Parallel To Settler Colonialism, An Allegory About Segregation In District 9
The opening scene of District 9 stands out as a powerful parallel to settler colonialism, an allegory about segregation relatable to what is happening in the world today. Refugee camps all over the world are set up for those attempting to flee horror in their home state, but as District 9 displays, very few people want the responsibility of taking care of the displaced people (or extraterrestrials, in the case of District 9). The encampment constructed to house the aliens quickly turns into a slum rampant with crime due to pressure caused by lack of resources and support. Racism develops as humans learn that the “Prawns” will be unable to return to their home planet. Marginalization progresses and extraterrestrial rights are stripped. Strong efforts to segregate the species institutes “non-alien” areas of District 9. This segregation of extraterrestrials is poignantly similar to the first motion of Nazis rounding up Jews in the ghettos, internment camps of Japanese Americans, 20th century American segregation, and segregation of Native South Africans and Whites during Apartheid. The motive of Multi-National United to relocate the “Prawns” is a candid reference to the forced eviction of blacks in Johannesburg during Apartheid. While Wikus heads the eviction campaign, one moment stands out as a narrative trace of despotic imperialist colonialism, akin to Spanish conquistadors in the 16th century Americas; Wikus claims that an alien swatting the clipboard out of his hand registers as “a scrawl.”
A pressure similar to that which Wikus puts on the “Prawns” is then reverted onto him after he is sprayed with the black liquid. Wikus is pressured into realizing he will no longer be human; he is becoming alien. Cognitive estrangement occurs for Wikus first when he sees black liquid dripping from his nose, although this is a low-level estrangement, perhaps concerned confusion. His reality truly begins to shift when his bandaged arm is first revealed to have transformed into an alien claw. Once exposed, he is harbored as a specimen and transported to medical labs where MNU intends to dissect him. He is transferred on a stretcher in a zipped body bag, suggesting that he is no longer human but property of MNU. A pivotal moment in Wikus’ transformation occurs when he is forced to test alien weaponry. As he is electrically probed to activate the weapons, he continuously protests. When they place a “Prawn” in the target range, he refuses outright. While he used to enjoy torturing and incinerating “Prawns”, here he demands, “Leave that fucking Prawn, man, I will shoot a pig … I’m not shooting at a Prawn, you hear me?” His shift in attitude may be due to his own biological transformation, and it is at least a profound shift in his reality when he realizes he would be killing one of his own species.
The confusion and panic Wikus experiences is translated to the viewer effectively through distorted audio and visual effects. Swirling cameras, blurred images, and disorienting sound effects provide a multisensory environment which is effective because it allows the reader to be more fully immersed in the experience of Wikus. Whereas literature requires a reader to use imagination or needs to provide literal evidence in order to effectively portray cognitive estrangement, in District 9 it is displayed more directly for the viewer, described in facial expressions, tone of voice, sound design, and camera perspective.
