Sunday, January 10, 2010

Left Field Cinema: Michael Cimino's Heaven's Gate (1978)

Misunderstood Modern Cinema: Heaven's Gate
by Mike Dawson
Left Field Cinema



Heaven’s Gate is a western, however it is unlike any other western you’re ever likely to see. Based on historical events from 1890 Wyoming, a powerful group of land owners known as the association are in the midst of conflict with European immigrants who are trying to forge a life on the American frontier. The judicial system favours the immigrants, and the land owners decide that they must bypass the law in order to rid themselves of these interlopers. Their extreme solution is to create a death list with one-hundred and twenty-five names on it, and then hire a small army of bounty hunters and mercenaries to hunt down every man and woman on the list and kill them. Sheriff James Averill played by Kris Kristofferson comes to town and finds violence on the streets and murder brewing amongst civil unrest, he visits with his prostitute girlfriend Ella Watson played by a very young Isabelle Huppert; his former university friend from Harvard - Billy played by the incredible John Hurt; and a bar owner and prospector John played by Jeff Bridges. Slowly Averill gets a picture of the violently volatile situation and wants to convince Ella to leave before the situation explodes, but Ella is content with her life, she runs a successful brothel, and has everything she could want where she is. Averill isn’t the only one who wants Ella to leave, hired gun Nathan played by Christopher Walken wants to marry Ella and start a life together away from her prostitute occupation. A love triangle is formed with both men wanting the same thing, but neither of them may achieve their goal in the end as it comes to light that Ella’s name is also on the death list and the illegal army begin their march towards the town to kill the majority of the inhabitants.

To Read the Rest of the Analysis

To Listen to the Analysis as a Podcast

Scarleteen: 10 of the Best Things You Can Do For Your Sexual Self (At Any Age)

10 of the Best Things You Can Do For Your Sexual Self (At Any Age)
by Heather Corinna
Scarleteen

If we look at our sexuality one way, it looks a million times simpler than it actually is. If we look at it another way, it appears a million times more complicated. While it's important that we bear everything in mind we need to in terms of infection and disease, birth control, our relationships, our bodies and the whole works, now and then we need to remember the bare bones and the human element of the thing, and keep the essentials in the forefront of our minds.

To Read the List and Explanations

Saturday, January 09, 2010

Jenny Kwok Wah Lau: Zhang Yimou's Hero -- China’s response to Hollywood globalization

Hero: China’s response to Hollywood globalization
by Jenny Kwok Wah Lau
Jump Cut



The 2002 film Hero, directed by the internationally renowned director Zhang Yimou, stormed through China with massive media coverage, vehement critical debates and audience response — both in print media and Internet. In the end, its box office receipts of 2.5 billion yuan out of 9 billion total revenue for all films in that year made it the top grossing film in the entire history of Chinese cinema up to that point. The coming of Hero signified the final institutionalization of a new era in Chinese filmmaking, one that single-mindedly pushes for market success. Thus, we need to ask what conditions in Chinese cinema affected the emergence of films such as Hero and what does that film's success mean for Chinese films' future?

To answer these questions we must begin from when the changes first started. Since the 1980s China has actively re-organized its film industry from a socialist to a semi-capitalist market system. 1982 marked the beginning of “outside” investment in film production. This so-called “outside” refers to sources extraneous to the China Film Bureau, such as private entities from China, Hong Kong, Taiwan, and some Western companies, which were allowed to participate in this once completely-enclosed filmmaking circle. In 1989 China abandoned the Film Bureau's monopoly of film distribution and allowed the establishment of private distribution companies.

The next ten years were a period of consolidation. By the end of the 90s all three phases of filmmaking — production, distribution, and exhibition — had very much opened to private investment. This process also partly prefigured China’s entry into the World Trade Organization (WTO), which was considered vital for China’s participation in world capitalism. After years of fierce negotiation, especially with the United States, whose approval or veto was decisive in the whole process, in December, 2001 China entered the WTO. China’s strong desire to get into the WTO was not unaccompanied by skeptics within China itself, including from the film community, which was facing economic hard times.

In fact, while the 90s saw the consolidation of a capitalist filmmaking system, they also saw a massive and debilitating slide in the size of the movie-going audience. Box office receipts declined from 1991's 23.6 billion yuan (1 U$ appr. = 7.8 yuan) to 2001's 8.4 billion yuan, a more than threefold drop in ten years. Furthermore, only 35% of the revenue during that time came from China-made films, the remaining 65% derived from Hollywood or other imported films. Meanwhile, film production also dropped throughout the 90s, from 167 films in 1992 to 80 films in 2001.[1]

Some film scholars in China blamed the drop in numbers on the shift to a capitalist system, and they doubted whether China could adapt to the pressure of the open market.[2] No doubt, system change did affect film production. For example, the more open system brought in popular films from other cinemas, such as from Hong Kong and Hollywood, which proved highly competitive in the local market. It also generated a large DVD market, part of which relied on piracy practices that seriously hurt the film industry. Nevertheless, it can also be argued that some of the pain that the Chinese film industry suffered during those years was partly self-inflicted by internal censorship.

