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For rash in the mouth, rinse with salt water at least four times a day. Prescription mouthwashes, sometimes called miracle or magic mouthwash, or local anesthetics like viscous lidocaine can be used to manage pain. Oral antiseptics like chlorhexidine mouthwash can be used to help keep the mouth clean.
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1) Pereira constructs a comic horror film in which sixteenth-century intertexts are read as current events in an analogy of colonialism with global capitalism. This film is Pereira's response to Brazil's building of the Trans-Amazon Highway, in the course of which contact with indigenous communities was made that threatened them with near extinction. The current destruction of habitat and native populations recalled to Pereira the traumas of colonization. . . . The ingesting of foreign invaders thus becomes for Pereira a metaphor for indigenous resistance to global capitalism, the most recent form of economic colonization. (Virginia Higginbotham 278)
2) This movie opened my eyes to cannibalism. Going into the film, I expected the cannibals to be eating people at almost every meal, but as we see in the film, this is not the case. The natives are rarely shown eating people. The most memorable scene for me occurs at the end of the movie when the Frenchman's wife is eating the bloody meat with her hands. There is a close-up shot of her face as her fingers, red from all the blood, are putting the meat from the Frenchman's neck into her mouth. I remember expecting the shot to cut away after a few seconds, but it remains there for three or four seconds longer. Her eyes are piercing as she stares at the camera, bringing a strong sense of reality to the practice of cannibalism. Up until this point in the movie, I did not feel as though cannibalism was portrayed in a way that made the viewer understand the reality of the act of eating other humans. This shot also allowed me to draw the conclusion that the Frenchman's wife never really loved him to the extent to which I felt was shown in their interaction up until the final scenes. In her eyes, I saw no remorse, but strictly satisfaction. Parts of this film portrayed their relationship as loving and caring; this shot of her completely discredited that all for me and left me thinking that she never really cared deeply for him at all. (Catherine Willard, Lehigh University)
10) Whites do not like to eat crocodiles or monkeys even though these are tasty. But if they had fewer turtles and pigs they certainly would eat them. For Hunger hurts. . . . When I kill an enemy it is better to eat them than to let them rot. . . . Death itself is worse than being eaten. If I am killed, it would of no concern to me whether or not [my enemies] Omagua ate me. In fact I know no game that tastes better . . . although you whites are too sour. (Miranya Chief, qtd in Hemming 221)
13) The majority of the film focuses on the eight-month period that the Frenchman has before his death. He becomes part of the native culture, takes a wife and acts as an advisor (to an extent) to the chief of the tribe. The Frenchman hoped that he could save his own life by submerging himself into their world. This idea is maliciously destroyed by the pinnacle moment when his own wife Seboipebe shoots him down and captures him. This was perhaps the most surprising scene for me. I felt that perhaps she had formed a stronger relationship with him. Instead, her actions support the idea that cultural ties are too strong to break. (Alexandra Neumann, Lehigh University)
15) The most striking aspect of this film occurred near the end, when Seboipebe and the Frenchman were discussing the Frenchman's imminent death. However, that is not that element that is surprising, but the manner in which it was discussed. There was a lighthearted air which afforded a more \"creepy\" ambiance to this scene than the content itself (cannibalism and murder). Seboipebe seems to have been a loyal wife to the Frenchman throughout his stay, but her fickle nature is so blatantly obvious by the end that her love for the Frenchman is questionable at best. She explains his impending death process jubilantly, as if it were celebratory (which it is, in a way, for the tribe), but she thereby dismisses their connection as a love item in doing so -- it seems that she has completely severed all ties with the Frenchman and reverted back to her own cultural connections against him. This comes to a climax when she shoots him and floods his canoe, prohibiting him from leaving. Was she ever in love with him, or are her connections to her own tribe so strong as to completely nullify any bond she ever had with the Frenchman just because she knows of her tribe's decree to kill him (Brian Cohen, Lehigh University)
17) As in Cabeza de Vaca, and to some extent, La otra conquista, the natives in this film had much more agency as it is they, rather than European conquistadors, who have a dominant presence on screen and do the major \"converting.\" I was really surprised at how quickly the captured Frenchman embraced the native culture even though he knew that they were planning to eat him in the end. Though the Frenchman had ample time to escape during the eight months leading up to his eventual death (which I believe was his original plan when he first asked the trader to help him escape), as the film progressed, it seemed as if a part of him did not want to leave the native people (or at least Seboipebe) and their way of life behind. As he became more \"native,\" it seems that the Frenchman saw himself as a part of the tribe--he worked with the women and children, attacked the Portuguese enemies with the men, gathered wood with Seboipebe, etc.--and let his guard down as he began to embrace the native way of life. I feel like he didn't believe that they would kill him in the end, which is why he was able to talk about the subject matter so freely with Seboipebe and look at his impending death in a lighthearted, almost romanticized/exoticized manner. (Krystal Kaai, Lehigh University)
23) How Tasty Was My Little Frenchman means to be a meditation on the past and perhaps the future of Brazil -- ironic, often comic -- and it mixes fictional drama with allusions to economic, social and religious history. (Roger Greenspun)
26) The film tackled questions previous films have asked regarding identity, native sympathy, and cultural adaptation. Cabeza de Vaca and La Otra Conquista addressed these issues with their main characters both in a religious/spiritual manner. While How Tasty depicted religious/spiritual imagery in the natives, the reason for the cannibalism stems from a broken social/legal contract. The Frenchman must participate in the ritual, all the while following a strict legal/social code and developing the political/business relationships between the Europeans and Natives (through wood and gunpowder). The drama that ensues from the nine-month sanctuary only masks the inner politica developing. Near the end he becomes oblivious to the European world and its activities. The corruption that seems to grow is ignored. If ignorance is bliss, then this Frenchman is lucky . . . and tasty. (Jose Berrios, Lehigh University) 153554b96e
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