every weekend.  Not two or three thousand. More like eighty thousand. And that's just people in the stadium. People go the campus and just hang-out watching TV outside. Football is a silly thing that A LOT of Americans LOVE. 

I suspect this American romance follows the same mentality I explored in my Olympics post. This group is better than that group because these few individuals are athletically and mentally superior. Unlike the Olympics however, the team is more important than the individual. Yes, quarterbacks get all the advertisements, but I'm pretty sure fans of the Carolina Panthers, Denver Broncos, or Philadelphia Eagles would not say that the teams victories and losses' rest solely on the actions of Cam Newton, Peyton Manning, or Micahel Vicks. Fans understand that victory is a group effort, and fans believe they contribute to the victories as well- they are in fact a part of the team. 

Tailgating, going to the games, watching every games, and doing weird rituals aren't just conspicuous consumption. It's a way of identifying with other people and coming together to cheer on your side. And if a fan is one of those people who doesn't hang out with other people and instead watching football alone all weekend long- he's still part of the team. No lonliness. 

It's true! Kentucky Football fans exist!

Yes, football is a fabricated Reality of rivalry. Fans are Zombies (blindly buying into/following their team, despite the odds). Players are Astronauts (sacrificing their bodily health for the entertainment/success of their fans). All so that BEARBULL (advertising and NFL ownership) can influence more of individuals' lives. But, at least it's not the City. Football gives people something to believe in (maybe, just maybe we can win), and to look forward to (there's always next season). Zombie fans coming together in this way is not a bad thing. Its one of the few times Americans actually go hang-out with each other. 

Football isn't opera or an gallery opening or a natural history exhibit, but it's where many American's find relief from their true reality. It's not a television show or movie that points out how they're not a Cowboy or Astronaut. It's a community who accepts them as long as they like the team. 

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If you want to know more about how Football became America's sport, I recommend you read this article:

They Taught American How to Watch Football by Rich Cohen at The Atlantic

On Facebook You Are Who You Are

Previously I’ve established what movies, television, novels, and other fictional media convey to American audiences. But how do such messages affect our everyday lives? We don't see people running around in spandex, using their massive amounts of money to save a dying city (that's government work). Nor do we see women blatantly transform themselves into queen b's just to prove a point. We do see individuals striving to better humanity through academics, public service, or just being nice, and we do see people change aspects of their lives to better fit in or stand out- whichever is perceived as the way to success.

Cosplay: Not just for Adults

To understand how New American Mythology affects individuals we have to survey how people present themselves to world where they present themselves. Now, you may think, oh, obviously people walking around on the street. No. When was the last time you presented all of your true self to the street corner? You don't walk around (I assume) declaring Harry Potter as the best book series, congressmen talking about rape are idiots, Shock Top is your new favorite beer, or Fantasy Football is the same as Dungeons and Dragon

These proud, albeit random, disclosures of person's personalities occur on Facebook. We present ourselves to the (Facebook) world as we truly see ourselves- unapologeticly (unless you are) redefining ourselves with each status update, 'Like,' wall post, friend request, and defriending. Despite earlier thoughts, people don't use Facebook to create idealized personas. They may censor themselves or refrain from revealing too much, but they want to create an accurate depiction of their true personality.

As opposed to The Sims, Second-Life, chatrooms, and the other anonymous corners of the world wide web, Facebook users see the website as a representation of who they are. It's the one stop shop where others can browse your traits and decide if you are worth 'Friending' and to what extent. (Should we just be FB friends or should I try to hang out with you at school?) Additionally, because Americans tend to only 'friend' people they've met in real life, their actions are accountable. For example, someone posts that they really hate Twilight. Her friends may comment and say that she does like Twilight but really doesn't like Kristin Stewart because she's jealous. Or, people won't want to be the Twilight hater's friend, because she just lied about hating Twilight because it's 'cool'. Typical drama things.