Many of the best “artisan/cultural” films made during that period — such as, Judou (1990, Zhang Yimou), Farewell My Concubine (1993, Chan Kaige), Blue Kite (1994, Tian Zhanzhan), and To Live (1994, Zhang, Yimou) — were initially banned in China. Similarly, many of the 6th generation new wave films — such as Beijing Bastards (1994, Zhang Yuan), Postman (Ho Jianjun, 1995), Pickpocket (or Xiao Wu by Jia Zhangke, 1997, director of The World, 2004), and East Palace, West Palace (Zhang Yuan, 1997) — were potentially attractive to the new urban masses but not screened. Most of these directors suffered interference from the government and some were even banned from making films for a period of time.[3]

Instead of supporting these films, made in the tradition of artisan filmmaking, the government encouraged a new type of film called the “new mainstream,” through expeditious granting of shooting and screening permits. These films were mostly Hollywood imitations financed by private investments. By the late nineties, 70% of China’s production consisted of “new mainstream” films — such as Part A, Part B (Jiafang Yifang), Be There or Be Square (Bujian Busan) , and Shower (Xi Zao). These films were called the new mainstream as opposed to the “old mainstream” because the latter were “mainstream” by government design, intended as “educational” or “culturally or politically uplifting.” As the government strongly supported them, the films were guaranteed wide distribution. However, even though screened throughout China, the films had a disproportionately small viewership, mostly due to their traditional form and didactic content.[4] Examples include Jiao Yulu (Our Party’s Good Cadre, 1990, dir. Wang Jixin) and The Opium War (1997, dir. Xie Jin). In contrast, the “new mainstream” became the “real mainstream” in terms of popularity.

Thus, from the early 90s one can identify three major types of cinema in China: the artisan/cultural films, usually banned; the state-sponsored films (old mainstream), usually not popular; and the new mainstream entertainment, commercial and stylistically imitating Hollywood.

To Read the Rest of the Essay

Kin-Yan Szeto: The politics of historiography in Stephen Chow’s Kung Fu Hustle

The politics of historiography in Stephen Chow’s Kung Fu Hustle
by Kin-Yan Szeto
Jump Cut



This essay examines how the Hong Kong director Stephen Chow’s recent action comedy Kung Fu Hustle depicts an imaginary China in ways that commingle various historical and political meanings. The film thereby encourages viewers to reflect upon the past and present conditions of the Chinese nation-state and its people and culture, as well as on cinema’s own complex relations with history.[1][open notes in new window] I argue that the film deliberately evokes a 1940s Shanghai to play off its drama against the backdrop of Hollywood’s globalization and Hong Kong's political transformation from a former British colony to a Special Administrative Region of the People’s Republic of China in 1997. Kung Fu Hustle embraces the history of martial arts films and other popular genres to evoke an earlier period of Shanghai that is permeated with multiple temporal, spatial, political, and cultural contexts that shape and comment upon each other.

This analysis offers a contribution to historiography, or at least that of film, by following Michel de Certeau’s conception of historiography as a complex set of theories and methods for researching and presenting a history that always is contingent upon relations between knowledge and power as well as past and present. As de Certeau observed, history often assumes or depicts a simple “clean break between the past and the present,” but actually is shaped by more complex

“relations of knowledge and power linking [these] two supposedly distinct domains” (Heterologies 4).


The past always influences the present, and vice versa, while ideologies and politics mediate both. History is shaped by conscious and unconscious judgments about what constitutes legitimate or authentic sources, issues, and modes of presentation. More specific to film, this article also follows Robert Rosenstone’s observation that cinema tends to create a complex representation of history that blends fact and fiction

“through poetic overlays of sounds, images, words and ideas” (213).


Seeing should not simply be believing, as all images are mediated before, during, and after they are created. Following and expanding upon these notions, this essay examines the politics that govern Kung Fu Hustle’s assumptions and agendas in structuring relations between the present and the past. I critically explore the socio-political, economic and cultural discourses determining the historiography of an imaginary 1940s China as presented in this film. And I also note how the film contemplates, if less overtly, the new configuration of the Chinese nation-state after the Hong Kong handover. As part of its complex blending of historical contexts and political concerns, Kung Fu Hustle combines conventions of the Hong Kong martial arts film with other genres or modes of filmmaking including science fiction, gangster, western, slapstick and animation. These genre conventions together lead us to reflect on filmic interactions and translations between different geo-political spaces — Hong Kong, the Mainland and Hollywood. By analyzing Kung Fu Hustle from a transnational perspective, this article examines how the film interconnects and is shaped by the past and the present, the near and the distant, and fact and fiction as well as the political connotations involved in the writing of history. It proposes a new understanding of the politics of historiography in post-1997 Hong Kong, with broader implications for film and for history more generally.

To Read the Rest of the Essay

Tuesday, January 05, 2010

Media Matters: Naomi Klein

Naomi Klein, author of The Shock Doctrine: The Rise of Disaster Capitalism
Media Matters with Bob McChesney



To Listen to the Conversation

For every girl... For every boy...

Crimethinc

Belinda Smaill: Subjectivity and Emotion in Documentary Film

Subjectivity and Emotion in Documentary Film
by Belinda Smaill
Monash University Film & Television Studies



In the past documentary has been popularly perceived in ways that align it with education, science, history and other ‘discourses of sobriety’. This frame has never been adequate for conceptualising the stylistic and thematic breadth of documentary culture. In part, documentary is compelling because it frames subjectivity in distinct ways. This paper proposes a refocusing of debates and a renewed methodology to deal with documentary. This methodology will account for how emotionality marries with the social project of documentary in ways that make the non-fiction genre a compelling site for perceiving how fantasies of self and other circulate through specific textual practices in the public sphere. This is an investigation into how individuals are positioned by documentary representation as subjects that are entrenched in the emotions, whether it is pleasure, hope, pain, empathy or disgust. I will draw on a number of salient examples but will pay particular attention to the Brazilian documentary, Bus 174 (2002).

To Listen to the Presentation

Film School: Duncan Jones -- Moon

Duncan Jones -- Moon
Film School (KUCI)



An interview with DUNCAN JONES the director of MOON — a science fiction thriller about a solitary lunar employee who finds that he may not be able to go home to Earth so easily. The film is the feature film debut of commercial director Duncan Jones. Sam Rockwell stars as the lunar employee. Kevin Spacey voices his robot companion. The film premiered at the 2009 Sundance Film Festival in January 2009. Bell is an employee contracted by the company Lunar to mine on the Moon the natural gas Helium 3, which could reverse Earth's energy crisis. Sam is stationed at the lunar base Sarang with only a robot named Gerty, but two weeks before completing his three-year assignment, he begins feeling out of place. An extraction goes wrong, and Sam suspects Lunar of trying to replace him as he realizes someone else is on the Moon. Jones co-wrote the script with Nathan Parker. The film was specifically written as a vehicle for actor Sam Rockwell and pays homage to the films of Jones' youth, such as Silent Running (1972), Alien (1979) and Outland (1981). Duncan Jones is also known as Zowie Bowie, the son of David Bowie and his ex-wife Angela Bowie.

