Tuesday, December 16, 2014

Posted by: kissmywonderwoman on 15 December 2014 Source: hellotailor
awakeforyears: It’s no coincidence that the central survivors at the end of the film aren’t tough white male patriarchs like Wilford or Curtis, but are Yona and Timmy: the polar opposites of the ruling classes who took charge of the train 17 years ago. Curtis is simultaneously a messianic cliche and a takedown of white saviour heroes, because the most important thing he does in the end is kill himself in order to save future generations from more of the same old bullshit. He is a product of the train — in fact, the film makes sure to point out that Curtis can’t remember life before he was onboard — and as a result, he’s an asshole. He’s a brutal killer, and he has no qualms about meting out petty punishments like making Mason eat a cockroach bar while everyone else has sushi. The difference is that unlike Wilford and Gilliam, he recognises that he’s been corrupted by his surroundings. His drive for vengeance and power is the tool that frees people who otherwise might never have escaped: Yona and Timmy, the two great innocents of the movie. But if he’d survived as well, he probably would have turned into another Wilford.  — The fascinating dystopia of SNOWPIERCER. it is so important to me that a korean girl and a little black boy are the final survivors and representation of the innocent in this film - Yona in a fashion that isn’t fetishizing or infantilizing or robbing her of agency, Timmy at all in defiance of society robbing black children of their childhood by assuming that they have no innocence at all and aren’t worth protecting
awakeforyears: It’s no coincidence that the central survivors at the end of the film aren’t tough white male patriarchs like Wilford or Curtis, but are Yona and Timmy: the polar opposites of the ruling classes who took charge of the train 17 years ago. Curtis is simultaneously a messianic cliche and a takedown of white saviour heroes, because the most important thing he does in the end is kill himself in order to save future generations from more of the same old bullshit. He is a product of the train — in fact, the film makes sure to point out that Curtis can’t remember life before he was onboard — and as a result, he’s an asshole. He’s a brutal killer, and he has no qualms about meting out petty punishments like making Mason eat a cockroach bar while everyone else has sushi. The difference is that unlike Wilford and Gilliam, he recognises that he’s been corrupted by his surroundings. His drive for vengeance and power is the tool that frees people who otherwise might never have escaped: Yona and Timmy, the two great innocents of the movie. But if he’d survived as well, he probably would have turned into another Wilford.  — The fascinating dystopia of SNOWPIERCER. it is so important to me that a korean girl and a little black boy are the final survivors and representation of the innocent in this film - Yona in a fashion that isn’t fetishizing or infantilizing or robbing her of agency, Timmy at all in defiance of society robbing black children of their childhood by assuming that they have no innocence at all and aren’t worth protecting
awakeforyears:
It’s no coincidence that the central survivors at the end of the film aren’t tough white male patriarchs like Wilford or Curtis, but are Yona and Timmy: the polar opposites of the ruling classes who took charge of the train 17 years ago. Curtis is simultaneously a messianic cliche and a takedown of white saviour heroes, because the most important thing he does in the end is kill himself in order to save future generations from more of the same old bullshit.
He is a product of the train — in fact, the film makes sure to point out that Curtis can’t remember life before he was onboard — and as a result, he’s an asshole. He’s a brutal killer, and he has no qualms about meting out petty punishments like making Mason eat a cockroach bar while everyone else has sushi. The difference is that unlike Wilford and Gilliam, he recognises that he’s been corrupted by his surroundings. His drive for vengeance and power is the tool that frees people who otherwise might never have escaped: Yona and Timmy, the two great innocents of the movie. But if he’d survived as well, he probably would have turned into another Wilford. 
— The fascinating dystopia of SNOWPIERCER.
it is so important to me that a korean girl and a little black boy are the final survivors and representation of the innocent in this film - Yona in a fashion that isn’t fetishizing or infantilizing or robbing her of agency, Timmy at all in defiance of society robbing black children of their childhood by assuming that they have no innocence at all and aren’t worth protecting

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