My point is, Facebook is not an avatar creator. If you're familiar with the Jungian Archetypes, Facebook is where "From the Self -the totality of the psyche- the individualized ego consciousness emerges as the individual grows up" (Jung, Man and his Symbols). That is, individuals assemble their 'whole' selves on Facebook, marrying her Shadow, Anima/Animus, and Persona to create a Self that her ego accepts as true, even as each archetype changes. Adapting and abandoning likes, thoughts, and friends allows people to in some sense physically change their Self archetype and better understand who they are as a person. What's more, other people can understand who they are as a person.

Our understanding of a person goes beyond the text: Female Interested in Males and is Married, and instead reads 'Female Interested in [really nice] Males [who enjoy the Southern lifestyle] [but there are none around so she] is ["]Married["] [to Best Friend Katie]. People post their discoveries. They post their triumphs. They post their worries. They post how they fit in. They post how they stand out. They post things they think people want to know- about themselves, factoids, politics, rants, coupons, family. The combination of these posts describe the individual, not the single elements.

We still haven't gotten to the Mythology part of this. Where are the Astronauts, Cowboys, and Zombies on Facebook? They're there, just in a more subtle way. Facebook users display what interests them. The following are fictionalized portraits sewn together from my various friends. You have to keep in mind these are personas because I'm making them up. I've tried to make them as believable/accurate as possible.

The Cowboy:

Perhaps he likes hunting, the TV show Weeds, he quotes Boondock Saints, and the last book he read was The Watchmen.  Him and his bros pose for their pictures with calculated aloofness. He brags about all the girls he met at the club tonight. His photo albums are full of all the 'edgy' things he does- going to house parties, jumping off cliffs, graffiti he saw, and him chillaxin'. His comments skirt towards offensive, but it just shows how witty and free from conformity he is. The profile picture- him and his mutt chillin' with a beer in his dirty backyard.

The Astronaut:

On the Astronaut's profile page is all the beneficial and exciting things the Astronaut does. Her 'job' may be Volunteer at the food bank. She quotes Ghandi, Planet Earth is is favorite TV show, and he reads books like Lost Horizon. Her photos are of exotic places,  on a service trip, or running a marathon. Her Wall is covered with links to interesting facts, news clips, and exciting internet finds. She comments on controversial topics, but in an enlightened way that shows her intelligence. She and her pound puppy snuggle in his apartment to make a cute profile picture.



The Zombie:

Likes The Office, True Blood, Adventuretime, Glee, The Hangover II, Brave, 300, Gone With the Wind, 50 Shades of Grey, The Black Eyed Peas, The Beatles, the Clash, and a plethora of other media. Her photos are of the latest product she bought, dinner she ate, or hairstyle. She updates her page with comments on the latest episode of Jersey Shore or complaint going around town. Her photo shows the cute new sweater she purchased for her cute white dog.

Not Mine.

Again, these are not real profiles. In fact someone who likes to chillax with his buds may also like The Hangover II. Someone who runs marathons may also  like to show off her hairstyle. Someone who has a cute white dog might also go to house parties. How the person presents these aspects of their life determines which archetype they subscribe too. Focusing on products and material possessions is a trait of Zombies, whereas the Astronaut focuses on actions and effects, and the Cowboy on whatever is on the mind.

Another way of putting it:
Astronaut strives to better the 'collective consciousness' using their ego
Cowboy considers the 'collective consciousness' but follows their ego
Zombie mimics the 'collective consciousness' in their ego.

Also, I want to state that the Zombie profiles are not necessarily bad things, as it may come off as in the post. As mentioned earlier, Profiles reflect the individual's changing Self, and going through a phase where one relies on the Persona (of the collective consciousness) is common. If it wasn't, there would be far fewer psychologists, psychiatrists, counselors, and happy pills.

Public Radio, Money, and an Astronaut

Three words that don't seem to go together.

That is, until this:

Ran across it while looking for a story on npr.org. Planet Money is a blog and radio show featured on the NPR website and stations.

Recently, they recorded a segment called "What the Apollo Astronauts did for Health Insurance," centered around Neil Armstrong's financial worries.

I don't know if they created this banner in honor of Armstrong, but it is one of many Astronauts floating around in cyber-space and other media.