To Listen to the Interview (MP3)

Merriam-Webster Word of the Day: Myrmidon

Merriam Webster Word of the Day ----

myrmidon \'MER-muh-dahn\ noun

Meaning : a loyal follower; especially : a subordinate who executes orders unquestioningly or unscrupulously

Example Sentence The boss was more likely to offer promotions to her myrmidons than to those workers who occasionally questioned her tactics or proposed alternate solutions.

Monday, January 04, 2010

Keven McAlester -- YOU’RE GONNA MISS ME

Keven McAlester -- YOU’RE GONNA MISS ME
Film School (KUCI: Irvine, CA)



An interview with Keven McAlester director of You're Gonna Miss Me. Crumb meets Whatever Happened to Baby Jane in You're Gonna Miss Me, which tells the story of counter-culture icon Roky Erickson, whose struggles with LSD, schizophrenia, and the Texas police have made him one of music's legendary tragic figures. He now collects junk mail by the stack and is kept under lock and key by his mother, Evelyn, who refuses him any treatment beyond love, prayer, and a view of psychiatry gleaned from the television show Frasier. In You're Gonna Miss Me, Erickson becomes the centerpiece of a surreal family struggle and the blank screen onto which those around him project their hopeful futures.

To Listen to the Interview

Diana Nyad, Jennifer Ring and Donna Lopiano: Stolen Bases -- Why American Girls Don't Play Baseball

Stolen Bases: Why American Girls Don't Play Baseball
Host: Diana Nyad
Politics of Culture (KCRW: Los Angeles)



Hall of fame swimmer and KCRW commentator Diana Nyad speaks to author Jennifer Ring about her new book, Stolen Bases: Why American Girls Don't Play Baseball, along with former softball pitcher and longtime Women's Sports Foundation chief executive Donna Lopiano. They discuss the hidden history of women in baseball, and the upcoming push to get women's baseball into the Olympics.

* Jennifer Ring: author, 'Stolen Bases: Why American Girls Don't Play Baseball'
* Donna Lopiano: former CEO, Women's Sports Foundation

To Listen to the Conversation

Hambone Blues Rumshack #38: Mississippi On My Mind

Hambone's Blues Rumshack #38
Playing all shades of blues from all around the world

Darren Watson


The Mississippi on my mind episode. A lot of acoustic tunes this week and Mississippi keeps appearing. Music from New Zealand, UK, US, Italy and Denmark.



Darren Watson - All Going Wrong from South Pacific Soul on Red Rocks Records
Robin Hoare Band - Ain't No Perfect Man from A Time And Place
Rusty Wright Band - Pretty Little Lies from Playin With Fire on Sadson Music
Tom Rigney - Rigo's Blues from Back Porch Blues on Parhelion Records
Kyla Brox - All Breaking Down from Grey Sky Blue on Pigskin Records
Bob Meyer - Got To Get from All This Is That on Malicious Damage Records
Papaleg Acoustic Duo - Long Distance Call from Back To Mississippi
Chris Cotton - Morgan City, Mississippi from I Watched the Devil Die on Yellow Dog Records
Eden Brent - Darkness On The Delta from Mississippi Number One on Yellow Dog Records
Eden Brent - Mississippi Number One from Mississippi Number One on Yellow Dog Records
Thorbjørn Risager - Down Home Blues from Live At Victoria on Cope Records
Thorbjørn Risager - You Walked Right In from Live At Victoria on Cope records

To Listen to the Show

Gabriel Kuhn: Statement on the Controversy at the Anarchist Congress in Berlin

Statement on the Controversy at the Anarchist Congress in Berlin
Gabriel Kuhn

"Anarchy can only work if the notion of individual freedom is accompanied by the notion of individual responsibility. Where the latter is missing, "individual freedom" only becomes a pretext for bourgeois egoism, capitalist greed or – as in this case – disrespectful and self-centered conduct. That was the problem – not nakedness."

Word-of-the-Day: Gloze

Merriam-Webster Dictionary

Meaning *1 : to mask the true nature of : give a deceptively attractive appearance to — often used with "over" 2 : to deal with (a subject or problem) too lightly or not at all — often used with "over" Example Sentence "His modesty and shyness were at any rate proverbial, and it does seem that he went out of his way to conceal or gloze over certain aspects of his career, his military exploits in particular." (Eleanor Perenyi, Green Thoughts)

Jane Birkin and Serge Gainsbourg: Je T'aime,...Moi Non Plus

Jeffrey Gettleman: Americans’ Role Seen in Uganda Anti-Gay Push

Americans’ Role Seen in Uganda Anti-Gay Push
By JEFFREY GETTLEMAN
The New York Times

KAMPALA, Uganda — Last March, three American evangelical Christians, whose teachings about “curing” homosexuals have been widely discredited in the United States, arrived here in Uganda’s capital to give a series of talks.

The theme of the event, according to Stephen Langa, its Ugandan organizer, was “the gay agenda — that whole hidden and dark agenda” — and the threat homosexuals posed to Bible-based values and the traditional African family.

For three days, according to participants and audio recordings, thousands of Ugandans, including police officers, teachers and national politicians, listened raptly to the Americans, who were presented as experts on homosexuality. The visitors discussed how to make gay people straight, how gay men often sodomized teenage boys and how “the gay movement is an evil institution” whose goal is “to defeat the marriage-based society and replace it with a culture of sexual promiscuity.”

