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ATLANTIS
Journal of the Spanish Association of Anglo-American Studies
. (December ): -
- “ e Pandora E ect”
“ e Pandora E ect:” James Cameron’s
Avatar and a Trauma Studies Perspective
S M F
Universidad de Zaragoza
smfalqui@unizar.es
e controverted responses to James Cameron’s Avatar (), as well as its use to support a
variety of political and ideological agendas, seem to imply that there is something in this lm
for almost everyone. An analysis from the perspective of trauma studies suggests that the key
to its impact may lie in the way the movie re ects the fundamental fear of human alienation
from nature, which is part of the wounded condition of our contemporary culture. is article
embarks on a study of the representation of and working through of trauma in the movie, both
based on the reiteration of stereotypes and the recreation of ecotopia. It also re ects on the
implications of the phenomenon known as the Pandora E ect, or the reported feelings of
depression at discovering the impossibility of real immersion a er watching the movie. It ends
with a problematizing of the uncritical application of the trauma paradigm and a revision of
the model into a culturally sensitive trauma theory that avoids neo-colonial appropriation and
takes into account the historical unresolved grief of colonized peoples.
Keywords: Avatar; trauma studies; Indian stereotypes; Native Americans; historical unresolved
grief; postcolonial trauma . . .
“El efecto Pandora:” Avatar, de James Cameron, y
una perspectiva de los estudios de trauma
De las respuestas controvertidas a Avatar (), de James Cameron, así como de su uso para
apoyar diversas agendas políticas e ideológ icas, parece desprenderse que hay algo en esta película
para cada espectador/a. Al analizarla desde el punto de vista de los estudios de trauma se observa
que la clave de su impacto puede residir en el modo en que el lme re eja el miedo fundamental
a la alienación humana de la naturaleza, lo cual formaría parte de la cultura contemporánea
herida. Este artículo emprende el estudio de la representación y resolución del trauma en
la película, basadas en la reiteración de estereotipos y la recreación de la ecotopía. Ofrece
asimismo una re exión sobre las implicaciones del fenómeno conocido como Efecto Pandora,
o los sentimientos depresivos relatados tras ver la película y descubrir en ella la imposibilidad de
inmersión real. Culmina en una discusión crítica de la aplicación del paradigma del trauma y en
una revisión del modelo hacia una teoría del trauma que sea sensible a las diferencias culturales,
que evite la apropiación neo-colonial y tenga en consideración el sufrimiento histórico sin
resolver de los pueblos colonizados.
Palabras clave: Avatar; estudios de trauma; estereotipos de los indios; nativos estadounidenses;
sufrimiento histórico no resuelto; trauma postcolonial
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
“Pandora E ect”
A condition causing one to feel a strange mix of emotions
(which may include awe, disappointment, giddiness,
emptiness, warmth, and most of all depression) a er
watching James Cameron’s Avatar movie. For many it has
changed the way they see the world and life in general.
(Urban Dictionary)
. T C R A
More than three years a er the release of Avatar (James Cameron, ), its impact, far
from diminishing, has continued to grow at all levels. While it remains, as of today, the
highest-grossing lm ever made, new s, games and merchandising keep adding dollars
to its already astonishing takings. e number and variety of people who have watched
it all over the world make it by no means an exaggeration to also consider it the most
e ectively global lm ever made. On the other hand, from the very moment of its release,
reactions to Avatar have been as diverse as Pandorian wildlife, though by no means as
harmonious, ranging from unconditional praise to total rejection of, even anger at, the
lm. It is both the scale of its impact and its controversial nature that call for a close critical
analysis of the movie.
e fact that, in the characterization of the Na’vi, the lm recycles “a set of shopworn
tropes about indigeneity in general, and American Indians in particular” (Starn ,
) has been widely recognized by reviewers and critics. In spite of some authors’
references to the elasticity of the Na’vi (Morris, Globe, January ), who have been
seen by one reviewer as “a mélange of Native American, African, Vietnamese, Iraqi and
other cultural fragments” (Brooks, New York Times, January ), and who could be
“American Indians, Polish Jews, or bald eagles” (Morris, Globe, January ), the
lm has generally been interpreted as “a sort of a Native American parable” (Edelstein
). ere seems to be no doubt, in fact, that “these are alien versions of stereotypical
native peoples that we’ve seen in Hollywood movies for decades” (Newitz ), and the
connection—even to the point of imitation—to movies like Dances with Woles ()
or Pocahontas (), has also taken up much of writers’ attention. Emphasis has o en
been laid on “the commonplace gure of the ‘ecological Indian’” (Adamson , ),
and the references to the Native American holocaust (Cokinos ) and the “crime
e research carried out for the writing of this article is part of a project nanced by the Spanish Ministry of
Economy and Competitiveness () (code -). e author is also grateful for the support of the
Government of Aragón and the European Social Fund () (code H).
