This paper is an ecopolitical interpretation of James Cameron’s recent film, "Avatar". By ‘ecopolitical’ is meant that the film is not merely ecologically significant – in so far as it stresses the vital interconnectedness of all living beings as well as with their environment – but communicates and promotes a political stance which should galvanize people into the kind of action that is intent on rescuing the planetary ecosystem(s) from continued exploitation and degradation at the hands of an economic (and political) system that is not receptive to the needs of living beings. Heidegger’s critique of technology, as well as his understanding of art is enlisted to make sense of the remarkable fusion of advanced cinema technology and creative film-art in "Avatar", and Joel Kovel’s analysis of the phenomenon of life provides a conceptual grid for the interpretation of Cameron’s thematization of life on the fictional planet of Pandora (which functions here as metaphor for Earth). It is argued that, through viewer-identification with the protagonists in the film, it engenders a ‘transformative’ experience on the part of audiences, allowing them to conceive of moving from a state of ‘paralysis’ (represented in the character of Jake) to one of ecopolitical action. Attention is also given to the countervailing images of technology and science projected by the film, as well as to the question, whether its representation of the relation between science and myth is commensurate with Nietzsche’s conception of this relation and with Lyotard’s distinction between narrative and scientific knowledge.
"Avatar", ekopolitiek, tegnologie, wetenskap, kuns, mite: Hierdie artikel is ‘n eko-politiese interpretasie van James Cameron se film, "Avatar". Met ‘eko-politiese’ word bedoel dat die film nie alleen ekologies relevant is nie – vir sover dit die onmisbare onderlinge verbintenis van alle lewende wesens, asook met hul omgewing, beklemtoon – maar dat dit ook ‘n politiese houding kommunikeer en bevorder wat mense tot die soort handeling aanspoor wat daarop gerig is om die aarde se ekosisteme van voortgaande eksploitasie en degradering deur ‘n ekonomiese (en politieke) sisteem wat nie ontvanklik is vir die behoeftes van lewende wesens nie, te red. Heidegger se kritiek van tegnologie, sowel as sy begrip van kuns word ingespan om die merkwaardige samesmelting van gevorderde film-tegnologie en kreatiewe filmkuns in "Avatar" te verstaan, en Joel Kovel se analise van die verskynsel van lewe voorsien ‘n begripsraamwerk om Cameron se tematisering van lewe op die fiktiewe planeet Pandora (as metafoor vir die aarde) te kan interpreteer. Daar word betoog dat, via gehoor-identifisering met die karakters in die film, ‘n ‘transformerende’ ervaring by kykers teweeggebring word, wat hulle in staat stel om van ‘n toestand van ‘verlamming’ (soos in die karakter van Jake beliggaam) in een van ekopolitiese handeling oor te gaan. Daar word ook aandag geskenk aan die uiteenlopende beelde van tegnologie en wetenskap wat die rolprent projekteer, sowel as aan die vraag, of die verhouding tussen wetenskap en mite wat daardeur voorgestel word, versoenbaar is met Nietzsche se opvatting hiervan, asook met Lyotard se onderskeid tussen narratiewe en wetenskaplike kennis.