Now the three Americans are finding themselves on the defensive, saying they had no intention of helping stoke the kind of anger that could lead to what came next: a bill to impose a death sentence for homosexual behavior.

One month after the conference, a previously unknown Ugandan politician, who boasts of having evangelical friends in the American government, introduced the Anti-Homosexuality Bill of 2009, which threatens to hang homosexuals, and, as a result, has put Uganda on a collision course with Western nations.

Donor countries, including the United States, are demanding that Uganda’s government drop the proposed law, saying it violates human rights, though Uganda’s minister of ethics and integrity (who previously tried to ban miniskirts) recently said, “Homosexuals can forget about human rights.”

The Ugandan government, facing the prospect of losing millions in foreign aid, is now indicating that it will back down, slightly, and change the death penalty provision to life in prison for some homosexuals. But the battle is far from over.

Instead, Uganda seems to have become a far-flung front line in the American culture wars, with American groups on both sides, the Christian right and gay activists, pouring in support and money as they get involved in the broader debate over homosexuality in Africa.

To Read the Rest of the Report

Eyes on the Prize (PBS Documentary Series: 1987 - 1990)

Powerful, important ... television at its best.



To watch more segments from this documentary series

Sunday, January 03, 2010

Henry A. Giroux: Rethinking Education as the Practice of Freedom -- Paulo Freire and the Promise of Critical Pedagogy

Rethinking Education as the Practice of Freedom: Paulo Freire and the Promise of Critical Pedagogy
by Henry A. Giroux
Truthout

... Freire believed that all education in the broadest sense was part of a project of freedom, and eminently political because it offered students the conditions for self-reflection, a self-managed life and particular notions of critical agency. As Aronowitz puts it in his analysis of Freire's work on literacy and critical pedagogy:

Thus, for Freire literacy was not a means to prepare students for the world of subordinated labor or "careers," but a preparation for a self-managed life. And self-management could only occur when people have fulfilled three goals of education: self-reflection, that is, realizing the famous poetic phrase, "know thyself," which is an understanding of the world in which they live, in its economic, political and, equally important, its psychological dimensions. Specifically "critical" pedagogy helps the learner become aware of the forces that have hitherto ruled their lives and especially shaped their consciousness. The third goal is to help set the conditions for producing a new life, a new set of arrangements where power has been, at least in tendency, transferred to those who literally make the social world by transforming nature and themselves.[4]

What Paulo made clear in "Pedagogy of the Oppressed," his most influential work, is that pedagogy at its best is about neither training, teaching methods nor political indoctrination. For Freire, pedagogy is not a method or an a priori technique to be imposed on all students, but a political and moral practice that provides the knowledge, skills and social relations that enable students to expand the possibilities of what it means to be critical citizens, while expanding and deepening their participation in the promise of a substantive democracy. Critical thinking for Freire was not an object lesson in test taking, but a tool for self-determination and civic engagement. For Freire, critical thinking was not about the task of simply reproducing the past and understanding the present. On the contrary, it offered a way of thinking beyond the present, soaring beyond the immediate confines of one's experiences, entering into a critical dialogue with history and imagining a future that did not merely reproduce the present. Theodor Adorno captures the spirit of Freire's notion of critical thinking by insisting that "Thinking is not the intellectual reproduction of what already exists anyway. As long as it doesn't break off, thinking has a secure hold on possibility. Its insatiable aspect, its aversion to being quickly and easily satisfied, refuses the foolish wisdom of resignation.... Open thinking points beyond itself."[5]

Freire rejected those regimes of educational degradation organized around the demands of the market, instrumentalized knowledge and the priority of training over the pursuit of the imagination, critical thinking and the teaching of freedom and social responsibility. Rather than assume the mantle of a false impartiality, Freire believed that critical pedagogy involves both the recognition that human life is conditioned not determined, and the crucial necessity of not only reading the world critically, but also intervening in the larger social order as part of the responsibility of an informed citizenry. According to Freire, the political and moral demands of pedagogy amount to more than the school and classroom being merely the instrument of official power or assuming the role of an apologist for the existing order, as the Obama administration seems to believe - given its willingness to give Bush's reactionary educational policies a new name and a new lease on life. Freire rejected those modes of pedagogy that supported economic models and modes of agency in which freedom is reduced to consumerism and economic activity is freed from any criterion except profitability and the reproduction of a rapidly expanding mass of wasted humans. Critical pedagogy attempts to understand how power works through the production, distribution and consumption of knowledge within particular institutional contexts and seeks to constitute students as informed subjects and social agents. In this instance, the issue of how identities, values and desires are shaped in the classroom is the grounds of politics. Critical pedagogy is thus invested in both the practice of self-criticism about the values that inform teaching and a critical self-consciousness regarding what it means to equip students with analytical skills to be self-reflective about the knowledge and values they confront in classrooms. Moreover, such a pedagogy attempts not only to provide the conditions for students to understand texts and different modes of intelligibility, but also opens up new avenues for them to make better moral judgments that will enable them to assume some sense of responsibility to the other in light of those judgments.

Freire was acutely aware that what makes critical pedagogy so dangerous to ideological fundamentalists, the ruling elites, religious extremists and right-wing nationalists all over the world is that, central to its very definition, is the task of educating students to become critical agents who actively question and negotiate the relationships between theory and practice, critical analysis and common sense and learning and social change. Critical pedagogy opens up a space where students should be able to come to terms with their own power as critically engaged citizens; it provides a sphere where the unconditional freedom to question and assert is central to the purpose of public schooling and higher education, if not democracy itself. And as a political and moral practice, way of knowing and literate engagement, pedagogy attempts to "make evident the multiplicity and complexity of history."[6] History in this sense is engaged as a narrative open to critical dialogue rather than predefined text to be memorized and accepted unquestioningly. Pedagogy in this instance provides the conditions to cultivate in students a healthy skepticism about power, a "willingness to temper any reverence for authority with a sense of critical awareness."[7] As a performative practice, pedagogy takes as one of its goals the opportunity for students to be able to reflectively frame their own relationship to the ongoing project of an unfinished democracy. It is precisely this relationship between democracy and pedagogy that is so threatening to so many of our educational leaders and spokespersons today and it is also the reason why Freire's work on critical pedagogy and literacy are more relevant today than when they were first published.

