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Motion Picture: Goddess of the Sun
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[QUOTE]Originally posted by Maahes: [QB] DougM wrote:"And just remember, it is only a movie. I do admire the research going into this, but no historical movie has ever been 100% accurate in terms of every detail, because going back 3500 years we don't always have every detail. So it isn't that I am against you or what you are trying to do from any perspective. In fact you can find similar such disagreements about historical movies like Alexander and so on. But given that this is a historical fiction, I don't understand the need for such rigorous research." When I was approached to write the project I wanted to make damned certain that, it would be appreciated by the entire present day community. This is much more than a vehicle for criminally underutilized talent in Hollywood. As I may have mentioned before, I believe that a solution to the omission of substantive work for peoples of colour and for actresses above a certain age, is to write work specifically for them. Force the film industry to appreciate what natural resources/great talents they are underutilizing. History is a wellspring after all. A sweeping epic with an ensemble cast, centered on actual historical figures presenting snapshots in the evolution of civilization that may well move a generation to think differently. Subsequent generations after this film franchise might ostensibly realize that there is intrinsic value in the human story seen from as many perspectives as humanly possible-rather than the current status quo of ‘blonde sells best’ mentality in production and marketing. Another regrettable trend is the ‘Urban theme is a sure bet’ mentality. Viewers are not often challenged to think –just sit back and be entertained. The film Crash changed that template. It broke all the rules and maintained its integrity throughout. I think that Letters from Iwajima and Flags of Our Fathers also pushed the envelope. 300 may have pushed a production value into the stratosphere but did so at the expense of historical fiction. That film was breathtaking to behold but did seem like a right wing conspiracy to wage psychological war against the Iranians. The beautiful truth of history is denied all those adolescent and teenaged boys the picture was marketed to. I left the theatre feeling like I wanted to join the Special Commando Forces or maybe the Ku Klux Klan. It was a mind phuque. So- getting to your question: I brought on board highly respected, and much published authorities on 18th dynasty Egyptian, anthropology, ethnozoology, history and art to both help guide the trajectory of the story – in order that it meet the critical discernment of the scientific community- and also to help educate me – the author. It’s really integral to a project like this to be as assertive confident in the decisions one must make throughout the long process of writing and rewriting certain plot elements and so on. For example, the first treatment ended up being split into two films and then there was the nebulous beginnings and endings of both – as the two stories are more or less contiguous- and seen from opposing perspectives. There is an objective here that is slightly outside the box of entertainment. This is a hybrid film in that it is an epic, it is historical fiction- it is also a psychological thriller and a murder mystery. There are no supernatural stunts or visitations from deities. I am attempting to get at the phenomenon of the religious extremism and attempting to present it as a story with an indelible human heart. I am linking together, in this historical fiction, the birth of religious extremism and the usurpation of divine birthright of women as intermediaries between creation and humanity, e.g. between god and man. In my other reality where I wear different hats and participate in conflict resolution as it relates to sustainable development initiatives, I often hear the voice of some inner cognition – one that is doubtlessly shared by all- that begs the question- how did that person or group come to be experts on God’s Will? And how could these self-styled experts come to perceive women in such a diminished capacity? To write about the human story of this century focusing on the same topics and issues is to politicize that which is too raw- too fragile to be taken to task. The dialogue would become politicized and directionalists (sic) Of one mind set or another would take to reacting to the film without ever seeing it or examining the intrinsic truth of these stories in the development of human understanding. A great deal of people would be robbed from the opportunity to experience the film(s). So instead we go back in time and delve into neglected chapters utilizing enormous talents whose real depth as performers and actors has only barely been experienced by film audiences. The descendants of the Mittanians should be moved by the story- the descendants of the Kush and the Yam- they should be moved- moved to change or at least be inspired to open