Although these are the two movies that come up most o en—and in the case of Dances with Woles, Cameron
has actually acknowledged the connection (Los Angeles Times [Latimesblogs], August )—other examples
are explored by Brooks (New York Times, January ); Burr (Boston Globe, December ); Caviaro ();
Feeney (Boston Globe, January ); Reelz (); Newitz (); and Westfahl ().
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
“ ”
scene of white America’s foundational act of genocide” (Newitz ). But it is when
writers refer to the formulaic nature of the script that criticism becomes harshest. Put
very simply—but then, the plot is strikingly simple—this is just another going-Indian
narrative: the white hero, discovering that the indigenous peoples he is supposed to be
ghting are spiritually superior to his own corrupted race, rejects his origins and chooses
to take sides with the Natives, nally becoming their leader with the help—and love—of
the indigenous princess. Even as they acknowledge the amazing technological innovation
used to tell it, reviewers and critics have characterized the plot as predictable (Starn ,
), frustrating (Justice ) and even “totally o ensive” (Brooks, New York Times,
January ). Not surprisingly, there have been many negative responses to the movie as
a whole because of the stereotyping and colonial presuppositions that support it. Angry
reactions to Avatar because of its racism are linked to references to the “white man’s
burden” (Barnard, Toronto Star, January ), the movie’s emphasis on “the usual
presumed radical divide between us and them” (Starn , ) or its being “a fantasy
about race from the point of view of white people” (Newitz ).
But speaking only about the negative responses to Avatar would be a terrible
simpli cation of the reactions it has originated. People from all over the world, both
indigenous and non-indigenous, have also watched Avatar enthusiastically, and some are
even using it to support their particular vindications. Joni Adamson explores examples
of how the lm is playing a very important role in global environmental justice struggles
(, ). Besides the relevant motivation of making the ill-treatment of nature more
visible, authors mention the values emphasized in the movie like relatedness and connection
(Good Fox ), and involvement, activism and environmentalism (Barrionuevo, New
York Time s , April ). Perhaps most strikingly, Bolivia President Evo Morales has
stated that the movie “depicted the resistance against capitalism and the ght for the
environment” (Buenos Aires Herald, January ). In fact, “the indigenous acceptance
of Avatar’s capacity to depict their contemporary strife” has not escaped authors like
Briones, who have also referred to this as an interesting contradiction (, ).
Apart from making Avatar t a series of political and ideological agendas, a number of
fans have expressed a desire to escape their own lives and live on Pandora, some reacting
by admitting to reaching the point of depression and thoughts of suicide a er watching
the movie (Sodahead ; Piazza ). As Mulrooney has noted, Avatar makes people
so sad that new terms have been introduced into the vernacular: “Post-Avatar Depression,”
“Avatar Blues,” or “ e Pandora E ect” (, ). Starn interprets the Globe headline
“: & !” and the ensuing article in
which some viewers indicated “they’d rather than return to Earth’s gritty reality,” as
an obvious exaggeration, but also as “a reminder of just how a certain idealized vision
Other interpretations include Hillis’ () analysis of Avatar as an example of the “contemporary
resuscitation of Neoplatonism,” or the presence of the movie in discussions of the current role of anthropology in,
for example, the work of AbdelRahim (), Briones (), Cli ord (), Simpson () and Starn ().
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
of indigenous peoples answers to the longing for Otherness, a space of freedom outside
modernity and the West” (, -). is would explain why, a er watching Avatar,
some viewers may have experienced a “sort of hunger for our virtual selves, our avatars
to take on . . . the nal frontier, which is maybe in our own minds” (Edelstein ).
e virtual and the real are less clearly distinguished in some reviewers’ expressed desire
that a movie like Avatar will encourage research to make this fantasy real in the future
(Sodahead ) or that “it will someday not only be possible, but even desirable, to give
up one’s natural identity and assume an arti cial identity” (Westfahl ).
Some of these responses are more understandable than others, but what such diversity
suggests is that Avatar may be functioning like a sort of Melvillean white whale, a blank
surface on which each viewer inscribes his or her own interpretation, and which acts like
a mirror that re ects back on individuals, telling us something about ourselves in what we
each see in the movie. In order to explore the full potential of this dynamic, an analysis
from the point of view of trauma studies seems especially useful, because the fact that
there might be something in Avatar for everyone may be related to the way it re ects on
the traumatized nature of our world. In “ Trauma within the Limits of Literature,” Geo rey
Hartman () characterizes contemporary society as deeply wounded, especially due to
its incapacity to assimilate and express pain, and he notes that it is the role of literature
to make silence audible and verbalize pain in order to express that repressed su ering.
If we look at Avatar as a narrative that re ects and expresses the wounded condition of
our contemporary culture, it becomes relevant to examine the way it embarks on the
articulation of traumas that are very much alive, and simultaneously assess the e ectiveness
of the images it presents and whether or not they succeed in achieving some kind of
healing.
