Sebastian Morales
Under the provocative thesis of a new world order in which the world is divided between Christians and Muslims countries separated not only by a symbolic wall, but also by a new wall of shame that stands between the "borders" of Israel and Palestinian-born English director's need to understand Larry Levene world that is so close but yet so far from the English own borders. In his film Caesar and Zain , Levene, from this finding, decide make a kind of exchange between two families, university students, one from the Islamic world and the other in the western world.
The need for this exchange is supported by the second thesis that the author offers us: to understand what is beyond each side of the wall is the first step to break it. Essential here is a reflection on globalization, though this is to blame for the resurgence of fundamentalist cultural demands and, therefore, one of the elements of this new world order, Levene noted that a meeting of its kind in the world globalization would be unworkable. We have thus two sides of the coin: first globalization now threatens to destroy all cultural diversity in the world, but also facilitates meetings "multicultural." Enormous paradox of post-modern world.
The third thesis proposes Levene us in a style close to the story or at least an anthropological documentary, is the realization that perhaps the religious differences that have divided the world into two almost irreconcilable hide in the early twenty-first century just economic aspirations: Islam, the image of evil in the modern world, is sufficient excuse for the modern countries are released in a true holy war: the media create "evil" and at the same time enable the success of terrorism (No wonder the film begins with images of S-11 and the attack on Madrid trains.)
The film seeks to break that imaginary wall to find common points that support small agreements fourth argument raised in the film: the divisions are actually imaginary. Thus, Levene choose to use a parallel installation, with the intention of comparing the experiences of two people, in order to understand what is really the abyss, to reach the conclusion that plain and simple but are worlds apart, is common guidelines can be found "nothing that is human is alien to me," say Vico.
The need for this exchange is supported by the second thesis that the author offers us: to understand what is beyond each side of the wall is the first step to break it. Essential here is a reflection on globalization, though this is to blame for the resurgence of fundamentalist cultural demands and, therefore, one of the elements of this new world order, Levene noted that a meeting of its kind in the world globalization would be unworkable. We have thus two sides of the coin: first globalization now threatens to destroy all cultural diversity in the world, but also facilitates meetings "multicultural." Enormous paradox of post-modern world.
The third thesis proposes Levene us in a style close to the story or at least an anthropological documentary, is the realization that perhaps the religious differences that have divided the world into two almost irreconcilable hide in the early twenty-first century just economic aspirations: Islam, the image of evil in the modern world, is sufficient excuse for the modern countries are released in a true holy war: the media create "evil" and at the same time enable the success of terrorism (No wonder the film begins with images of S-11 and the attack on Madrid trains.)
The film seeks to break that imaginary wall to find common points that support small agreements fourth argument raised in the film: the divisions are actually imaginary. Thus, Levene choose to use a parallel installation, with the intention of comparing the experiences of two people, in order to understand what is really the abyss, to reach the conclusion that plain and simple but are worlds apart, is common guidelines can be found "nothing that is human is alien to me," say Vico.
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