Article Analysis
January 31, 2012
Christy Warner
This
article analyzes Joseph Campbell’s theory of monomyth in relation to the
Antichrist. A monomyth is the journey a
hero takes to ascension. During the
1970s, the Antichrist’s role was heroic since he was a reflection of the American
government and society, and not portrayed in the traditional religious
role. The Antichrist does not follow
monomyth stages and is therefore anti-monomyth.
Neil Gerlach provides numerous examples to support his theory.
A hero’s
path is one of following the heart, battling conflicting forces, loneliness, and
ultimately victory with power to bestow freedom upon others. The Antichrist is an inversion of the
American hero or the dark underbelly of society. His characteristics include being
self-regulated, answering to no one but his own consciousness, and driving fear. The Antichrist is a product of American
wealth and power. He moves within the
democratic structures and capitalist society.
In the late
1960s, society was detached from government, people were entrepreneurs of the
self and motivated by egoism. The sense
of community and wider responsibility was lost.
Most of society used the greater good as a resource to further their own
personal goals. Thus, the symbolism of
the Antichrist began to arise in popular films such as The Omen, Rosemary’s Baby, and The
Exorcist. Arising in different uses
and variances of tone and meaning, the Antichrist sends a message to society…evil
comes from within.
The
Antichrist continues to challenge popular culture and American myths, because
our society cannot seem to figure out a way to prevent periods of material and
ideological crises. “The 1970s formed a
crucial decade for the shape of American culture and society, punctuated by a
series of crises that had a profound impact on the social and political
landscape of the nation, disrupting central myths in a way that earlier crises
had not” (Gerlach, 2011). The social contexts
of films involving the Antichrist reflect this period of cultural crisis. As history repeats itself, this theme occurred
again beginning in the year 1999.
The remake
of The Omen occurred on June 6, 2006:
666 (Gerlach, 2011). This era of the
film attempted to capitalize on the century millennialism. Many films during this period reflect
apocalyptic imagery of cataclysms and Antichrist themes. In the original film of The Omen, images involved the birth of the Antichrist; during the
remake, opening scenes involved apocalyptic images of explosions, natural disasters,
war, and death. Each film emphasized the
period of time where a typical hero was not present.
During each
of the eras where there is a rise in apocalyptic films, there also lies an epistemological
shift. In agreement with the article’s
points, “taken-for-granted complacencies by which we perceive our physical
reality and maintain social order become groundless, and characters come to
understand that the dominant beliefs of modernity are false” (Gerlach, 2011). Due to perceived historical, biblical, astrological,
and apocalyptical events, society begins to sense the progress and nature of
power in American society as disparities.
Gerlach continues to state, “The rational becomes irrational, the
powerless become powerful, the innocent become evil, and the past becomes the
present. These inversions hold society
up to a different light, allowing us to question our own assumptions about
progress and the nature of the power in modern American society”.
Horror films supply feelings of
helplessness and anxiety. Thus
representing and expressing fears about our own nature. This is important to know and
understand. Today, in the year 2012,
humanity is attempting to claim control of our historical destiny. Zachary Karabell describes this year as,
Drawing
on traditional religious theology, New Age Teachings, psychology, therapeutic techniques, medical research, and
communitarian philosophies, the seventh stage will create a new framework for the culture. Instead of the language of
the market, the seventh stage will
resound with the language of spirituality. Instead of valuing profit and commercial transactions, the seventh stage
will stress contentment and relationships. Instead
of technology, the seventh stage will be marked by techgnosis, the realm where science blurs and spirituality blooms, and
where computers begin to approximate consciousness
(Chapman, 2004).
So yet again, history repeats itself. And, yet again, the same theme of 2012
reappears. This apocalyptic theme is not
destruction but redemption through spiritual enlightenment and knowledge of
ancient civilizations.
The
Antichrist is the representation of a fulfilling prophecy with the redemption
of society. However, redemption comes in
the form of a selfless superhero, a redeemer.
At no point does humanity choose to redeem itself on its own. Now, in 2012, society is awakening to the
lost realization of one’s higher self.
This means that everyone can follow the monomyth path, unless one chooses
greed, materials, or egotism. If one
chooses the latter, he is “completely self-regulated, answering to no one but
his own conscience, of which he has none” (Gerlach, 2011). Therefore, by exercising free will, humans
can and have become antichrists.
References
Chapman, R.
(2004). Hyperlinks and hyperprotestantism: the internet as a postmodern
epistemological shift. Lincoln Trail College. Retrieved on January 31, 2012,
from, http://www10.cs.rose-hulman.edu/Papers/Chapman.pdf
GERLACH, N. (2011). The Antichrist as Anti-Monomyth:
The Omen Films as Social Critique. Journal Of Popular Culture, 44(5),
1027-1046. doi:10.1111/j.1540-5931.2011.00886.x
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