. “A H M L:” R W
T
e rst reference to trauma in Avatar comes with the protagonist’s initial view of himself
as having “a hole blown in the middle of [his] life.” Jake Sully (Sam Worthington), a
paraplegic ex-Marine who travels to Moon Pandora to take his dead twin brother’s place
in the avatar program, is both physically and psychologically wounded, and his numbness,
his confusion of dream and reality, as well as his desire to escape and avoid the traumatic
event, all t the common de nition of Post-Traumatic Stress Disorder (Caruth , ).
Jake’s pain is also directly related to the fact that he has lost his physical link with the land,
not only because his legs are paralyzed, but also because, as he says, there is no green le on
Earth anymore. e displacement of the Earth’s wound onto Pandora and the relevance
of Jake’s individual trauma for the human race as a whole become obvious, as this hole in
the middle of his life is visually articulated as a huge crater that the humans are digging in
Pandora to extract unobtanium, a mineral that is considered the solution to the Earth’s
energy crisis. e parallelism of the two holes becomes a symbol of the inassimilable and
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
“ ”
unexpressed pain which is articulated in the narrative, namely, the fundamental fear of
human separation and alienation from nature.
A useful theoretical support to this reference to trauma in the lm can be found in the
distinction between the acting out and the working through of trauma, which LaCapra
takes from Freudian psychoanalysis in order to engage with historical problems like that of
the Holocaust (, ). For LaCapra, acting out emphasizes traumatic memory, that
is, the compulsive, repetitive re-enactment of the traumatic event, which remains an open
wound, whereas the working through of trauma, or narrative memory, is the overcoming
of traumatic symptoms through the distinction of past and present experience, which
ultimately leads to healing. Of special relevance for our analysis is LaCapra’s understanding
of the two options not as opposites but rather as part of the same process, as well as his
concern with avoiding both a sublime acting out, in which trauma is magni ed, on the
one hand, and a redemptive narrative, in which trauma is denied, on the other. e point,
therefore, is to examine the way trauma is represented in Avatar as well as how it is worked
through; in other words, we need to look into the narrative strategies used to ll in those
two symbolic holes—the one at the center of Jake Sully’s life, and the one on Pandora—as
well as the ideological implications of the particular choice of strategies.
e narrative is set years into the future, when the worst predictions by today’s
environmentalists have been con rmed: the Earth has been completely colonized
and its natural riches plundered to the extent that humans have to look for resources
elsewhere, which results in the expansion of imperialism towards space, the new frontier.
e motif that sustains Avatar is precisely the con ict between the human invaders,
who come to exploit the resources of Pandora, extremely rich in biodiversity, and the
indigenous inhabitants of the place, who struggle to defend their way of life. Following
the idea that humans are intrinsically superior to all other beings, and that nature can be
controlled and appropriated without asking or giving anything in return—an idea that
will be challenged as the plot develops—the members of the Resources Development
Administration, a corporate and military entity, are looking for unobtanium, which sells
for twenty million a kilo. e only problem they need to overcome is the resistance of the
indigenous Na’vi, who are getting in the way of the humans’ lucrative operation, because
the biggest reserve of unobtanium is right beneath Hometree, the epicenter of the Na’vi.
In Colonel Miles uaritch’s (Stephen Lang) initial conceptualization of their enemy, the
Na’vi are characterized as “blue monkeys,” “savages that live in a tree,” or as the threat that
is linked to the inhospitable land they are trying to conquer: “Out beyond that fence,”
says uaritch, “we have an indigenous population of humanoids called the Na’vi. ey’re
fond of arrows dipped in a neurotoxin that’ll stop your heart in one minute. . . . ey
are very hard to kill.” By promising him an expensive operation that will heal his legs,
uaritch convinces Jake to learn about the Na’vi from the inside in order to gain their
For the full account of these de nitions, which LaCapra has also dealt with in Representing the Holocaust (),
see especially Writing History, Writing Trauma (, -; -).
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
trust so that the humans will discover “how to force their cooperation, or hammer them
hard if they don’t.”
In fact, Jake—who refers to himself as being an empty vessel, an aspect of his
personality that makes him a symbolic blank page on which new meanings can be easily
written—starts out with a confrontational view of the Na’vi, but soon goes through a
radical process of transformation. He is o ered an opportunity to leave his wounded body
behind temporarily and use a new, virtual one, by means of which he recovers his mobility
and consequently his link to the land: in the scene where he is trying out his avatar, he runs
freely in Pandorian nature and, in a very symbolic move, buries his feet in the earth, feeling
it. His new body also allows him to breathe in an atmosphere that is toxic for humans, and
to approach the Omaticaya tribe of the Na’vi. A good example of the frontier-man type,
Jake is rough but noble: he embodies the qualities of his dead scientist brother and his
own training as a Marine, being, in his own words, “a warrior who dreamed he could bring
peace.” When Neytiri (Zoe Saldana), the Na’vi version of the American Indian princess
Pocahontas, sees a sign from Goddess Eywa and saves Jake Sully—who shares much more
than the initials with Captain John Smith—from the jungle, she introduces him to the
tribe. As well as his guide in this unknown land and a teacher of the Na’vi way of life and
values, Neytiri ultimately becomes both a partner and a symbolic mother to Jake, visually
exempli ed in the scene in which she holds his limp and minuscule human body in her
arms towards the end of the movie. A er moving between one world and the other for
much of the narrative, in the end, Jake Sully actually becomes fully Na’vi, symbolized in a
ceremony of acceptance by the Omaticaya. He rejects his real/human self—his body, his
wounds, his race—and embraces his virtual/Na’vi self, staying in Pandora and starting
a totally new life with a new stronger body and life purpose in his helping of the Na’vi,
uniting the various clans in the ght against his former people. Jake’s wound is thus
completely healed and his trauma has been worked through.
