Клинт Истууд и светът на хмонг
Clint Eastwood and the World of Hmong

Summary/Abstract: "Modern man thinks that he has left the world of religion. There are some spheres in which the sacred is outlined in our secular culture. One of these spheres is art although its religious importance is not always easily realized" (Mircea Eliade). Soon after the presentation of Changeling (2008) Clint Eastwood presented his new film as director: Gran Torino - part of the multi-aspect mosaic portraying modern America. At first sight Eastwood's choice to situate the film's story in the Hmong-community seemed extravagant and in a way unusual. But it is in no way coincidental. As a multiethnic county America offers a vast background of minorities (that includes many Asian ones) through the prism of which the conflict in Gran Torino could be build up. But the Hmongs carry their specific historical and cultural background not only as an ethno-social formation. The history of their statute as emigrants places them in a very complex relationship with the USA and Americans respectively. Clint Eastwood's approach as director of Gran Torino to a large extent rehabilitates the image of the Hmong community. During the period of pre-production of Gran Torino the director worked with a number of consultants with whose assistance he managed to present authentically and to the best of his ability the world of the Hmong people. The cultural identity and specific characteristics of the Hmong people were best presented in Gran Torino in the key episode during the gathering of the clan and the invitation extended by Sue to Kowalski (Eastwood) to have a beer with the neighbors. A special accent was placed on the set up of the table and its central function to make sacral the healthy and stable family ties or kinship. The scene was a key one also due to the presence of the Hmong shaman, who uncovers the foreign mysterium tremendum.

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