American History X and The Theory of Cognitive Development
American History X was released in 1998 by New Line Cinema in a cut form which director Tony Kaye attempted to disown. His gripe with star Edward Norton and studio execs led him to file a $275 million suit against the distribution company. With troubles aside, the movie remains a classic representation of issues facing American society. The characters in American History X demonstrate the theory of cognitive development while echoing the problems of racism in America as well as the influence of neo-Nazi organizations. Throughout this paper I will discuss psychological aspects, film studies, and my own personal narrative with regards to American History X.
The movie tells the story of a poor white American family torn apart by the neo-Nazi tendencies of two brothers and the repercussions it brings. Everything takes place over the course of one day, a day in which Derek Vinyard (Norton) gets released from prison for the brutal murders of two African American men. Black and white flashbacks are used to expose events that have happened in the past. As the young protégé of ringleader Cameron Alexander, a man truly obsessed with the powers of fascist control, Derek begins to preach Cameron’s teachings to the young corruptible minds of Venice Beach. It is only after Derek is sentenced to three years in prison and is brutally raped by fellow members of the Aryan Brotherhood that he reforms his ways and reenters society as a changed man. Upon his release, Derek realizes that his little brother, Danny, is apparently under the control of Cameron and heading towards a similar fate. Derek hastens to undo the brainwashing he believes Danny to have received before it is too late.
American History X does a remarkable job of displaying America’s problems with racism. This movie is Mississippi Burning on steroids. Its brutal subject matter pushes its viewers to the curb, makes them bite it, and then stomps them on the back of the head until the issue is forced into their brains. Some people in America are instilled with racist thoughts throughout their entire upbringing. This is where the theory of cognitive development comes into play. The theory, made famous by Swiss psychologist Jean Piaget, concerns the growth of intelligence within the human body. It encompasses “the ability to more accurately represent the world and perform logical operations on representations of concepts grounded in the world” (Piaget). Take Derek for example. During a normal dinner conversation with the family when he is discussing a novel he has been assigned to read by a black author, his father launches into a spiel in which he criticizes the also black teacher and proclaims the work his son must do as “nigger bullshit.” At this point in time Derek is in the concrete operational stage, “characterized by the appropriate use of logic.” The teachings of those closest to him, i.e. his father, sensibly have the largest impact on him and help mold the way he thinks for years to come. Derek’s mind has not completely developed and as a result, his “normal mode for cognition, even as (an) adult” does not allow him to fully reason with his surroundings. It is with this train of thought in which many American children are raised, that it is no wonder racism is more widespread here than in any other country. “It is not a disgrace to have absorbed some racism. It is a disgrace not to know it and to let those parts of ourselves go unchecked” (Ezekiel). Everyone has experienced some form of racism at some point in their life; it should be their concern over whether or not they let the issue affect the way they live their lives. No matter what the impact may be, positive or negative, let it be known “there will always be layers (of oneself) that harbor racist thoughts and racist attitudes. This is not to say that those must remain the dominant parts of (ones) mind” (Ezekiel).
Blatant discrimination against African Americans has become somewhat more subtle in today’s society. However it still manages to carry on in nearly all aspects of life. “Contrary to a common white view, modern racism does not consist mainly of the isolated acts of scattered white bigots, but rather has been inescapable in the everyday world of African Americans. Almost any encounter with whites, in workplaces, schools, neighborhoods, and public places, can mean a confrontation with racism” (Feagin). In order to overcome these fearful incidents, people must have “at heart, a positive self image” that allows oneself to recognize “the persisting flaws in the U.S. social system.” Only once blame is stopped from being carelessly thrown around so as to insult members of each race will Americans be able to live in harmony. Rachel Schuster relates the struggles of the famous black tennis player Arthur Ashe to the effects of racism: “A few months before he died of AIDS in 1993, the black tennis star was asked if that deadly disease had been the most difficult challenge he had faced in his life. Reflecting on his battle with AIDS, Ashe replied that another challenge was even greater: “Being black is. No question about it. Even now it continues to feel like an extra weight tied around me” (Shuster).