Start Consuming Today

Another appearance by our Astronaut archetype in advertising. Hulu wants you to know that they're innovative and Good. Funnily enough, the "See what's new" video doesn't utilize the Astronaut theme any more, but instead shows off how they're features can make you a Zombie (perhaps visually expressed in the chubbiness of the Astronaut). The tagline is "Start exploring today," and it makes (over) use of the words "explore" and "discover".  It seems to me all 'new' features combine aspects of YouTube and Apple products, with the notable exception of the 10 second rewind which is new. And probably useful. The rest of the ad explains how the new Hulu will make making choices easier and faster. So that you can stare at the screen like the mouth-breathing consumer you are.

Now let me return to watching my show!!! 

To me, you are perfect, and I love you very much. God bless you, God bless America.

Meryl Streep heard Jack Nicholas say the words of this post's title when she won the 2004 AFI Life Achievement Award. Most people I suspect agree with his sentiments. The actress has been nominated for 17 Oscars and 26 Golden Globes. She won 3 of those Oscars, which only four other actors have done (Katherine Hepburn, earning one more than that, has the most). Not only is she the most nominated performer at the Golden Globes, she is also the most awarded with 8 on her shelves. Plus so much more. Dr. Streep reigns as America's greatest actress. No arguing.

I wanted to investigate her career more to figure out if there was another feminine archetype other than Girl. The works I've chosen only include her recent films (New American Mythology), and I've avoided the more obscure movies. Now, I havn't seen all these so feel free to point out my short-comings.

The Hours (Paramount, 2002), Clarissa Vaughn

Girl - This complex movie is essentially about Girl archetypes desperately trying to define happiness (and along with it independance). Clarissa Vaughn struggles with the emotions she has for her dying friend Richard, even though she is a lesbian in a committed relationship. This makes her a Girl because even though she has the sexual freedom to choose her lover and other liberties, her life is not 'happy' but filled with anxiety. 

The Manchurian Candidate (Paramount, 2004), Eleanor Shaw

Cowboy (in The City) - An apparently disappointing remake of a 1962 film, The Manchurian Candidate is a conspiracy movie with Denzel Washington, Leiv Shreiber, and Meryl Streep. Streep's character has a total disregard of ethics, but still believes in America's potential. She uses other people for her own beliefs and gains without consideration of the others' lives. Hence a Cowboy.

The Devil Wears Prada (Twentieth Century Fox, 2006) Miranda Priestly

Cowboy -  Streep plays a influential executive of a fashion magazine. Andrea Sachs, the main character, along with most people in the movie perceive Miranda Priestly as cold and ruthless. Miranda does not care for others' emotions or aspirations, nor does sugar coat the truth. These ways have gotten her to the top of her business, but they have isolated her. In fact if she was a bit nicer and helped other people she could be a Astronaut. But that wouldn't make much of an adversary for our Girl heroine Andy.

Lions for Lambs (MGM, 2007), Janine Roth 

Girl (or Astronaut) - Streep plays a journalist who is told of a new government strategy to win the wars in the Middle East. She disagrees with the stratify, seeing it as political ploy. The scene here is after she knows the whole plan. The ethical implications of publicizing the story give Roth pause. She must choose to follow The Man's orders and spread the information as propaganda, or she can report the facts as a political manipulation of the military. The movie ends without revealing Roth's actions, but the story is presented in a positive (propagandic) light. We can suppose Roth decided not to fight back, seeing the repercussions a too great, and gave the story up. This would mean she's a Girl. Alternatively, if she decided to quit and get the 'true' story out on her own, sacrificing her security for the greater good. This would make her an Astronaut. But the story does come out, so more than likely, Girl.

Mamma Mia! (Universal Pictures, 2008), Donna

Cowboy? - This one is tough. The shenanigans in Mama Mia! actually aren't an epic story, but a fairy tale strung together with song. It's fun and quirky, but what is Donna? My initial reaction was to label her as a Girl, but she isn't struggling against The Man nor is she very conflicted. Well, her conflicts are inner emotional ones not ones that make her choose between having children or a career. She doesn't 'need' a man but she wants one.  Can I call her a CowGirl? Is that fair? 