e crater on Pandora, excavated on a massive scale by people like Jake Sully before his
conversion, does not, unfortunately, heal as easily. e wounds on Pandora—the destruction
of Hometree by a monsterlike army being the most dramatic example—cannot be avoided
by the Na’vi, even with the help of Jake Sully and the forces of nature, which ght together
for the rst time in Na’vi history. e pain of massive natural destruction is made more
obvious by the overwhelming beauty of Pandora, which encourages viewers to distance
themselves from uaritch’s military and imperialistic view and take sides with the defence
of the environment and the ideal of tribal living exempli ed by the Na’vi. is is the key
aspect that connects Avatar to current environmental issues in general and the concept of
ecotopia in particular. Ecotopia, de ned by Lisa Garforth as a “self-conscious ecological
utopianism,” which emphasizes “ways of living with rather than at the expense of the
natural world” (, ), incorporates the themes of ecocentrism—“the displacement of
human consciousness from its privileged position at the centre of knowledge and value”—
su ciency—or the emphasis on “a philosophy of enough” that favors “an enhanced and
vibrant relationship with the natural world”—and embeddedness—which focuses on
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
“ ”
the need to recover proximity to nature, “both in the sense of physical closeness to the
earth and in terms of cultivating an ethics of empathy and interconnection with all living
things” (). A good example of ecotopia in these terms, Pandora is a remote and idealised
land in the line of the mythical Atlantis or El Dorado, a no-place where a perfect balance
among all beings is preserved—or was, before the men from the Earth arrived. e world
of Pandora—in the creation of which, as mentioned above, a number of images related to
the Natives of the United States have been used—is inherently ecocentric in the sense that
the Na’vi are by no means the center of knowledge or power, but only part of a network of
owing energy in which all b eings, including animals and trees, the living and those already
gone, communicate and relate on equal terms. e key to Na’vi life is interconnection,
embodied by their goddess Eywa, and materialized at relevant places like Hometree or the
sacred Tree of Voices, where ancestors can be heard and prayers made, something that the
human scientists try to explain as some kind of electrochemical communication between
the roots of the trees. As for su ciency, it soon becomes clear that there is nothing that
humans have that the Na’vi could possibly want, for they live in perfect harmony with
the environment, which provides for all their needs. Neither material possessions nor
human learning will be of any real value to the Na’vi, whose life, strongly centered on
ritual and spirituality, is characterized as the opposite of expansion or consumption. e
most obvious example of embeddedness is what the Na’vi call tsaheylu, or the bond, a link
that is established between di erent creatures so that they can communicate and become
complementary. is happens with the Pandora equivalent of horses and the ikram, the
ying creatures that, once dominated by the young hunter in a rite of passage, will be her/
his life companion.
To imagine this kind of world and to desire an escape into it as Jake manages to do
is the only possible healing that is o ered in Avatar for the trauma of human alienation
from nature. At the end of the movie, when the good humans in their avatar selves are
expelling the villains from Pandora, one may wonder what is going to happen to people
on Earth now that unobtanium cannot be obtained anymore, but the solutions the movie
o ers are only available for the lucky few who can blend with their avatars, escape their
previous lives and become inhabitants of this ecotopia. Pandora here is functioning as a
projection of wish ful lment, an imaginary Edenic world through which, by means of a
tribal ideal that has been oversimpli ed, open-minded humans like Jake Sully—and with
him, open-minded viewers—can nd a chance of environmental reconciliation that is
already impossible on Earth. James Cameron has commented on the utopian component
of the movie, saying in an interview that “the Na’vi represent something that is our higher
selves, or our aspirational selves, what we would like to think we are,” and that even though
there are good humans in the lm, the humans “represent what we know to be the parts of
ourselves that are trashing our world and maybe condemning ourselves to a grim future”
(Telegraph, August ). is con ict is articulated through the struggle between
Colonel uaritch, as an embodiment of human exploitation of nature, and Jake Sully’s
disposition to let himself be transformed by the land. As we see in the nal battle between
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
the two, the triumph goes to the man who simply rejects his old identity and embraces
a new self, the virtual becoming the real to him when he becomes his avatar. Rieder has
referred to the “emotional satisfaction” (, ) that this ending provides through the
“fetishistic identi cation” of the scapegoat gure of uaritch (). He notes how popular
resentment and generalized anger towards the status quo are addressed not to “the group
directly responsible for the world’s a airs,” but to “some ctional, demonized object” (),
the result being a “displacement of the revenge fantasy object” () that represses the
hero’s “own participation in the same project as the villains” (). Apart from pointing at
its own impossibility as a feasible response to trauma in the real world, the resolution of
Avatar is disappointingly simple insofar as it excludes any re ection on the complications
of the self, the old and the new, and allows Jake to distance himself from the part of his
identity which is at least partially responsible for what has happened on Earth and what is
now happening on Pandora.
