The 1988 film Alien Nation depicts the immigrant experience in historical and contemporary America where these groups come to comprise minorities who feel not only the social ostracism of alienation, but also that they form a nation within a nation because of their different linguistic traits, physical appearances, and social customs. Furthermore, the title, in all its ambivalence, emphasizes this rift since the word alienation has been split in two; hence, despite affirmative action policies, while assimilation occurs to some degree, social acceptance does not-not in the film, and not in reality. Because of this scission minorities must seek bonding through solidarity within their own ethnic group, forming enclave communities, which upholds a systemic bondage from which they must continually strive to free themselves since the majority denies them positions of true authority as well as the respect that they deserve.Perspective determines which culture is the alien nation here; accordingly, several questions arise. First, do the Newcomers regard America as an alien nation to which they must assimilate and into which they must integrate? Second, do Americans deem the Newcomers as a displaced alien nation that seeks refuge in the much ballyhooed land of the free that ostensibly welcomes the poor, the tired, and the hungry? Third, do Americans consider themselves as turning into a nation of aliens where mainstream society is threatened?The film is set in 1991 in Los Angeles. Three hundred thousand aliens from an extraterrestrial, mining slave-ship have landed and ACLU has worked to free them from quarantine. This sounds suspiciously like the boatloads of Caribbean exiles that throngedAmerica's shores in the aftermath of the Vietnam War and the Mariel boatlift as well as the undocumented economic refugees from Mesoamerica. America's selective, open-door policy to take in the disenfranchised from other cultures is parodied at this point to illustrate the hypocrisy of rhetoric and action, when Cubans were welcomed as political refugees (prior to the Wetfoot/Dryfoot policy enacted in the wake of the Elian Gonzalez debacle in 1994) as compared to the policy regarding Mexican and Haitian refugees who faced deportation if they were apprehended without proper visa documentation since they were considered economic refugees.The film shows a flashback news clip of former President Ronald Reagan, who in the early 1980s proposed federal budget cuts to alleviate the deficit by stating, We have come to a turning point ... a moment for hard decisions. If not us, who? And if not now, when? Within the film, Reagan's message implied that America must harbor refugees by default since they have nowhere else to turn. Nevertheless, immigration laws tended to favor whites rather than blacks: consider how Cubans were welcomed while Haitians were repatriated during the 1990s when desperate refugees braved crossing the Caribbean on makeshift rafts to escape their dire conditions. The appropriation of Reagan's text removed from its original context changes the meaning, especially since he was no longer president in 1991. As his speech, shown on a bar television, diminishes into an indistinguishable hum, the bartender turns and we see that he is an extraterrestrial Alien.This apparently inconsequential juxtaposition of images is ambivalent also since the freedom and opportunity that America connotes provide the Alien (minority) with a servile position, complete with bowtie, reminiscent of the menial positions that blacks were relegated to until very recently in America's history. As the first image of the Aliens (minorities), it perpetuates the idea of a uniformly and uniformed, service culture in the ilk of the McDonald's commercials from that time period in which Calvin, the young black lad, becomes the happy, hard-working assistant manager from 19902 and the segue from 19923. It is an example of subtle racism, a theme that runs throughout the film in which you can have a nice title, be a part of the team, and . …
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