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Neanderthal Identity In Quest For Fire

Decent Essays

Despite the plethora of differences that exist among modern day humans, one characteristic appears to be retained: man’s superiority complex. From notions of Homo sapiens sapiens serving as the apex of evolution, to the belief in imago dei and man’s high placement on the Great Chain of Being, anatomically modern humans (AMH) are most often viewed as the superior group when compared to those who came before. Within popular culture, this developmental “gap” is regularly capitalized on in the depiction of Homo sapiens neanderthalensis and their ascribed “inferiority.” Through a manipulation of an array of factors such as complexity of language, the mastering of fire, and an apparent reduction in overall savagery, AMH are frequently illustrated …show more content…

During the viewing process, it is not only the reliance on grunting and pointing as dominant methods of communication that makes an identification of the species a complicated task to accomplish, but also the presence of multiple groups within the film’s setting. From their overall complexity, it is evident that Ika and the other members of the Ivaka tribe are meant to be representative of AMH. However, scholarly research and evidence of early and present-day perceptions of Neanderthal identity makes the designation of the ape-like Wagabu and fire-searching Ulam tribes slightly more equivocal. Yet, for the purpose of developing a framework for this argument, it will be determined that the film draws on later publications which depict Neanderthals in a slightly less primitive light. Hence, in examining Neanderthal and AMH interactions, this analysis zeroes in on the portrayal of the Ulam/Ivaka …show more content…

Within the film, it is undeniable that Neanderthals are depicted as creatively inferior. In large part, this portrayal draws from disputed scholars who posit that AMH were inherently “superior in a wide range of domains,” such as “weaponry,” “subsistence strategies,” and even the production of symbolic artwork. In the movie, the viewer is witness to the Ivaka’s innovation through details such as the tribe’s creation of fire, development of projectile technology, and construction of painted clay vases. The Ulam, on the other hand, are originally seen as limited only to the knowledge of how to maintain fire, and admire the Ivaka in the majority of their various technologies. This admiration is so strong that they begin to adopt certain features into their own lives, as demonstrated in Amoukar and Gaw’s stealing of the atlatl, and through Naoh’s application of bodily ornamentation and attempt at mimicking the tribe’s fire-building technique. Through this detail, the film supports the “theory of acculturation,” one which attributes any Neanderthal cultural complexity as being directly influenced through an observation of AMH, rather than through the possibility of independent invention., Overall, the Ulam are portrayed as an inferior species, an element which is in direct contradiction with evidence that argues that Neanderthals would have demonstrated more than enough cognition to independently

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