Although this may be considered a happy ending by some, when looked at critically,
we see that the emphasis is laid on a totalization of the kind that LaCapra warned
against in his account of the working through of trauma: that is, a radical overcoming
of traumatic symptoms in the form of a ctional closure aimed at redemption but that,
when looked at closely, shows a series of unresolved traumatic threads through its ssures.
One way in which this totalizing narrative is articulated in the lm is by repeating a well-
known series of commonplaces and stereotypes related to Native Americans. Besides
resorting to feathers, bows and arrows, war paint and howling for the characterization
of the Na’vi, their extra-terrestrial version of horses makes the nal battle more colorful;
we also have a rite of initiation for the young warrior, as well as exotic song, ritual and
ceremony. e cinematic Indian roles that are recovered in Avatar include the expected
types: the Pocahontas-like Indian princess Neytiri, who starts by saving the hero and is
the helper at the service of the white man; the warrior chief Eytukan (Wes Studi), who
follows in the dying Indian tradition; the spiritual mother Mo’at (C.C.H. Pounder),
who immediately recognizes the value of the human hero; and the young rival Tsu’Tey
(Laz Alonzo), who takes time but ultimately accepts Jake’s leadership, and who also dies
in a courageous ght. ere is mention of di erent clans, those of the Plains and of the
Eastern seas, which implies the presence of some Na’vi diversity. e only absence in the
usual cast is the bad Indian type, which can be explained by the movie’s romanticized
focus. Needless to say, it is hard to expect deep critical analysis or real healing from
the systematic and unquestioned repetition of essentialisms and stereotypes. In fact,
rather than an e ective working through or overcoming of traumatic symptoms, which
would have required a much more complex development of the plot, the possibility
of leaving one’s identity behind that Jake Sully chooses is more of a regression, an
expression of a nostalgic vision of a simpler way of life. Regression is the rst of the
three interdependent stages of the response to trauma that Granofsky locates in ction
dealing with trauma, the other two being fragmentation and reuni cation. It implies a
return to a more protected and less independent existence, o en a return to childhood
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
“ ”
or an assimilation of the individual to “inferior [sic] ways of living,” which “may stem
from disabling fear or from an inability to cope with a perceived responsibility for the
occurrence of a traumatic event, in other words, with overwhelming guilt” (, ).
Jake Sully’s return to a world that lives according to values that could be considered
primitive is an obvious example of regression, a form of denial which is, unfortunately,
far from the accommodation or change in the worldview that is required for a plausible
healing of trauma in real life.
. T P E: P, C V T
It could be argued that science ction should not be expected to provide realistic responses
to trauma or any other serious issues. However, a critical view is not only justi ed but also
urgent insofar as we are considering a movie that represents trauma in a way that surpasses
the boundaries of ction and becomes part of some viewers’ reality, most notably those
claiming to be a ected by what has been called the Pandora E ect. e fact that a good
number of people are reporting depression, thoughts of suicide and anxiety at realizing
that Pandora is not a place they can inhabit, as well as a feeling of alienation with respect
to the real world they live in, extends the connection of this movie to trauma in intriguing
ways. In this respect, one issue that we necessarily have to consider is whether one can truly
be traumatized a er watching a movie or reading a text. Kalí Tal stresses that the traumatic
event that “displaces [one’s] preconceived notions about the world” (, ) needs to
be experienced rst-hand and not vicariously perceived or mediated through any textual
conduit, such as a book or a movie (-). In the same vein, Horvitz a rms that second-
hand or vicarious perception of trauma is not tantamount to experiencing it (, ).
In principle, then, it would be risky, to say the least, to consider Avatar as the direct cause
of someone’s depression or to equate its viewing to the su ering of, say, colonized peoples
like those represented in the lm. However, when analyzing the Pandora E ect we are not
exactly talking about experiencing a traumatic event that psychologically wounds some
viewers—that is to say, Avatar is not, and has never claimed to be, a traumatic event in
itself—but rather about an event that may trigger a previously existing trauma, something
that re-opens a wound that was already there in those viewers’ minds. e framework
through which to understand this process is the belated nature of psychic trauma, observed
by Freud and articulated by Caruth as the haunting of an individual by a past event which
was unassimilated or unknown at the time (, ). e rst trauma in this case would
be the individual’s view of him/herself as disconnected from nature, alienated in this
technological world, and isolated from both people and the environment. e watching
of Avatar would then be the triggering force, or second wounding, that could bring this
previous traumatized condition to the surface.
