Queen of the Edit
- Feb 4, 2009
Well it was more an example of endearing characters in a clearly fantasy setting that moors itself at least in slice of life storytelling of character development over elabourate exposition.Hawki said:I like MLP and it's fantasy, but it's a children's cartoon that, even by the standards of children's cartoon, is surpassed in worldbuilding by stuff like Avatar.
I can't really hold it as a stellar example of the fantasy genre in of itself.
And it was expressly a point of avoiding spending too much time away directly from plot, character interaction, and character development. Illustrating more Pinkie's relationship to her family, through the moderation of a third party who can only really interact with one party to that dynamic.
We can totally compare them. Don't be like that. The same cardinal sins of one can be shared by the other. And honestly, no ... books often can't do worldbuilding well at all. In fact, bad literary worldbuilding can kill a book ... whereas often the worst forms of worldbuilding (lazy intro narration, etc) can be overlooked in film ... like SW:ANH.Don't think we can compare them - one's books, one's films. You'll always be able to do better worldbuilding in a book than a film.
But clearly that's Max's biggest problem. The fact that he likes the chaos on the road ... he even begins to voice those problems to his superior. That sooner or later, he'll be no different than the people he chases down. And arguably that was the entire back story of Aunty Entity. She was the woman that stayed to fight the end of civilization. Max viewed through the circus mirror ... so very alike, so very similar in history, but for one distinct turning point.I'd say the first Mad Max is hardly a world gone mad.
Seriously, replace the MPF with regular police, and there's not really anything to suggest that it takes place in anything but a contemporary (for the time it was made) setting.
Max fled. Aunty Entity stayed.
Clearly the MFP is falling apart. Arguably it seems like they're no longer even being resourced properly by (assumingly) the Victorian/Federal Police Force anymore (Victoria bought in big into the XB Special Australian-market hybrid).
"The last of the V8 Interceptors..."
Which was a fairly specific vehicle specially designed for various police highway patrol operations in Australia. Given that the various Australian state police forces directly sponsored the Ford XB Falcon V8s in order to get its hands on a specially built performance muscle car for pursuits specifically tailored for Australian conditions.
Suggesting that the rest of the V8 interceptor/pursuit vehicles have been destroyed and the plants had utterly shut down.
And quite clearly it's a dystopian setting ... given that the signpost and various insignia for the MFP's 'Halls of Justice' base (a little detail of clever worldbuilding I was talking about that you'll miss if not paying attention) lists the date of establishment of the MFP is in 1983, and Miller himself suggesting somewhere it's been years since it was first established.
So they're using dated pursuit craft that individual police chiefs are effectively haggling for on the back lines to try their best to maintain basic order on the streets.
So it's depicting a dystopian setting of a future Australia from its 1979 theatrical release.
Effectively the 'near-now' style of worldbuilding, where no distinct dates are given, but proof it's sometime in the near future. Which is why it has somewhat of a (Australian) conservative bent to it. Given in the 60s and 70s Australian sociologists, in conjuncture with (racist) dialogues about the nature of Aboriginal communities, assumed a posture and rhetoric of 'cultural collapse'. One of the big
Basically Miller grew up with this rhetoric, applied it to the endemic levels of drunken violence he saw in Australian youth as a doctor treating trauma patients, combined it with the psychologically traumatic events of his near childhood where he was a lucky survivor in a car accident where his friends died, that was (likely) caused by speeding and alcohol, and decided to make a movie about it.
So he took real life stories of the worst accidents, hooliganism, street racing, drunken violence he could, and threw it into a 'cultural collapse' narrative ... but pointing the finger at Australian youth in general. The massive (relatively) budget fundings of Australian cultural and artistic programs the government threw money into was also born from this idea that the future stability of nations were determined by its 'civilizing attributes'. Which included artistry and pro-social media forms that either depicted the horror of 'losing cultural milestones' that would result in anti-social behaviour.
Hence why you have the great 'Ozploitation' era of film making. A metric fuckton of Australian government money. It's also the basis underlying films of cult classics like Wake in Fright (AKA as Outback) ... whereby we tear the fucking shit out of the people living in the 'uncultured' interior. Probably the best example of 'surrealist horror' you'll ever see, and if you watch that you'll realize these were real fears people had.
Despite all of that, the first Mad Max is still certainly a dystopian film set in a future where societal collapse has already happened...