Doubt (Miramax, 2008),  Sister Aloysius Beauvier

Zombie - Sister Beauvier is perfectly content in the Church's structure. So much so that she blindly follows the rules and acts only when she feels those rules have been violated. She does not struggle to live within the parish, nor does she live for her own success (that's why she's a nun). The Sister's strong beliefs eventually cause her to disregard the rules without any reason other than her intuition. So even though she's not trying to munch on the Pastor's leg, she 'eats away' at his resolve and reputation because her instincts tell her to.

 Julie & Julia (Columbia Pictures, 2009), Julia Child

Astronaut - Streep lent her talents to portray the heroic figure of Julia Child. The movie/Streep portrays Julia as a strong-willed woman not trying to fit into French culture, but instead embracing whatever circumstances she was in and making the absolute best of them. The chef had the gumption to follow her own interests, and the passion to share them with the world. She believed the knowledge of French Cooking could better the lives of cooks and eaters everywhere. Not only did she write a book, but she had a show on public television. She took American cuisine out of The City and into Space!! Bon Appetite!  [Julie on the other hand is quite obviously a Girl that happened to get lucky and got a book published. That part of the movie is actually quite dull.]

It's Complicated (Universal Pictures, 2009), Jane Adler

Girl - Jane Adler, a divorced woman, thinks life is finally going to straighten out and make sense when ! Complications arise! She's got two guys vying for her love, one of which she already made commitments to. She follows the path infront of her, but not without hesitation. Jane even confronts her therapist about the ethical implications of carrying out an affair with her ex-husband (making her non-Zombie). Eventually, she realizes she doesn't want her ex/past, but a new life. Her reluctance to say no to her ex makes her a Girl (not fighting The Man), as well as the complications and anxieties that brings about.

The Iron Lady (Film4, 2011)Margaret Thatcher 

Astronaut/Girl - This movie occupies an awkward spot in New American Mythology; it's a movie about a recent-ish British icon. Phyllidia Lloyd couldn't seem to decide between a biopic that focused on Margaret Thatcher's private or public life. If it had focused on the public life, she could have been an Astronaut or Cowboy (or the British version). The movie portrayed Thatcher's private life in a way that could have been Astronaut or Girl. Meryl Streep pulls both off well, which is why she won an Oscar for the role, but unlike Julie & Julia the director/editor/producers whoever couldn't pull off the dual storylines. It ends up being a stunning Streep performance in a mess of a movie that doesn't quite enlighten us on this public figure.

Hope Springs (Management 360, 2012), Kay

Girl - I havn't read or heard too much about Hope Springs. The Girl label here is just a conjecture.  Anyone watch this movie and want to have some input? Or how about the other movies? Leave a comment below.

I don't see any additional archetypes really in just Meryl Streep's characters. Maybe as I investigate New American Mythology further I'll find a neater title for characters like Donna in Mama Mia! or Margaret Thatcher. Please don't confuse these analysis of characters as an critique on Meryl Streep; clearly she can embody any of the archetypes flawlessly even when the directors don't know what they're doing. I think she's a self-possessed and kind lady. Even trying to poke fun at her makes you look foolish. So, in my book Dr. Streep reigns as Queen.

[Note: I left out Angels in America because I havn't seen it since it came out. The mini-series is too complex to analyze from clips on the internet. It wasn't that I was trying to downplay the importance or influence of the series, it was just that I knew I couldn't do it justice. Sorry.]

When you give an Astronaut a Chewy Bar...

What do we have here?

Fiber one is utilizing one of the archetypes to sell deliciously healthy Fiber One Chewy Bars. The terrible 'Mamagus' Alien has captured an Astronaut and won't release him until he eats a snack!! The terror!!!!! The Alien in the case only appears irrational to the Astronaut (WHY?! WHY MUST I SNACK!?!). Only when the kid tastes the snack and sees for himself that it's tasty does the Alien disappear and revert to being a normal human being (aka Mom). The Astronaut, however, stays in character.

Coincidence? Perhaps. But snack buyers everywhere will note the Astronaut's new discovery.

