In this view, it is noteworthy that the only hope for the humanity suffering from infertility is vested in a black pregnant woman Kee. The latter, in her turn, embodies the European myth of ‘noble savage’, the person representing a more authentic version of people “surrounded by a natural environment and living according to the rules of nature” (Cornea 184). For this reason human infertility in the film creates the opposition between people and nature because while people lose their ability to reproduce animals retain it, which is evident in the examples of farm animals in the immigrant camp. In other words Kee’s racial idenrity symbolizes her return to the natural state of mankind, which is further stressed by her pregnancy as the sign of her close ties with the nature. Animals are also significant in the film because Kee makes her pregnancy known to her protector Theo in the barn standing surrounded by calves. The scene takes on symbolic meaning because it equates Kee and her unborn child with the Madonna and child as the only hope of humanity. What is more, the barn scene partially explains the reason of the human-nature opposition and ensuing conflict in the movie. Kee notices that the cows are mutilated to fit the particular types of milking machines serving human needs. In her view, it would have been more reasonable to adjust the machines to nature (Children of Men). Thus, it becomes evident that the denial of nature lies at heart of the infertility treated as a broad concept in the film. The latter includes not only the inability to bear children, but also the absence of will and purpose in life.Consequently, the film transforms both biblical and dystopian narratives using the concepts of race and gender. The clichés of science fiction movies associating people of color with alien and evil forces are redefined in Children of Men making Kee and not the protagonist white male Theo central for the survival of humanity. The biblical symbols are transformed through the incorporation of race
Children of Men. Dir. Alfonso Cuaron, 2006. Film. Web. 17 June 2014.
Cornea, Christine. Science Fiction Cinema: Between Fantasy and Reality. Edinburgh University Press, 2007. Print.
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