The influence of neo-Nazi organizations upon American youths is also apparent throughout Tony Kaye’s film. Leadership of such groups is the integral part for the implementation of their ideals. Derek and Danny Vinyard have both fallen into the trap set by Cameron Alexander, the leader and foremost authority on anything having to deal with white supremacy and neo-Nazism across California. Cameron has all the power; his verbose speeches are etched into the minds of young individuals that are tired of being vilified and looking for a way to fight back. “He can make his listeners feel that they are part of something that is happening, that these are not empty words” (Ezekiel). Cameron holds his sphere of influence over the heads of his starving children and rarely lets go. “At core, he is a political organizer. His motive is power. Racism is his tool. He is most alive when he senses himself influencing men, affecting them.” Cameron breeds these young kids to think as an extension of his own ideas. As cognitive theory would state, “the representational and logical operations available to the child(ren) extends to all kinds of concepts and knowledge” (Piaget). It is this sort of strong leadership that leads to strength in numbers within the neo-Nazi community. “The living expression of the resentment and anger of the listeners” forces the group as a whole to become stronger. It is at this point in which members take actions that lead to the hatred and destruction of fellow human beings. Only once Derek has been released from prison and entirely transformed his outlook on life does he enter the formal operational stage of cognitive development. It is “characterized by acquisition of the ability to think abstractly, reason logically, and draw conclusions from the information available. During this stage the young adult is able to understand such things as shades of gray and values” (Piaget). Derek now has the capacity to recognize the mistakes he has made and to try to correct them through saving his younger brother.
American History X is an example of classical Hollywood. Sometimes referred to as classical cinema, it blends elements of both realism and formalism, prohibiting films of this nature from being classified as either one. The style used is not flashy by any means yet it is not as basic as some other films such as documentaries. Rather than (belonging to) airtight categories,” films such as American History X encompass a “continuous spectrum of possibilities” (Gianetti). The narrator forces the audience to become involved with the character’s emotions and causes the viewer to actually feel for them by the end of the movie.
There is one scene in particular that stands out as more influential than all the rest. It is titled: “I Keep Going Back to That Night Again and Again.” This scene takes place about a third of the way into the movie and is pivotal in understanding the basis for the film. Derek Vinyard, a member of the D.O.C., a neo-Nazi organization, is alerted by his little brother, Danny, to the fact that three black men are attempting to break in and steal Derek’s car. Derek grabs his gun, rushes downstairs, throws open the front door, and quickly shoots the first assailant, killing him instantly. He then fires at the second attacker, a man named Lawrence, and proceeds to shoot at the third enemy as he is driving away. Derek then goes back to Lawrence, makes him bite the curb, and stomps the back of his head. As this is happening, Danny runs outside and witnesses everything as it unfolds. Moments later the police arrive on the scene and arrest Derek. Right before the cuffs are put on him there is a look of pure evil on his face that shows how deep his hatred truly runs.
The reason this scene works so well is because of the combination of photography, mise en scene, movement, editing, and sound. The photography within the film intentionally highlights three colors: black, white, and red. The black and white represent the two main races that are at odds with one another throughout the film. When paired with red, these colors evoke images of the Nazi flag which is seen several times throughout the movie. It is used to pay homage to the Nazi party and their beliefs which have directly influence both Derek and Danny. The stark colors help to deliver a very dark message, a message that is fueled by anger and hate. The mise en scene is evident through the placement of two road signs in this scene. On the corner where Derek is arrested there are two signs that read: STOP and RIGHT TURN ONLY. These two ideals parallel the life of Derek who reforms his ways and becomes an entirely different person by the movies’ end. The signs are thus placed so as to portray the significance of the event taking place. Movement is used to emphasize both the hostility that Derek harbors, and the negative effects he has on others. The scene plays out in slow motion on two separate occasions. When Danny runs out of the house and sees his brother killing the black men, and also after the police arrive as Derek slowly puts down the gun, smiles, and then gets down on the ground to be arrested. The editing is exceptionally well done. From the time Derek shoots his first victim until his arrest, the scene evolves from one central location, the viewpoint of Derek’s younger brother, taking the form of a long shot with slow pans placed throughout. Only when the director wants to convey emotion does he switch to close ups and extreme close ups of the character’s faces. The pre production planning involved with this is outstanding. Although to me it is the sound that really makes this scene what it is. “Cinematic sound…does not simply add to, but multiplies, two or three times, the effect of the image” (Gianetti). At the beginning there is fast paced, rampant music that builds the tension, followed by taunts from Derek. Then there are loud, distinct sound bites of gunshots and the crunch of teeth upon a curb. Next there is intense shouting, all on behalf of the arresting officer, which leads into soft music and the submission of Derek Vinyard. The way I see it, this is one of the most powerful scenes in modern day cinematic history.