Since the Pandora E ect is not merely individually but also collectively experienced,
being as it is articulated by a community of viewers that are giving voice to their individual
pain, especially through blogs and forums, and engaging in some kind of group therapy in
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
the process, another concept that may help us further understand the Pandora E ect is the
idea of cultural trauma. As opposed to psychological or physical trauma, cultural trauma
refers to a loss of identity and meaning a ecting a group of people that has achieved some
degree of cohesion (Eyerman , ). Cultural trauma is de ned by Alexander as a
socially mediated attribution (, ), with the emphasis falling not so much on trauma
itself as on the way certain phenomena are believed to have a ected collective identity and
are therefore interpreted as traumatic (). e focus here is on the sociocultural process
that attributes meaning to a certain event, making it traumatic, and the role of imagination
in the very process of representation of trauma, irrespective of whether the reference is to
something that has actually occurred or not ():
Sometimes . . . events that are deeply traumatizing may not actually have occurred at all; such
imagined events, however, can be as traumatizing as events that have actually occurred. . . . Trauma
is not the result of a group experiencing pain. It is the result of this acute discomfort entering
into the core of the collectivity’s sense of its own identity. Collective actors “decide” to represent
social pain as a fundamental threat to their sense of who they are, where they came from, and
where they want to go. (, )
In addition to this de nition of cultural trauma, Red eld’s account of “virtual trauma” is
also helpful in understanding the Pandora E ect brought on by Avatar. e virtual trauma
concept was introduced “to describe the ambiguous injury in icted by the September
attacks as mediated events” (, ). Although one can only take the comparison of
an object of entertainment with the visual experience of a very real and painful terrorist
attack so far, the idea of the virtual as suggesting “the trembling of an event on the edge of
becoming present: one that is not fully or not properly ‘actual’,” as in a virtual threat that
has arrived “without quite (yet) arriving” (), further illuminates our analysis of the movie.
e roots of the impact of Avatar can be traced to a large extent to the threat of ecological
disaster and the total rupture of any balanced relation with the environment. Pollution,
the energy crisis and global climate change are already very present in our lives, but the
potential for destruction within the current dynamic of the exploitation of resources
announces many more terrible scenarios to come. In other words, to most people today it
would seem quite realistic to imagine a future in which there is no longer any green, unless
we do something to stop the current way of dealing with things, and in this sense Avatar
does re ect a virtual threat. Just as the people who watched the September attacks on
were not generally traumatized in the technical or psychological sense (Red eld ,
), Avatar fans cannot claim—or should not claim—to be su ering from a real trauma.
Nevertheless, virtuality here, as in the terrorist attacks, functions “as both a consolation
and a threat, retaining the power to haunt, sharing something of the force of the kind of
wounding we call ‘traumatic’” (). In this approach to the movie, the perpetrator is today’s
technological, dehumanized world and the victims are the individuals who feel there is
nothing they can do to change it.
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. P T: A I P’ H
U G
Again, telling the story exclusively from this point of view would be a problematic
simpli cation, one reason being that, in the characterization of cultural trauma, we should
always expect a great deal of contestation among the di erent groups involved, since “the
answers to the questions of who are the victims and who is responsible for the victimizing
are always central,” and this is the reason why no traumatic story “can be told without
tracing these themes of su ering and blame” (Smelser , ). In the tracing of such
themes, when referring to the di erent groups involved in identifying with this movie, a
re ection on its impact on indigenous peoples and their representation is also necessary,
and such a re ection goes hand-in-hand with a problematizing of the application of the
trauma paradigm. As seen in the controverted responses to Avatar, no generalization can
easily be made about indigenous peoples’ responses to the movie, since they have varied
from unconditional praise to harsh criticism. However, in all cases, the identi cation of
the alien Na’vi with the indigenous peoples of the Earth has come automatically, and
although the trauma of colonization as it is seen in Pandora is not exclusively related to a
particular human group, as mentioned above, most references have been made to the case
of Native Americans.
According to Native critics involved in the study of American Indian trauma, the
massive loss of lives, land and culture derived from European contact and colonization
have resulted in a long legacy of chronic trauma across generations, a phenomenon known
as “historical unresolved grief” that has contributed to “the current social pathology of
high rates of suicide, homicide, domestic violence, child abuse, alcoholism, and other
social problems among American Indians” (Brave Heart and DeBruyn , ). It is
obvious that, when watching what happens to the Na’vi in Avatar, Native Americans
may see a direct reference to their own history of massive death through military action,
the destruction of the natural environment, the separation of the people from places
sacred to them, the disintegration of Native life and other dark features of the American
continent conquest. With respect to this trauma, understadably, “for American Indians
the United States is the perpetrator of [their] holocaust” (). e Pandora E ect,
as mentioned above, implies an abstract perpetrator that could quite automatically
be associated with the United States and what it symbolizes in terms of capitalism,
consumerism and technology. is points at an interesting connection of di erent
communities of victims—viewers alienated from their world and Natives su ering from
historical unresolved grief—that become allied against what they perceive as a common
victimizer. If this allegiance leads to real changes in the state of things, that is, if it is
aimed at making a di erence, few objections will of course be raised against it. However,
there are several problematic points that derive from this connection that ought to be
critically considered.