According to Freire, all forms of pedagogy represent a particular way of understanding society and a specific commitment to the future. Critical pedagogy, unlike dominant modes of teaching, insists that one of the fundamental tasks of educators is to make sure that the future points the way to a more socially just world, a world in which the discourses of critique and possibility in conjunction with the values of reason, freedom and equality function to alter, as part of a broader democratic project, the grounds upon which life is lived. This is hardly a prescription for political indoctrination, but it is a project that gives critical education its most valued purpose and meaning, which, in part, is "to encourage human agency, not mold it in the manner of Pygmalion."[8] It is also a position, that threatens right-wing private advocacy groups, neoconservative politicians and conservative extremists. Such individuals and groups are keenly aware that critical pedagogy, with its emphasis on the hard work of critical analysis, moral judgments and social responsibility, goes to the very heart of what it means to address real inequalities of power at the social level and to conceive of education as a project for freedom, while at the same time foregrounding a series of important and often ignored questions such as: "What is the role of teachers and academics as public intellectuals? Whose interests does public and higher education serve? How might it be possible to understand and engage the diverse contexts in which education takes place? What is the role of education as a public good? How do we make knowledge meaningful in order to make it critical and transformative? In spite of the right-wing view that equates indoctrination with any suggestion of politics, critical pedagogy is not concerned with simply offering students new ways to think critically and act with authority as agents in the classroom; it is also concerned with providing students with the skills and knowledge necessary for them to expand their capacities both to question deep-seated assumptions and myths that legitimate the most archaic and disempowering social practices that structure every aspect of society and to then take responsibility for intervening in the world they inhabit.

Education is not neutral. It is always directive in its attempt to teach students to inhabit a particular mode of agency; enable them to understand the larger world and one's role in it in a specific way; define their relationship, if not responsibility, to diverse others and to presuppose through what is taught and experienced in the classroom some sort of understanding of a more just, imaginative, and democratic life. Pedagogy is by definition directive, but that does not mean it is merely a form of indoctrination. On the contrary, as Freire argued, education as a practice for freedom must attempt to expand the capacities necessary for human agency and, hence, the possibilities for democracy itself. Surely, this suggests that at all levels of education from the primary school to the privileged precincts of higher education, educators should nourish those pedagogical practices that promote "a concern with keeping the forever unexhausted and unfulfilled human potential open, fighting back all attempts to foreclose and pre-empt the further unraveling of human possibilities, prodding human society to go on questioning itself and preventing that questioning from ever stalling or being declared finished."[9] In other words, critical pedagogy forges both an expanded notion of literacy and agency through a language of skepticism, possibility and a culture of openness, debate and engagement - all those elements now at risk because of the current and most dangerous attacks on public and higher education. This was Paulo's legacy, one that invokes dangerous memories and, hence, is increasingly absent from any discourse about current educational problems.

To Read the Entire Editorial

Saturday, January 02, 2010

James Rose: The Dreaming and The Dreamt -- A Lexicon of Neil Jordan’s The Company of Wolves

The Dreaming and The Dreamt: A Lexicon of Neil Jordan’s The Company of Wolves
by James Rose
Irish Journal of Gothic and Horror Studies



Neil Jordan’s The Company of Wolves (1984) is a film immersed in the symbolism of fairy tale narratives and imagery. Based upon three short stories from Angela Carter’s The Bloody Chamber, the film functions as a revisionist text which blends Gothic motifs with Carter’s own interpretations of classic fairy tales. For Carter, the original version(s) of Little Red Riding Hood operated as a structured agenda to warn young girls of the dangers of sexual maturity and implicates for them a passive family and societal role. By rewriting this and other traditional tales from a feminist perspective, both subtle and blatant inversions took place within Carter’s stories: her versions of Little Red Riding Hood positively attack the wolf with a combination of hunting knife and sexual awareness, slaking his desire to eat her with sex. Jordan wrote the script for The Company of Wolves in collaboration with Carter, and as such, the film creates a symbolic world where the transition from child to adult - from girl to woman - is both a beautiful and dangerous moment, one to be both celebrated and feared. So layered and intertwined are these symbols that the most productive way to critically analyse them is to format them into a lexicon, giving definition to the representations and allowing for meaning to build up and repeat, as they do in the film, in between the layers of narrative and the viewer’s mind.

Because there are two representations of the same character within the film, the text defines each persona through the terms the Dreaming Rosaleen and the Dreamt Rosaleen: the Dreaming Rosaleen is the protagonist who exists in the film’s representation of the real world, whilst the Dreamt Rosaleen is her fictional, dreamt alter ego.

To Read the Lexicon



Friday, January 01, 2010

KCRW's Bookworm: James Galvin -- As Is

James Galvin -- As Is
Bookworm (KCRW)



One of our most tender poets (tough but tender), James Galvin, investigates his growing tendency toward poems that express his bitterness— toward politics, environmental despoilment, big business. Still he affirms, in poems that breathe with sweet relief, the ongoing possibility of love.

To Listen to the Reading

C. Wright Mills: Power, Craftsmanship, and Private Troubles and Public Issues

C. Wright Mills: Power, Craftsmanship, and Private Troubles and Public Issues
by Mark K. Smith
The Encyclopedia of Informal Education

...