their hearts to progress-to forge a lasting peace in honour of our great collective past. The Americans and other colonial powers should be inspired to acknowledge that preparing for peace is not a declaration of war. It is my greatest hope that this story-the legend of Nefertiti will serve as a reaffirmation to the region(s) about the miraculous birthright of women- irregardless of artificial designations of class, caste, race or religion. Women had much more say in the days of our ancestors. Authors argue about the significance or relevance of matrilinear accession of throne in ancient Egypt- pointing out that this was hardly a rule. Researchers like Brugsch and Goneim traced whole lineages of ruling families through the subtle iconography of specific women- not just the ruling elite mind you but also the female descendants of sepat nomarchs and religious priests. Some of their contemporaries tended to subliminally marginalize the significance of the presence of positions held only by literate females. Regardless, Women held enormous influence over the Great House more so in some periods than other naturally-. From one perspective women were literally the king makers and the throne was most certainly the chief wife- the personification of the Egyptian empire- the embodiment of Astet/Isis. I chose to approach this subject through the perspectives of women and rather than perpetuate more of vapid banality of over ornamentation of previous efforts- I chose to give the women very strong Nilotic, Cushitic, Mittanian Ta-Seti or Western Desert Indigene identities. Each woman in the king’s harem has some undeniable entitlement and each woman believes that her son or daughter for that matter is the rightful inheritor of throne. I needed permission from the academic community to bring these noble ladies from the shadows and into the forefront. We desire to do so convincingly – with the degree of accuracy that the most educated in the viewing audience will appreciate rather than the boorish affectations and parasitism of Egyptian culture presented by Hollywood blockbusters like Cleopatra, Stargate, The Mummy and the Prince of Egypt. Perhaps these are very romantic idealistic notions but then I am admittedly firmly immersed in a different time- when powerful women of noble birth like Gilukhepha of Mittani, Tiye of the Nilotic Sepat of the Scepter, Sitamun heiress of the Ta-Seti, Mutnodjemet, heiress of the Sepat of Mut, Sobek Ka Re, heiress of the House of Sobek in Itjay and Nefertiti heiress and hereditary princess of both lands- They had enormous influence over the governmental body that is the Per Aa A.K.A. Pharaoh{the Great House. This project provides the viewing audience with the opportunity to duck into these hallowed chambers and witness one of the more memorable and one might argue, regrettable periods of Egyptian history. This story takes place at a moment in time when the birthright of women rulers were subject to usurpation by a new race of humankind- the demigogues of Amen- patriarchs that would introduce fear of the unknown into the psyche of the denizens of the Egyptian empire... Demagogues that introduce fear while usurping the divine status of mothers...marginalizing the birthright of womankind- while using soldiers and mercenaries as blood sacrifice to their god of war... As you can see, race is only an issue as it relates to those that would destroy life in search of god in the name of god-they are the race of the unconscionable the soulless. Because of their deep-seated enmity for womankind, because they are envious of the vehicle that is the miracle of life- because women are the actual intermediaries between god and new life within the womb- they are unconscious- and without women, they have no future. They must destroy life before light consumes their insatiable lust for nothingness. Nefertiti represents in this story- this fiction epic- the unalienable rights of womankind sovereign over the land of the gods. Moreover, in this fiction Queen Tiye, Sitamun and Nefertiti form a triad of sorts- a matriarchate from which they will attempt to wrest the ill-begotten powers of the Amen cult architects- and the Sobek warlords- from positions where their corrupted self-interests endanger humanity and the soul of the Egyptian civilization. They are in disagreement about the nature of God and who possesses the gift of divinity at birth… Like any epic movie, the hero has a foil. In this instance the foil will prove to be the male gender. Horemheb is Nefertiti's foil for he cannot control his inner rage at being a slave of the royal family- their distortions of truth- they have robbed him of the one thing he loves - Nefertiti and because he is the descendants of slaves he is not in line to marry the heiress. Tiye's foil is Akhenaten who is detached and disinterested in the court politic and Nefertiti- at first- and later in the second film, the Prophets of Amen, Akhenaten and Nefertiti become closest of allies and Nefertiti refuses to be subjugated by Tiye's influence upon her husband- [/QB][/QUOTE]
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