The Abominable Snowman
1957
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Representation score: 0.7 out of 10
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Angkor
Representation Score
1.3/10
Minimal
1935
ApprovedDirector
L.C. Cook, George M. Merrick
Runtime
81 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Angkor (1935) combines archival footage of Angkor Wat with staged Hollywood sequences. Focusing on landscape and ethnographic observation, it lacks nuanced representation. The film reflects its time, positioning Western explorers as observers of non-Western cultures. It archives foreign sites through a Western lens, reinforcing colonial-era hierarchies and explorer clichés.
Category Breakdown
Does Angkor have LGBTQ+ representation?
The film does not focus on LGBTQ identities. There is no evidence of any queer subtext in the historical travelogue.
How does Angkor portray gender?
The film follows the traditional 1930s explorer cliché, emphasizing male control. Women do not have roles of intellectual or physical authority.
How racially and ethnically diverse is Angkor?
Cambodians are observed but not given individual ability to act. Local populations appear as part of an exotic landscape rather than as characters with their own stories.
How does Angkor represent religion and culture?
The film presents the East from a Western perspective, focusing on discovery. It lacks anti-colonial sentiments or critiques of Western institutions.
Does Angkor include disability representation?
There is no evidence regarding the portrayal of physical or neurodivergent identities within the film.
Present on Screen
- Provides archival footage of the Angkor Wat complex in Cambodia.
Limited or Absent
- Does not give local populations individual ability to act, treating them as part of the landscape.
- Reinforces colonial-era perspectives and Western-centric viewpoints.
- Does not offer meaningful representation for women or LGBTQ identities.
- Lacks character-driven complexity to allow for diverse depth.
Official Synopsis
Basically a travelogue featuring footage of Angkor Wat (in Cambodia) shot by a couple of explorers in the WWI years, with additional footage shot on a set in Hollywood by George M. Merrick.
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