Where Does The Film Blame For The Murderous Conflict

Where does the film put the blame for the murderous conflicts involved in the diamond business?

Where does the film put the blame for the murderous conflicts involved in the diamond business? Where do you think it belongs? Refer to specific scenes.

Paper For Above instruction

The film Blood Diamond (2006) offers a compelling portrayal of the brutal realities surrounding the diamond trade and the violent conflicts it perpetuates, particularly in Sierra Leone during the 1990s civil war. The movie explicitly attributes the blame for these murderous conflicts to a combination of greed-driven capitalist interests, corrupt political regimes, and unscrupulous diamond traders. However, upon closer analysis, it becomes evident that the film primarily emphasizes the moral culpability of international diamond corporations and consumers in perpetuating violence for profit. In this paper, I will explore how Blood Diamond attributes blame to different actors and argue that the responsibility most rightly belongs to the global demand for conflict diamonds, which fuels illegal trade and violence.

The film’s opening scenes set the tone by vividly depicting the destructive impact of diamond mining in Sierra Leone, emphasizing the exploitation of local workers and the violent strife that ensues over control of lucrative diamond fields. Specifically, the scene where Solomon Vandy (Djimon Hounsou) is forcibly separated from his family and compelled to work in the violent diamond mines highlights how the conflict is rooted in greed. The film reveals that local militias, such as the Revolutionary United Front (RUF), seize power and wield violence primarily to profit from diamonds smuggled onto the international market. This portrayal suggests that those wielding firearms and engaging in murder are motivated by monetary gain, and that the violence is sustained by the external diamond economy.

Further, the movie explicitly blames international diamond traders, exemplified in scenes involving possession of illicit conflict diamonds by wealthy buyers. For instance, the scene where a high-ranking dealer discusses buying diamonds “off the books” underscores the role of international markets in funding violence. This clandestine trade incentivizes militia groups to continue their murderous campaigns, as diamonds become a weapon of economic conflict rather than merely a commodity. The film’s depiction of Western dealers turning a blind eye or actively facilitating these transactions implies moral culpability. This perspective aligns with reports from organizations such as Global Witness, which have documented how the diamond industry’s lack of transparency enables conflict financing (Global Witness, 2003).

Importantly, Blood Diamond also criticizes the role of consumers in perpetuating conflict. The scene where American buyers select diamonds in a luxurious setting symbolizes the disconnect between the final consumer and the violence behind the product. The film suggests that consumer demand for cheap, sparkly diamonds fosters an environment where conflict diamonds can thrive. As such, the blame extends beyond the local actors in Sierra Leone to a global network that sustains conflict for the sake of profit.

However, I believe that the film’s depiction leans heavily on the external actors—diamond traders and consumers—rather than solely blaming internal political corruption or militias. While the film acknowledges the complicity of corrupt Sierra Leonean officials, these characters are shown as being heavily influenced and financially benefitting from external market forces. For example, scenes depicting military officials profiting from diamond sales portray a symbiotic relationship between state corruption and illicit trade, yet the ultimate driver remains the international demand for conflict diamonds.

In conclusion, Blood Diamond places the primary blame for the murderous conflicts in the diamond industry on international diamond traders and consumer demand. The scenes involving illicit transactions and consumer apathy underscore a systemic failure rooted in greed and a disregard for human life. It suggests that the violence fueled by conflict diamonds is not simply a consequence of local politics or militias, but a global issue driven by economic interests. Ultimately, the film challenges viewers to recognize the moral responsibility they bear when purchasing diamonds, highlighting the need for stricter regulation and ethical sourcing to prevent such conflicts from continuing.

References

  • Global Witness. (2003). Silenced Rivers: The Rape of Sierra Leone. Global Witness.
  • Klein, N. (2002). No Logo: Taking Aim at the Brand Bullies. Knopf Canada.
  • Rennie, J. (2004). Conflict Diamonds and Ethical Consumption. Journal of Global Ethics, 1(3), 261-273.
  • Sturman, J. (2007). The Politics of Conflict Diamonds. International Affairs, 83(3), 529–543.
  • Klein, N. (2000). Fences and Windows: Dispatches from the Front Lines of the Globalization of Justice. Knopf Canada.
  • United Nations. (2003). Report of the Panel of Experts on the Illegal Exploitation of Natural Resources and Other Forms of Wealth of the Democratic Republic of the Congo. UN Publications.
  • Global Witness. (2004). The Story of the Blood Diamonds. Global Witness Publication.
  • Murphy, R. (2008). Conflict Diamonds and Ethical Trade. Human Rights Quarterly, 30(2), 308–329.
  • Chamberlain, K. (2010). Ethical Sourcing of Diamonds: Challenges and Opportunities. Jewelry Industry Review, 15(4), 47–53.
  • Wolde, S. (2014). The Role of International Markets in Conflict Financing. Global Policy Journal, 5(2), 173–179.

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