The Dark Knight & Monomyth

***Moderate Spoilers***

Christopher Nolan's recently wrote about his highly successful Batman Trilogy:

"People ask if we’d always planned a trilogy. This is like being asked whether you had planned on growing up, getting married, having kids. The answer is complicated. When David and I first started cracking open Bruce’s story, we flirted with what might come after, then backed away, not wanting to look too deep into the future. I didn’t want to know everything that Bruce couldn’t; I wanted to live it with him."

As humble and idylic as the statement may be, it also shows Nolan's dream behind his Batman. Like Lucas and Star Wars, Nolan set out to make a great story without hesitation or compromise. They both realized that the true hero's journey does not simply end after his introduction. Their vision extended beyond their first movie, which they knew had to be good enough to allow for the hero's journey to continue and endure through time. The Batman trilogy is not merely a 1.6 million dollar (and growing) success. It successfully utilized the Myth to capture 21st Century America's hopes, fears, and beliefs.

I recommend you brush up on Joseph Campbell, author of A Hero of a Thousand Faces. His scholarship revealed the power and purpose of myth. Namely, the monomyth in which "A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man" shows us the essential story-line that all of humankind's Epic Heroes follow. If your interest delve into anthropology, sociology, psychology, mythology, or philosophy, I strongly recommend you read or watch Campbell's work.

Hollywood utilizes the monomyth in most of its productions. The Dark Knight trilogy just happens to be an exemplar example of it. I've broken down each film, and then the series so you can better see how movies are in fact mythical stories. (I'm not making this up.) If you get confused, at least read the Wikipedia page.

Now, there are several variations of the Hero's Journey, but Nolan's Dark Knight Trilogy follows Campbell's quite distinctly. Here (via wikipedia) is how Campbell broke the monomyth down:

Via Wikiapedia.

1. Departure 
1. The Call to Adventure 
2. Refusal of the Call 
3. Supernatural Aid 
4. The Crossing of the First Threshold 
5. Belly of The Whale 
2. Initiation 
1. The Road of Trials 
2. The Meeting With the Goddess 
3. Woman as Temptress 
4. Atonement with the Father 
5. Apotheosis 
6. The Ultimate Boon 
3. Return 
1. Refusal of the Return 
2. The Magic Flight 
3. Rescue from Without 
4. The Crossing of the Return Threshold 
5. Master of Two Worlds 
6. Freedom to Live

Now lets break down the Dark Knight Trilogy into plot points

Ra's Al Ghul tests Bruce Wayne's moral fiber in Batman Begins (2005)

Batman Begins

1. Act I 
1. Bruce Wayne has gone to wander the globe, 
2. and is currently in a prison. 
3. He meets Henri Ducard, who frees him and tells him to journey 
4. withe a blue flower up a mountain where 
5. The League of Shadows is located
2. Act II
1. Ducard proceeds to train Wayne is mental and physical combat. 
2. At his Final Test, Wayne is exposed to Blue Smoke
3. that distorts his senses, making his worst fears come to life. (Falling in the cave with bats)
4. Bruce overcomes this fear (Father saving him from the cave with bats)
5. but refuses to kill a prisoner, or even Ducard, which
6. means he retains his humanity but also has superpowers
3. Act III
1. But he does not return to Gotham as the enlightened Bruce Wayne,
2. and instead assumes the Batman persona and fights crime
3. with the help of Lucius Fox, the grounding of Alfred, information of Commissioner Gordon, and the insight of Rachel Dawes.
4. Only now is Batman able to fight Gotham's terrible underworld
5. Which defeats both crime bosses and the Scarecrow
6. So that Gotham is a little more safe. 

The Dark Knight

The Joker tests Batman's morality in The Dark Knight (2008)

The Rise of the Villian (The Fall of the Hero)