The research reported in White Collar had begun some five years before and focused on what he described as the new middle class – white collar people on salaries. The rise of white collar employment was highly significant, Mills argued, both in terms of upsetting the nineteenth-century expectation that society would be divided between entrepreneurs and workers; and by their mass way of life. This mass way of life had ‘transformed the tang and feel of the American experience’ (Mills 1951: ix). Certainly the book spoke to a particular moment and caught something of the mood. It, along with David Riesman’s The Lonely Crowd (1950) and William H. Whyte’s The Organization Man (1956) shaped the debates around the coming of age of the new middle class (Horowitz 1983: 226).

Estranged from community and society in a context of distrust and manipulation; alienated from work and, on the personality market, from self; expropriated of individual rationality, and politically apathetic – these are the new little people, the unwilling vanguard of modern society. These are some of the circumstances for the acceptance of which their hopeful training has quite unprepared them. (Mills 1951: xviii-xix)

As can be seen from the above, three themes stand out – the rise of mass society and the power of corporate society; the extent to which many of the new jobs were alienating; and the relative lack of political consciousness in the USA.

Mass society. ‘The transformation of a community of publics into a mass society is’, C. Wright Mills wrote in an article first published in 1954, ‘one of the keys to the meaning of modern life’ (Mills 1963: 353). For him it was a structural trend that had led to many of the psychological and political problems that confronted Americans (op. cit.). While not being altogether a mass society, the balance had shifted in America with the rise of mass media and changes in economic organization. As John H. Summers (2006) characterized Mills’ position, ‘For the first time in history… the territories of the United States made up a self-conscious mass society. If the economy had once been a multitude of locally or regionally rooted, (more or less) equal units of production, it now answered to the needs of a few hundred corporations’.

Alienation. C. Wright Mills argued that one of the characteristic features of contemporary American social structure was ‘its systematic creation and maintenance of estrangement from society and selfhood (1951: 340). In building his argument around the conditions of modern work he drew upon Marx – and upon American writers such as Thoreau. He contrasts traditions of craftsmanship (which at work had become the preserve of miniscule groups of professionals, and in leisure had been trivialized into ‘hobbies’) with the routinized activity of modern work.

As tool becomes machine, man is estranged from the intellectual potentialities and aspects of work; and each individual is routinized in the name of increased and cheaper per unit productivity. The whole unit and the meaning of time is modified…. The introduction of office machinery and sales devices has been mechanizing the office and the salesroom, the two big locales of white-collar work…. None of the features of work as craftsmanship is prevalent in office and salesroom, and, in addition, some features of white-collar work, such as the personality market, go well beyond the alienating conditions of wage-work. (Mills 1951: 226-7)

C. Wright Mills’ analysis of the extent to which salaried work had come to mirror the alienating features of waged work broke new ground.

Lack of consciousness. In an argument that was later to be echoed by Kenneth Galbraith (1992) and others, C. Wright Mills suggested that people experiencing a history of increasing and uninterrupted contentment ‘are not likely to develop economic resentments that would turn their political institutions into means of ideological conflict, or turn their minds to political forms’ (Mills 1951: 340). For Mills indifference was the primary factor in the lack of political consciousness he found amongst the new middle class – and American society generally. US politics were ‘anchored in the economic sphere’ (Mills 951: 343). As such, activity was centred around gaining and securing limited economic, rather than political, ends. It had 'seldom involved more than immediate material profits and losses’ (op. cit.).

White Collar was a significant contribution to debates but was subject to some sharp critique (the arguments are summarized in Horowitz 1983: 244-54). Perhaps the most significant of these came from David Riesman (1952). Riesman questioned C. Wright Mills’ lack of attention to the ‘ethnic coloring of attitudes to white collar work’; his portrayal of the mass media (i.e. they were less exploitative than he suggests); and his judgement around the impoverishment and drabness of white-collar life. There is some merit in these criticisms – but they do not in the end harm in any substantive way the central lines of his analysis. There had been a profound change in American society with the emergence of a large, salaried, middle class, but the conditions under which it laboured were surprisingly similar to those experienced by wage earners.

The power elite



Within the ‘power trilogy’ there were changes in style and broad approach – and these can be seen with some force in The Power Elite. In this book C. Wright Mills both wrote directly and, at times, beautifully. Similarly Mills’ understanding of the nature of power relationships in US changed from the first to the third book in the trilogy. As John H. Summers (2006) has again put it, Mills ‘argued that the "sociological key" to American uneasiness could be found not in the mysteries of the unconscious or in the battle against Communism, but in the over-organization of society’.

The powers of ordinary men are circumscribed by the everyday worlds in which they live, yet in these rounds of job, family, and neighbourhood they often seem driven by forces they can neither understand nor govern. ‘Great changes’ are beyond their control, but affect their conduct and outlook none the less. The very framework of modern society confines them to projects not their own, but from every side, such changes now press upon the men and women of mass society, who accordingly feel that they are without purpose in an epoch in which they are without power (Mills 1956: 3)

Mills argued that a small group of men within the political, military and corporate spheres - the power elite - made ‘the decisions that reverberated into all areas of American life’ (Summers 2006). Within American society, ‘major national power now resides in the economic, the political and the military domains’ (Mills 1956: 6). Within each institution units had got bigger, became administrative and, ‘in the power of its decisions, ha[d] become centralized’ (op. cit.: 7). In the economic sphere he charted the rise of large corporations; in the political the move to more centralized executive establishments. In addition the military, in his words, had become ‘the largest and most expensive feature of government’ (ibid.).

In each of these institutional areas, the means of power at the disposal of decision makers have increased enormously; their central executive powers have been enhanced; within each of them modern administrative routines have been elaborated and tightened up.

