Abstract
ABSTRACT: This article explores the representation of the White Hunter as an archetypal figure across different periods and genres in Hollywood, mapping the legacy of this colonial icon in James Cameron’s Avatar (2009). In its redefinition of the safari film genre, Avatar embeds colonial tropes of wild Africa in an alien fantasy world of simulations, where the “eco-romantic” postcolonial production codes regarding African wildlife cease to apply, allowing Jake Sully, the protagonist, to reenact a colonial big-game safari and rehabilitate his white hunting masculinity in an artificial Africa. In doing so, the film rebrands and propagates the acceptance of a number of colonial heroes and themes of yore in today’s popular culture.
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