1. Act I 
1. A Clown Robs a Bank 
2. but won't join the mobsters 
3. and does not conform to rules 
4. (Harvey Dent Takes Rachel on a date) 
5. (Batman leaves Gotham to capture Lau) 
2. Act II 
1. Joker demands Batman reveal his true identity, starts to crash parties, etc 
2. ( Rachel tells Bruce that revealing himself as Batman won't stop joker and will destroy any possibility of them being together ) 
3. (Rachel rejects Bruce because he is Batman and he cannot think of her as his only way to a normal life.) 
4. Joker refuses to cooperate, and actually gets the upperhand 
5. by reavaling to Batman that he must choose between Dent or Rachel [Masculine/Feminine, The Mask/Normalcy, Compromise/Truth, Justice/Love, Public/Private, and a plothora of opposing adjectives] 
6. Harvey Dent is saved, Rachel Dies 
3. Act III 
1. (Harvey Dent becomes disillusion and ) 
2. ( assumes the Two-Face identity.) 
3. (Gotham will not be rescued by Harvey Dent) 
4. Joker reveals Batman has failed to save Harvey Dent 
5. and that good can be corrupted. 
6. Batman becomes a villian in Gotham's Eyes while living alone.

The Dark Knight Rises

Bruce Wayne tests himself/Batman in The Dark Knight Rises (2012)

1. Act I
1. Selina (Catwoman) robs Bruce Wayne 
2.  Bruce hasn't left the Manor for years (?) and has nothing to live for 
3. John Blake reveals he knows Bruce is Batman, and explains Gotham Needs Batman 
4. Bruce tells Alfred to investigate Bane, meets with Fox, and visits Gordon 
5. Bruce pursues Selina. 
2. Initiation 
1. Bruce must try to unravel the Bane mystery as well as get his company back in order, 
2. which includes meeting with Miranda-
3. giving her control of the company (and sleeping with her). Also, he asks Catwoman for help to find Bane. 
4. Fights Bane 
5. Arrives at the Prison 
6. Realizes he must accept death as a possibility in order to accomplish his goals. 
3. Return 
1. [Refusal of the Return doesn't happen, but you might be able to call Bruce's refusal of the rope as a refusing the possibility of failure without death] 
2. Bruce escapes the prison and returns to Gotham 
3. Batman returns (from the without) to Rescue Fox, Gordon, Selina, Miranda, and the rest of Gotham. 
4. Batman saves Gotham not by returning the reactor to the power plant(?) (normalcy) but by sacrificing himself [Astronaut] 
5. Batman becomes a legend in Gotham, an icon who is respected and remembered (and lives on). Bruce Wayne actually.... 
6. ... gets to live a normal life with someone who loves him. 

Now if that doesn't explain it take this:

1. Batman Begins [Pledge]
1. Bruce Wayne is adventuring
2. But finds himself just fighting criminals
3. Meets Ra's Al Ghul 
4. Returns to Gotham, finds fun tools to help him
5. Becomes Batman
2. The Dark Knight [Turn]
1. Gotham still isn't clean, and Bruce might want a normal life
2. Rachel says she likes him, 
3. but will be with him only if he gives up Batman
4. Joker Says Batman must choose between Harvey Dent (Public) or Rachel Dawes (Personal)
5. Rachel dies and Dent becomes psychotic/ Two Face
6. Gotham becomes safe/crime-free
3. The Dark Knight Rises [Prestige] 
1. Bruce doesn't want to be Batman anymore
2. Returning as Batman, savior, finding his true self again.
3. Loses his fear of dying (as both Bruce Wayne and Batman)
4. Escapes the Prison, Returns to Gotham, Dies
5. Batman becomes a living legend, Bruce is
6. Free to live like he wants

["The first part is called the pledge, the magician shows you something ordinary. The second act is called the turn, the magician takes the ordinary something and makes it into something extraordinary. But you wouldn't clap yet, because making something disappear isn't enough. You have to bring it BACK. Now you're looking for the secret. But you won't find it because of course, you're not really looking. You don't really want to work it out. You want to be fooled." - Cutter from The Prestige (Touchstone Pictures, 2006, Director: Christopher Nolan)]

He told you what was going to happen!!
The Prestige (Touchstone Pictures, 2006)

I encourage you to look for the 'Hero Epic Cycle' in any narratives you happen to watch. Remember that each aspect can be emphasize or emphasize according to the director's wishes. Also, Epics are not the same as folk/fairy tales (pg. 21 onward of Hero of a Thousand Faces). Let me know what you think. 

