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Search for:. Would a reporter put himself at such risk and under such hardship for fiction? The theme is perpetuated through the movie by the character of Laurel Weaver, the city coroner, who keeps discovering evidence of alien existence, but is repeatedly 'neuralyzed' her memory is obliterated by J and K, even though she wants to believe. In another predictable ending to a movie, Weaver becomes the latest employee of the MIB, once K retires.


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This same exactitude is manifested when the tabs are used again in the film to grant us our happy, Hollywood ending. The truth of the cover stories can be verified from the plot of the movie. The tabloid J picks up provides us with a way to tie up a loose end what happens to K?

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Thus, the contents of the tabloids are privileged, at least if you know how to interpret them. The MIB have alerted us to the fact that they may be taken literally. The Bible, as it appears in this tabloid context, takes on a refreshing new shape.

One grows weary of postmodernism as biblical critics see it, of textual indeterminacy, of variable authority. Why must we take ourselves so seriously? What if, I wondered, we succumbed to the enticements of tabloid reporting, the invitations to believe the incredible, the assertions of truth against the odds, the insistence on univocal readings?

This would be postmodernism with a difference. But, caveat lector. My T-shirt with a foot picture of Jesus caressing the cupola of the Capital Building Victoria 1, is wending its way through the post to me as I write. I worry. Will biblical scholars miss the significance of Men in Black and what it suggests for our interpretation of the Bible?

Will we miss out on tabloid truth? Agent J who represents, no doubt, the majority of the film's viewers is incredulous at K's insistence that the hotsheets are the 'best investigative reporting on the planet'. Pre-conversion, so was I. After all, there is much to dissuade us 'educated' folk from taking them seriously: social stigma, the vulgar tabloid format, their reputation as junk. Even the papers themselves, though their contents flatly deny it, give us an excuse to discredit them. The Sun is a bit more frank: 'SUN stories seek to entertain and are about the fantastic, the bizarre, and paranormal.

Articles are written by and obtained from the SUN staff, the World Press, freelance correspondents and the general public. The reader should suspend belief for the sake of enjoyment' my italics. In the novel by Steve Perry which accompanies the film, K states it a little more clearly. In response to J's incredulity 'You're pulling my chain again, aren't you? You know what we do for a living. When was the last time you read about aliens in the New York Times! Those guys don't have a clue. Now these guys And, they are intended for those who buy these papers with compulsion, but embarrassment,7 the literary equivalent to the box of Trojan, RibbedFor-Your-Pleasure, hidden between leafy lettuce and paper towel on the supermarket conveyor belt.

Our little secret: the store employee's and mine. Though nothing of what follows these cautionary words intends for one minute to uphold them 'True! Here lies permission from the papers if we require it to avoid what really hits home to us. Here also lies a foil, for the truth is not for everyone to handle. The publishing provisos fit the same role as plush chairs and theatre screen. Viewers can depart, all the better for their popcorninduced fantasy, and reassure themselves—if they have any doubts— that it's only a movie.

Such provisos are for biblical scholars, too, who can pick apart biblical texts with gleeful violence, condemning them for all they are worth, this patriarchal, colonial, monstrous collection.

It's only a text, they can tell themselves. Men in Black can capably deal with the fantastic and the incredible because it is played straight, as the actors themselves note, 'like this stuff is completely normal' Will Smith in Herzog The film plays with 'tricks that invite the audience to gleefully suspend their disbelief, not just willingly' Tommy Lee Jones in Herzog The Bible also shoots straight from the hip.

Naturally, it makes no stipulations in its introductory pages: Tn the beginning Readers should suspend belief for the sake of enjoyment and thrilling frights']. Rows 1 through 10 are not reserved for 'Resistant Readers'. At this point, I must offer a word of thanks to my mother, who painstakingly bought me a copy of the Sun and the WWN for almost a year and shipped them out to England for me, where they are not available. I was amused to learn of her initial embarrassment at the purchase, explaining to the probably oblivious check-out clerk that she was buying them for her daughter who was writing an article on them.

What, I wondered, is more embarrassing and unbelievable? Someone who reads these papers, or someone who is crazy enough to drag them into the hallowed halls of the ivory tower, and link them with, of all things, the Bible?! I mean, I truly believe that we don't have a clue what's really going on?

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Tommy Lee Jones echoes the sentiment: 'the universe is a large and varied place and we're not living at the centre of it' Herzog ; is Jones speaking of the movie's world here, or his own? And, in a characteristic move, this notion also finds its way into the plot of the movie: K: All right kid, here's the deal.

At any given time there are around aliens on the planet, most of them right here in Manhattan. And most of them are decent enough. They're just trying to make a living. J: Cab drivers. K: No, not as many as you'd think. Humans for the most part don't have a clue.

Download Culture Entertainment And The Bible Jsot Supplement Series 2000

They don't want one or need one either. They're happy. They think they have a good bead on things. J: But why the big secret? People are smart, they could handle it. K: A person is smart. People are dumb, panicky, dangerous animals and you know it, years ago, everybody knew the earth was the centre of the universe. Imagine what you'll know tomorrow. Herzog Further to this, Sonnenfeld adds in a foreword to the Men in Black: The Script and the Story behind the Film, 'I once took a college course where I learned that every single thing 'experts' on the planet have ever claimed about the truth has turned out not to be true So for us to talk as if we have firm knowledge of anything is ridiculous I wanted to make a movie that in a light and fun way shows us that perhaps we are clueless,,.

Even though this story is a fantasy, working on this movie has made me stop and wonder if it's closer to reality than we think' Solomon ; , 9.