e Pandora E ect can already start to be questioned from within the perspective of
trauma studies, for some trauma critics attend to the risk of over-identi cation with the
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
victims of a trauma, which may problematically lead to an appropriation of the experience
of the other (Whitehead , ). When considering this risk, LaCapra o ers a useful
distinction between the desirable empathy, “which should be understood in terms of
a ective relation, rapport or bond with the other recognized and respected as other”
(, -), and identi cation “or fusion with the other” (), which is to be avoided
because it would lead to “identifying with the victim to the point of making oneself a
surrogate victim” (Whitehead , ). As trauma critics have o en emphasized, “the
experience of transmitted trauma should necessarily di er from the trauma experienced
by the survivor” (, ). Jill Bennett develops this idea more fully when she claims
that in postcolonial literature, theory and politics, it is an ethical imperative to share
su ering “via a form of heteropathic identi cation” (, ), in other words, that
art and its reception should avoid an identi cation with the pain of the other based on
sameness which is centered on the self and risks annihilation of the other’s experience,
and promote instead a relationship of identi cation at a distance that acknowledges the
other as other. is does not seem to be the case with viewers’ reactions to Avatar when
they are claiming the traumatic experiences of genocide and ecocide as theirs to some
degree, making these claims very problematic. In addition, Daniel Heath Justice, in his
acute review of Avatar, calls the lm ultimately “a story about ‘those bad guys who aren’t
us’,” which distances the audience “from any complicity with these evils in our world” and
therefore fails at approaching what is really required “to e ect real and lasting change.”
While recognizing that the genocide perpetrated against the Na’vi is undeniably evil
and despicable, he reminds us that “genocide isn’t enacted only by wicked, bloodthirsty
soldiers—mundane, ordinary people participate in all kinds of atrocities at home and
abroad, knowingly and unknowingly, every day.” What is lacking in Avatar, then, is a
view of the sense that “good intentions can actually be far more destructive to a people
(and have much more lasting impacts) than shooting napalm into the Hometree” ( Justice
). From our twenty- rst-century perspective we know that the history of white
Americans’ longing for Otherness, the projection of Western discontent on the Natives,
and the claim for a more legitimate link to the land by associating with the Indian—from
the going-Indian to the wannabes—is not only as long as the history of colonization, but
also, very importantly, just as complicit with its disastrous e ects on the Natives. Not
only is this point not addressed in Avatar, but, on the contrary, by encouraging both
a distanced position from those held responsible for the evils of colonization and an
identi cation with their victims, the movie ultimately becomes complicit in this history
of colonial appropriation.
Trauma theory, regarded as “one of today’s signal paradigms” (Visser , ) has
been the focus of critical controversy, the most heated debates on its adequacy coming
from the eld of postcolonial studies, which questions the possibility of applying it to
Jill Bennett is here drawing from Kaja Silverman, who in turn recovered the distinction between idiopathic and
heteropathic identi cation from the German philosopher Max Scheler.
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“ ”
non-Western contexts. e rst acknowledged problem of the trauma paradigm is its
di culty “to recognize the experience of the non-Western other” (Craps , ), which
requires an attention to traumas on non-Western or minority groups in their own right,
and an approach to them which comes from a culture- and context-speci c perspective.
e second, related, problem of an uncritical application of the trauma paradigm is the
risk of preventing rather than allowing for real political transformation (-), a risk
present in both the aporetic, deconstruction-oriented trend, characterized by Cathy
Caruth and Geo rey Hartman, which considers trauma an inaccessible and unspeakable
experience, and in the therapeutic, working-through oriented trend, associated with the
work of Judith Herman, who, according to Visser, argues “that narrative is a powerful and
empowering therapeutic tool, enabling integration of the traumatic experience and aiding
healing and recovery” (, ). e analysis of the representation of trauma in the
movie requires close attention to these problems.
An uncritical application of the trauma paradigm to Avatar would interpret Jake Sully’s
wound—a projection of the white man’s pain—as a stage that can be overcome or worked
through by means of connection, the right choice of values and an escape into a utopian
world where his technological, capitalistic, consumer-oriented and environmentally
unfriendly origins can be le behind and forgotten about. Jake’s rejection of his old self, the
repetition of stereotypes and the recreation of an ecotopia are o ered as a way to achieve
connection, but they ultimately reinforce alterity. One undeniable positive element in
the movie is the recognition of both the values and the su ering of indigenous peoples,
but we are also in the presence of an appropriation of those values and su ering. e “I
see you” idea, which condenses the act of spiritually connecting in the lm, illustrates
this ambivalence. is is supposed to be the sign that Jake Sully has nally learned to
understand the true value of the Na’vi way of life instead of staying on the surface of things.