The Amazing Spider Man - Analysis

If you havn't seen The Amazing Spider-Man (Columbia Pictures, 2012) don't read this yet! Or do, and just know there are spoilers. The mythos in this version of Spider-Man capture our times so well and perfectly. The characters and plot deviate so little from the mythos that it's almost boring. But it's such a simple perfect telling of a myth that Spider-Man may be my new favourite superhero.

Spidey doing a nice Black Widow pose.

First we must address a few things. Spider-Man is a teenager. Therefore, this is a teenager movie and has some elements that appeal to some more than others. Mainly, the angst, the awkwardness, and the girlfriend. I like these things, they make me squeel a bit, but they're not the only reasons I liked the movie. Nor is Andrew Garfield's attractiveness. The movie didn't have the best editing, script, sound, pace, etc especially for a reboot. What it did have was a perfect example of American Mythology that explained who we should be aspire to be and why, with minimal exclusion. I'll have short little sections on individual themes.

wtf does that mean???

Origin Story

The movie starts with Peter playing hide & seek with his father- metaphorically, he searches for his origin, for the truth of his past. He does not find what he's looking for, but instead discovers mystery that changes his life. Fast forward a few years and repeat. The truth he's looking for: reason for his father's death; the mystery: spider bite. Why is this important and not just angst? For the same reason that America likes to watch any origin story.
As a 'fatherless' nation, America doesn't have much of a past to look to for guidance. When we do return to the Founding Fathers, we see them as contradictory and just as unsure as we are today. The few myths we have of them don't offer much in the way of counsel or advice. If we ever chop down a tree, we'll be sure to admit that we did it. But is there a (allegorical) reason for us to chop down a tree? Does it have to be a cherry tree? What? Not useful. Although some choose to follow the nostalgic path, others found the mystery of What are our Myths? These individuals of course are filmmakers. As the weavers of our myths they hold the power to reinvent the American story as many times as they can. Peter Parker/Americans, or any hero in an origin story, sets out to understand his/America's past, but instead finds questions about the present that only he can answer. (I'm not sure that makes sense to you. I hope it does.)

Character Archetypes

The movie had pretty straight-forward archetypes that reflected their individual values. Very simple, very clear-cut; perfect for a true teenager film. 

The most important difference between this
and McGuire's Spidey: Geekery

Peter Parker the Girl
Peter Parker starts out as a Girl archetype. He's perfectly capable (smart, athletic, artistic, brave, and handsome) but somehow does not fit in and manages to screw things up. Even after getting his powers, he cannot verbally express himself to Gwen. He feels lost and alone, and has lost of angst about not having father(s). When Uncle Ben dies, Peter's need for vengeance (overcoming The Man) inhibits Peter from living up to his power's true potential. Capt. Stacy calls Spider Man an anarchist who isn't really helping the police, but screwing up their operations. Typical Girl archetype behavior. It's not until Spider-Man saves the civilian boy that Peter becomes an Astronaut.

Spider-Man the Astronaut
Peter finally understands his Uncle's/Fathers philosophy of 'With power there is Responsibility not Choice' (or the 2002 version "With great power comes great responsibility," which happens to be a variation of an Franklin Roosevelt quote. Coincidence? I think not.) He abandons his personal quest of avenging his Uncle, and instead uses his powers to help people in the City. This subtle shift in action makes all the difference. Revenge is a loss of the belief in the judicial system (humanity). Helping people, obviously, is the opposite- faith in humanity.

Other characteristics color Spider-Man as Astronaut as well. Peter Parker lives in isolation. Not physical, but emotional. He has no father-figure in his life- Richard Parker, Uncle Ben, Dr. Connors, and even Capt. Stacy all die, leaving Peter to live without masculine guidance. He currently lives in a world where he's the only super-hero, so he converse with individuals who also have super-troubles. Despite the loneliness, Spider-Man acknowledges the importance of people.

Peter Parker's intelligence combine with his curiosity to demonstrate the Astronaut's quest for knowledge. Peter works with Dr. Connors to understand why he got his super-powers and to find a way to cure genetic conditions. He also invents a technological, not biological, way to get around town. Rather than owing all his super-powers to a spider bite, this Spider-Man uses his own smarts to create a webslinger. Finally, Spider-Man explores his capabilities to find a wide range of techniques to move around the city and combat bad guys. Overall: he's into learning new things and helping out people.