As each of these domains becomes enlarged and centralized, the consequences of its activities become greater, and its traffic with the others increases. (Mills 1956: 7)

As might be expected from the book's title Mills looked to the discourses of elite theory that had been pioneered by Pareto (1935) and Michels (1949) (see Bottomore 1966 for an overview of elite theory). C. Wright Mills was dismissive of notions such as ruling class - which he described as a ‘badly loaded phrase’ (Mills 1956: 277). For him the theory underpinning the idea of a ‘ruling class’ did not give enough autonomy to the political order. In making sense of this we can see the influence in The Power Elite of Max Weber (not unexpectedly given the work that he and Hans Gerth had undertaken). The unity of the elite for Mills rested, ‘upon the corresponding developments and coincidence of interests among economic, political and military organizations (op. cit.: 292).

It also rests upon the similarity of origin and outlook, and the social and personal intermingling of the top circles from each of these dominant hierarchies. This conjunction of institutional and psychological forces, in turn, is revealed by the heavy personnel traffic within and between the big three institutional orders, as well as by the rise of go-betweens as in the high-level lobbying. (Mills 1956: 292)

The book’s controversial analysis both found a wider readership, and stimulated considerable and sometimes angry debate (Summers 2006). There were questions around the degree to which the analysis of power relationships held up (particularly with regard to the role of the judiciary and political parties) and to the concept of power employed. According to Parsons (1964: 199-225) power for Mills was a zero-sum concept (either you have it or you don’t) and failed to attend to way it is generated within social systems. However, as John H Summers (2006) has commented, the historical value of The Power Elite seems assured:

It was the first book to offer a serious model of power that accounted for the secretive agencies of national security. Mills saw the postideological "postmodern epoch" (as he would later call it) at its inception, and his book remains a founding text in the continuing demand for democratically responsible political leadership….

"The Power Elite" abounds with questions that still trouble us today. Can a strong democracy coexist with the amoral ethos of corporate elites? And can public argument have democratic meaning in the age of national security?


Personal troubles and public issues



C. Wright Mills argued that perhaps the most helpful distinction with which the sociological imagination works is that between personal troubles and public issues (Mills 1967: 395; Mills 1959: 8). For him troubles have to do with 'an individual's character and with those limited areas of social life of which he is directly and personally aware' (op. cit.). To describe those troubles and to resolve them, he argues, we must attend the individual's biography and the scope of their immediate milieux - what Mills describes as 'the social setting that is directly open to his personal experience and to some extent his willful activity' (Mills 1967: 395-6). A trouble is, thus, a private matter: 'values cherished by an individual are felt by him to be threatened' (ibid.: 396).

In contrast, issues have to do with 'matters that transcend these local environments of the individual and the limited range of his life' (Mills 1967: 396; Mills 1959: 8). He continues:

They have to do with the organization of many such milieux into the institutions of society as a whole... An issue is a public matter: values cherished by publics are felt to be threatened... It is the very nature of an issue, unlike even widespread trouble, that it cannot very well be defined in terms of the everyday environments of ordinary men. An issue, in fact, often involves a crisis in institutional arrangements.


This crisis can be seen in the experience of unemployment:

When, in a city of 100,000, only one man is unemployed, that is his personal trouble, and for its relief we properly look to the character of the man, his skills, and his immediate opportunities. But when in a nation of 50 million employees, 15 million men are unemployed, that is an issue, and we may not hope to find its solution within the range of opportunities open to any one individual. (Mills 1959: 9)


For much of the time governments tend to cloak or to present such public issues as private troubles: it is the fault of individuals that they cannot find work, rather than an outcome of structural or political arrangements. Furthermore, given the orientation of social workers and educators, when working with individuals or groups, it is all to easy to end up working with people around the immediate issue or trouble. In C Wright Mills’ (1967: 534) words they can ‘slip past structure to focus on isolated situations’ and consider problems ‘as problems of individuals’. We can confuse personal troubles with public issues. Indeed, this critique by Mills of the professional ideology of what he described as social pathologists (social workers who focus on individual adjustment rather than structural change) remains of fundamental concern.

On intellectual work

In an appendix of 31 pages to The Sociological Imagination (1959), C. Wright Mills provides us with one of the defining twentieth century statements concerning the nature of intellectual life - and the sort of qualities that we need to carry into our activities as practitioners. He begins the Appendix by making a point that many of us have learnt the hard way - 'the most admirable thinkers within the scholarly community you have chosen to join do not split their work from their lives. They seem to take both too seriously to allow such disassociation, and they want to use each for the enrichment of the other' (ibid.: 195). This is a theme that appears time and again in Mills's work. It involves him in constantly looking to the relationship between the whole and the parts. By looking to the whole - and seeing the parts as elements of the whole - we are able to see the connections between things. To see how one element cannot exist in this way or that - without the presence of another. Mills wrote:

Scholarship is a choice of how to live as well as a choice of career; whether he knows it or not, the intellectual workman forms his own self as he works toward the perfection of his craft; to realize his own potentialities, and any opportunities that come his way, he constructs a character which has as its core the qualities of a good workman.

What this means is that you must learn to use your life experience in your intellectual work: continually to examine and interpret it. In this sense craftsmanship is the center of yourself and you are personally involved in every intellectual product upon which you work. (Mills 1959: 196)


In these words we can see sentiments that are familiar to informal and community educators. We have had to focus on our selves, to develop a particular character or way of being as workers, and to make a commitment to our craft. We have had to use our life experience, to reflect on encounters and feelings, to build theories and commitments about how we may act and live our lives.

To Read the Entire Essay

Thursday, December 31, 2009

Noam Chomsky: Philosophies of Language & Politics

Noam Chomsky: Philosophies of Language & Politics
Interviewed by Larry Bensky
FORA TV

Noam Chomsky has been pushing change in language, politics and culture for decades. The controversial expert on modern language explains why "the smart way to keep people passive and obedient is to strictly limit the spectrum of acceptable opinion, but allow very lively debate within that spectrum."