I first saw American History X a couple of months before I graduated from middle school, in the winter of my eighth grade year when I was about 14. Since then it has had an immense impact on my life and affected me in more ways than I can even begin to describe. Throughout my middle school career I was somewhat of a problem child. Actually, I was more of a terror upon all those who attended my school. Being young and naïve at the time, I made hurtful remarks of various magnitudes, was kicked out of class on numerous occasions, and got into several scuffles on the blacktop. I was that kid always sitting in the principal’s office or staying after school for a detention day after day. I was constantly in trouble. During what came to be my final parent conference of middle school, my principal delivered an ultimatum: change or get out. And there it was, laid out for me as clear as day. I had the choice to either completely reform my ways or get kicked out of school. The very next day my parents forced me to start taking anger management classes and scheduled me to see a psychologist or a “worthless, seedy asshole” as I referred to him back in the day. After successfully completing my anger management course and countless sessions with my shrink, I was like a phoenix rising from the ashes, reborn as someone entirely new. I graduated high school with hardly any blemishes on my record, save for a few detentions here and there, and somehow managed to end up in the top 10% of my class.
If there is one character that I could relate to from cinema’s extensive and memorable past, it is most certainly Derek Vinyard, the protagonist of American History X. Like me, Derek completely transformed who he was, changing from influential neo-Nazi leader, into a cultured, well-read member of society. Watching Derek Vinyard in the movie was like watching a version of myself onscreen. I could see all of the things wrong with him and criticize his every move, but in reality all I wanted to do was correct myself. Being able to identify with Derek goes to show just how powerful this film can be. After Derek’s release from prison he saw things in a new light. After nearly a years worth of clinical observation, a prison of my own, I too have a different outlook on life. Every time I watch American History X I am transported back to a time in my life that is strewn with internal strife. For a little while I feel as if I am beginning to experience my struggles all over again. But when the film ends and the credits roll, I realize how much stronger I have become mentally, for now I can see the progress that I have made. Seeing the movie again and again only helps in upholding my personal growth. Some people may criticize American History X for its glorification of violence and characteristic stereotypes; however it is my belief that it presents the viewer with important messages that can be learned. This remarkable film can help people discover who they truly are and allow them to realize that we can learn from the mistakes of our past. Even the most racist person can discover the flaws in their own beliefs, just as Danny did before he died. He realized that, “Hate is baggage. Life’s too short to be pissed off all the time. It’s just not worth it” (American History X).
References
- American History X. Prod. Michel De Luca. Dir. Tony Kaye. Perf. Edward Norton, Edward Furlong. DVD. New Line Cinema, 1998.
- Ezekiel, Raphael S. “An Ethnographer Looks at Neo-Nazi and Clan Groups: The Racist Mind Revisited.” The American Behavioral Scientist. (2002): p. 51-71
- Feagin, Joe R., and Melvin P. Sykes. Living With Racism: The Black Middle-Class Experience. Boston: Beacon Press, 1994.
- Gianetti, Louis. Understanding Movies. Upper Saddle River, NJ: Pearson Prentice Hall, 2007.
- Piaget, Jean. “The Construction of Reality in the Child”. New York: Basic Books, 1954.
- Shuster, Rachel. “Ashe Legacy Goes Beyond Sports, Race,” USA Today, 8 Feb. 1993, p. 1C.
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Chris,
What a well-written and thought provoking article. I saw American History X in my early 20’s and that scene that you describe sends shivers up and down my spine everytime I think about it and remember it. I cried hysterically at that scene and my ex-husband had to stop the film and ask me if I was going to be OK. I get so sad thinking about society today and how prevalent those thoughts truly are, in mild forms or blatant forms such as violence as you describe.
I actually found your article because I’m taking my Graduate School Comprehensive exams and one of the questions is regarding moral obligation in the classroom. Piaget is a theorist that I am planning on referencing in my essay in an attempt to teach/expose/ however you want to say it racism to high schoolers. Anyway, I really respect your writing and what you had to say. Very nice work. Lisa