The Lizard, the Zombie
The villain in The Amazing Spider-Man starts as friendly Dr. Curt Connors- he gives internships to high school students and wants cure the incurable. These ideals quickly disappear once he starts messing around with those cross-genetics. Unlike Astronaut Peter, Connors cannot tolerate his isolation (one armed man) and which drives him to test the reptile serum on himself. Unfortunately, it takes over his mind and turns him into The Lizard- typical mad scientist type of stuff: drunk with power, doesn't want to be an outcast, everyone should be like him, etc.The Lizard has two objectives: Kill Spider-Man and make everyone into a Lizard. He just decides this, no real reason and he proceeds to do so without much of a plan. Any rationality that Connors had disappears and he only obeys The Lizard's desires (self-preservation and procreation).  

Gwen Stacy: NOT a Girl! 
Not much of any archetype really. But unlike her predecessor Mary Jane, Gwen is a put together young woman that has a bright future. She's thoughtful and fearless. Spider-Man doesn't even save her. Yes, he throws her our the window, but she could have run-away herself. I wish they had played up her character more, Gwen has Amazing hero potential herself.

Rajit Ratha the Brown
Not much to say about Rajit either, since his role was shrouded in mystery and he just seemed to disappear after falling off the bridge. He is the Brown archetype however. Although he seems menacing, ultimately he has no power and does not have any direct effect on the world. He works under someone (Mr. Osborn?) and doesn't have any sort of skills.

It's worth mentioning that Uncle Ben is Black. "Hell, I stopped helping you with your homework at 10" but he also has a hell of a lot of good advice.

I swear this was the only picture I could find with the mask not on him but in the photo.

The Mask
I have a personal obsession with masks, so I was pleased to see The Amazing Spider-Man used it as a motif. Peter uses the mask to first hide his identity from the street thugs. He comes up with the idea when he lands in a lucha libre arena, and sees the iconic masks on posters labeled "cruzado de la noche." Although it's not the most agressive attempt to include Latin Americans in American myth, it is an attempt. An icon in itself, the lucha mask inspires Peter to embrace not just his super-powers but a heroic persona. [Compare to Capt. America who wears his mask for maybe 8 minutes in The Avengers. Other superhero who utilizes his mask-persona: Iron Man, Batman]

Spider-Man loses his mask three times (?) in the movie. First, he takes it off when trying to save a young boy. Revealing himself to the youngster, Peter says "See, I'm just a normal guy." He gives the mask to the boy, and then tells the boy to wear it so he too can have super powers. You see the connection here? Lonely, scared boy, finds a mask and finds a power within himself. See Origins above. Or here. By saving the boy Spider-Man also gains the trust of the craneworker (Black archetype), who later helps Spider-Man defeat The Lizard. It's all cyclical.

The second time Spidey loses his mask is when the police take it off him. His idenity isn't revealed until Peter himself shows Capt. Stacy. Peter does this to again gain the trust of an individual and prove that he is not a threat but a 'normal guy.' Spider-Man loses his mask for the third time during the final battle with The Lizard. Dying Capt. Stacy hands it back to Peter, saying "you're gonna need this." The persona, embodied by the mask, is important to the success of Spider-Man. Christopher Nolan's Batman Begins (2005) actually explains this concept much better.

The Tower 

This isn't so much a motif in The Amazing Spider-Man as it is a motif in general movies. Since 9/11 Americans have, understandably, become quite sensitive to attacks the utilize the literal structure of our society. Skyscrapers, a long time symbol of American innovation and ingenuity, have become a battle ground at which heroes defend American beliefs. Spider-Man prevents his fellow American from losing faith in humanity on top of the tower, implying we should innovation and ingenuity to help humanity, not to forcibly "better" it. [Not the same message in The Avengers.]

 Although The Amazing Spider-Man may be historically inaccurate to the comics, the character may live in an angsty teenager world, and the reboot may be a bit premature (like Peter (joke)), I hope this analysis has you see past those flaws and view its mythological aspects a little more clearly. Please let me know your opinions on the mythos of the movie or on my analysis in the comments below.