However, “I see you,” in the end, also means that “I can know you and become you when
I want,” in an unequal relation where the opposite is not possible, and the “you” is not a
subject, but just a convenient object of the white man’s desire. As Seegert has pointed out,
Cameron has missed the opportunity of construing the “seeing into [another] in terms of
regard, as acknowledgement of another in her or his Levinasian otherness rather than in
terms of complete access in transparent fullness” (, ). e lm may be functioning
as a catalyst for white pain, as an attempt to expiate colonial guilt, but, needless to say,
the appropriation of the values and trauma of another cannot possibly help the latter
in the healing of their own trauma and, in this respect, it becomes obvious that the
representation of trauma is articulated from a clearly Eurocentric, neo-colonial perspective
that makes the white man’s trauma the protagonist, denying ongoing colonial su ering.
For relevant analyses of the debates on postcolonial trauma theory, which fall outside the scope of this paper,
see Borzaga , Craps and Visser .
Critics have referred to these two contra sting—to the extent of being opposed—views of trauma as “the trauma
theory contradiction” (Luckhurst , ; Visser , ).
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
A simpli ed view of trauma like that we nd in Avatar—with the possibility of
total and complete healing or working through—becomes available for possession and
assimilation into discourses of therapeutic recuperation and it runs the additional risk of
critical appropriation and misrepresentation, or what Spivak called epistemic violence.
As Jo Collins argues, using western paradigms of trauma “may seem like an ethical act of
recuperating memory, but may ultimately be a way of appeasing guilt about the West’s
imbrication in such trauma without impelling real intervention” (, ). When viewers
of a movie or readers of a text—both critics and the general public—are allowed to nd
some disavowed salvation in the narrative, they can deal with guilt from a safe distance,
which precludes real political engagement. In this way, a totalizing, redemptive kind of
narrative—as found in Avatar, and what we would be promoting in an unquestioned
application of the trauma paradigm—may become a form of traumatic denial. As is o en
the case with established paradigms, we need then to consider whether, in its current
mainstream use—as has been noted when applied to the postcolonial situation—“‘trauma’
becomes more of a barrier than a fruitful epistemological tool” (Borzaga , ). Being
critical of the trauma paradigm—especially of its Eurocentrism and its risk of restricting
political transformation—does not entail, as Craps contends, that trauma theory needs
to be abandoned altogether, but rather that it should be expanded into “an inclusive and
culturally sensitive trauma theory” (, ). In other words, an analysis of a work of
ction like Avatar—which is an example of how the trauma paradigm, including narratives
and criticism, has become so extended as to be at the point of being formulaic right now—
should pay close attention to the cultural and context-speci c features of the people whose
characteristics it incorporates, as well as an awareness of the political implications of that
analysis, in such a way that it makes possible—as opposed to hindering—transformation.
Needless to say, the global impact of this particular movie makes this need more compelling.
Avatar is successful as a spectacular entertainment object, and one that has sold very
well. It is precisely by voicing—and selling—contemporary preoccupations that it helps
make visible an unfair reality which needs to be considered and, if possible, stopped;
namely, the ill-treatment of indigenous peoples and the environment. In this respect, it is
undeniable that Avatar has made many people think, especially some that would probably
not be considering these issues otherwise. But the movie also—and problematically—
succeeds, by means of a simplistic, stereotypical and formulaic representation of traumatic
events, which allows for a somewhat gratifying feeling for the victims of genocide and
ecocide, a self-distancing from the perpetrators of those very real crimes and a related
wished-for expiation of colonial guilt. e problematic nature of this element lies in the
fact that it buttresses conformity as opposed to attempting to make a true di erence. is
is the aspect of Avatar which can be most clearly called a failure: because of the themes it
deals with, it promises much but then proves disappointing, both in its representation of
traumatic realities and in the resolution that is o ered. It could have included a lesson for
real, positive change, but it stays on the surface of things instead. One cannot help wonder
whether Avatar succeeds commercially in spite of its faults, or whether it is precisely thanks
ATLANTIS. Journal of the Spanish Association ofAnglo-American Studies. . (December ): -· -
“ ”
to those faults, which make the lm so disappointing for some of us, that it has succeeded.
In the end, when watching Avatar we should always wear, in addition to the -D glasses,
the critical lenses that help us consider whether this mass-consumption cultural object
o ers an opportunity for the end of injustice, or whether it is simply, as we have seen so
many times before, contributing to perpetuating it.
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F C
Avatar ( James Cameron, ).
Dances with Woles (Kevin Costner, ).
Pocahontas (Michael Giaimo, ).
Received February Revised version accepted April
Silvia Martínez-Falquina teaches literature at the University of Zaragoza. Her research centers
on ethnic literatures of the . She has published Indias y onteras: el discurso en torno a la mujer
étnica () and co-edited On the turn: e Ethics of Fiction in Contemporary Narrative in English
() and Stories through eories/ eories through Stories: North American Indian Writing,
Storytelling, and Critique ().
Address: Departamento de Filología Inglesa y Alemana. Facultad de Filosofía y Letras. Calle Pedro
Cerbuna, . , Zaragoza. Tel.: + .
