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!

And Beyond

In the previous post I discussed AXE's new advertising campaign which utilizes the Astronaut archetype to sell their new product. Essentially, AXE promises that their product will transport the consumer from the real world to the land of mythology, where anything can happen. This is the basis for pretty much all advertising: a Subaru will bring you love; eating McDonald's shows intelligence; drinking Budweiser makes you a part of something greater. These are all things that happen in the hero's journey. I.E. At the end of the quest, Mario gets Princess Peach, Desmond learns the way to the Truth, and, well, Call of Duty soldiers cheer that they survived.

All the heroes go through amazing journeys to accomplish amazing things. They move and shake the world to protect and better it, allowing them to gain happiness, success, and immortality. Society takes note of their actions, and emulate them however they can in the real world. No, they're not literally shooting up the whole plantation house, but they're standing up for themselves and demanding change. Now, most of these heroic acts, whether through buying products, playing a video game character, or watching them in a TV show or movie, are performed by male heroes.

At the end of his Astronaut journey, Pi finds unshakable Faith
Life of Pi, Fox 2000 Pictures, 2012

 I have already gone over the implications of hyper-masculine heroes, as well as the exclusion of girls from movie culture. This post is not an argument for more heroines, but one that explores the implications of male archetypes as a heroes/role models for females. Not in the Freudian sense, which where the male hero would be a father-figure type that she would find sexual attraction to. (After all the friend-zone actually exists.) Is it so hard to conceive a woman identifying with Capt. Jack Sparrow, Batman, or even Simba? Just because society says that Hollywood stars are sexy doesn't mean that women can't learn from their characters' struggles.

Let's take Capt. Jack Sparrow in Pirates of the Caribbean: Curse of the Black Pearl. This Cowboy wants to be free, independent, and rich (in rum), and is very adamant about maintaining these characteristics. On the other hand, Elizabeth Swan, the female protaganist, starts out as a fairly demure dame, who seems rather resigned to marry the stuffy British Navy(?) guy. It's not until she's kidnapped by Sparrow that her heroic attributes appear; she's emulates her captor in order to escape him, and become her own free, independent, and rich (in love) person. So, even if the female viewer is looking to Swan for guidance, she's really looking to Sparrow.

Now, we have a young woman using the techniques of her male heroes in order to get what she wants in life: a free, independent, and rich. She's not above bending the rules, not telling the whole truth, or or drinking her fair share of liquid courage. I mean, that's what Capt. Sparrow did, and perhaps she wants to continue living out her bachelor-ette life in frivolity and fun.

 

Elizabeth Swann manipulates Capt. Jack Sparrow using her sexuality. and targeting his weakness (for rum).

In this clever and piratesque act, she gains control of the rum stash, and proceeds to burn it, thereby saving herself (and the Capt.)

Pirates of the Caribbean: Curse of the Black Pearl, Walt Disney Pictures, 2003  

People, however, don't expect that out of a woman. After all Swan ends up sacrificing this, that, or the other thing in order to be with her have a true love (and a baby). It's the the fairy-tale status-quo happy ending for heroines: meet guy, fall in love, have baby, the end. Meanwhile, Sparrow (and Turner) gets to trapeze the seas and continue to pursue his dream of immortality, as in never ending. American myth/society expects women to eventually end up in the domestic role, never mind what the woman actually wants for herself. We can argue that the women have a biological desire to have children, or just concede that its a sociological pressure.

A Pirate-Woman's Bliss: Where you get to raise a child on your own and see your immortal husband every 10 years.
Puts another twist on Sparrow's "Now Bring me that horizon"
 (Pirates of the Caribbean: At World's End, after credits scene, 2007)

A 'tomboy' attitude is acceptable to a point; wanting to be a leader, express your opinions, acknowledging a sex-drive, and (heaven forbid) being independent don't sound like inherently bad things for a woman, but when put into action people become off-put. Whether they be the woman's coworker, boss, love interest, or stranger, the masculine personality clashes with expectations and causes friction. Some people reading this are thinking, 'not at all, sounds like an awesome woman to me.' Which is true, but is it because the standard is different for women than it is for men. Exceeding expectations is nice, but that is not the same as being judged differently because people don't expect you to succeed? Do you expect this woman to obtain her happiness, which may or may not include becoming mother or other 'domestic' role?

No one believes in the true female-hero. As Anne-Marie Slaughter discussed in her article Why Women Still Can't Have It All last year, everyone has an opinion about what a woman ought to do in order to be 'feminist', 'proper', or 'realistic'. A man moving in with his girlfriend is considered manly and making a commitment.* Society congratulates him on becoming an adult. Meanwhile the woman is seen as giving up on a career and resigning to a life of homemaking OR as a floozy who can't keep up appearances OR as a poor decision because romance isn't real. A no win situation. A Girl's situation.

I could write a whole post about how Merida didn't fulfill all our expectations.
Brave, Walt Disney Pictures, Pixar Animation Studios, 2012

So while AXE encourages young males to blast into space and enter the world of mythology, young women look on with contempt, while celebrating the woman who will be an iconoclast. She won't be a woman who became an Astronaut hero. Her own aspirations of as an individual will be eclipsed by the larger message. She'll be a woman who infiltrated the male hierarchy, who exceeded the expectations that society put on her.

I don't want readers to get the wrong idea. I support women's rights, promoting gender equality, and showing off its amazing women heroes. What I mean by this post is, women are not seen as equal to men. Even with a male mindset, females have to battle against society's conventions. Society (as a generalization) does not think women capable of residing in the land of mythology. It's a reality that can't be escaped: Women who emulate their masculine heroes may go 'beyond' expectations, but still fall short of reaching infinity.



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* Yes this is a generalized statement. But when was the last time you heard a man criticized for moving in with his girlfriend because 'he needed to go to college' or 'Was being immoral'? I would be a lot less times than if they were directed towards a woman. Please tell me if you think this is unfair. I don't but, hey, maybe I'm a feminist bee.

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.]

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.