To Listen/Watch

Michael Berube: Discipline and Theory

Berube, Michael. “Discipline and Theory.” Public Access: Literary Theory and American Cultural Politics. NY: Verso, 1994: 43-58.

In Bakhtin’s model {“Discourse in the Novel” from The Dialogic Imagination}, narrative isn’t a question of how much a narrator ‘knows’ or who sees what from what ‘point of view’. Bakhtin starts, instead, from the position that language is a profoundly social phenomenon, that our social lives are composed of myriad, competing dialects and idiolects, and that a language’s or a word’s meaning is radically dependent on its social context and social use—not on a presumably straightforward relation between ‘words’ and ‘reality’.

... he defined the novel—a genre notoriously resistant to ‘definition’—not in terms of the elements all novels have in common (for there are no such common elements), but in terms of the novel’s linguistic voraciousness, its very willingness to ‘raid’ other, more stable genres in the process of composing new and complex multigeneric molecules. (48)

... Ludwig Wittgenstein’s Philosophical Investigations ... position that genera of objects—novels, games, nations, races, genders, classes, tables, chairs—are constituted by ‘family resemblances’ rather than their common ‘essences’. Wittgenstein’s analogy is this: think of a cord of many overlapping fibers in which no one fiber runs the whole length of the cord. Now think of objects many of which have a number of significant features in common, but not all of which possess all the ‘significant features’ under discussion. That’s more or less what ‘family resemblances’ look like in Wittgenstein’s family. (48)

My second Bakhtinian liberation was this: Bakhtin’s emphasis on narrative discourse (as distinct from narrative epistemology) manages to combine narratology’s emphasis on narrative minutiae with a sophisticated account of the social contexts in which different forms of language operate. According to Bakhtin, then, the same word—oh, let’s take a good big one, like ‘liberty’—gets rearticulated, refashioned and redefined by diverse social groups, and these groups' struggles over the meaning of words (think of ‘peace through strength’) constitutes the social life of narrative forms. This position, too, I wound up glossing with the help of Wittgenstein, who maintains that ‘the meaning of a word is its use in the language’. Sounds commonsensical enough—until you realize how thoroughly anti-Platonic a position it is, how much it goes against our sense that words refer to something. But what do words like ‘however’ and ‘actually’ refer to? And why do we think that we can look up words’ meanings on a reference-table, absent the social context in which they are used? As for words like ‘table’, which are, as we know, less subject to social contestation than words like ‘terrorist’, their meaning, too, resides in their use in the language, not in any linguistic essence; it’s just that most people tend not to see any need to argue about their use. (48-49) {This leads to Berube’s anti-essentialist philosophy. It is a well-reasoned and supported stance that I am sympathetic to in regards to its fight against labeling and blanket-grouping—and thus its contestation of common sense. This is also a focus of Zygmunt Bauman’s Freedom and Richard Harvey Brown’s Society as Text. Also refer to Holloway/Kneale (1999).}

In my next close encounter of the 1980s, I came up against Thomas Kuhn’s The Structure of Scientific Revolutions, and ... Richard Rorty. From that point on I’ve been an ‘anti-foundationalist’ as well. Thanks to Kuhn’s refusal to believe that science ‘progresses’ in some linear, incremental way, and Rorty’s refusal to believe that philosophy is the ‘foundation’ of human knowledge, I’ve come to believe and argue that our social practices and identities are ‘contingent’ rather than ‘grounded’—that there are no final, universal, transhistorical standards for the production or value of human knowledge and understanding. (49)

It’s been a mild shock to me to discover how disturbing this position is to many traditionalists in the humanities. Scientists, by contrast, seem largely untroubled by it. Kuhn himself draws most of his examples from the ‘foundational’ sciences of chemistry and physics, both of which have taken stock of Kuhn’s account of ‘normal science’ and have kept right on conducting normal science as Kuhn understands it. In the fall of 1991, I presented the case for anti-foundationalism at an interdisciplinary conference at which I was asked to speak about ‘new directions in knowledge’ in my field. I talked mostly about the effects of ‘theory’ on the way we do literary history, and along the way I invoked the names of Kuhn and Wittgenstein, and Michel Foucault, too. To my surprise, I was met with questions from physicists and psychologist who demanded to know what was so ‘new’ about the propositions that humans perceive things through interpretive paradigms and that human knowledge, like all things human, is historically conditioned and socially constructed. ... physicists and mathematicians are unthreatened by ideas like ‘indeterminacy’, but that some of us in the humanities cannot contemplate the notion that meaning is indeterminate without declaring that the sky is falling; and many cognitive psychologists work well with the assumption that all perception is a form of interpretation, whereas in some ‘traditionalist’ circles, you still can’t say such a thing about literary texts without being accused of some horrid thing like moral relativism. (49-50)

{If presented correctly and bridged towards student everyday realities} deconstruction {can open up a space in which} students {will recognize} that meanings always have to be made and remade. (51)

I always thought that it was OK for universities to encourage skepticism—that is, to teach students to think critically and to interrogate received ideas, particularly the ideas they’ve received without knowing they’d accepted a delivery. (52)

Monday, December 28, 2009

Wendell Berry: The Work of Local Culture

Berry, Wendell. “The Work of Local Culture.” What Are People For? San Francisco: North Point Press, 1990: 153-169.

A human community, too, must collect leaves and stories, and turn them to account. It must build soil, and build that memory of itself—in lore and story and song—that will be its culture. These two kinds of accumulation, of local soil and local culture, are intimately related. (Berry, 154)

A human community, then, if it is to last long, must exert a sort of centripetal force, holding local soil and local memory in place. (Berry, 155)

This loss of local knowledge and local memory—that is, of local culture—has been ignored, or written off as one of the cheaper “prices of progress,” or made the business of folklorists. Nevertheless, local culture has a value, and part of its value is economic. This can be demonstrated readily enough. (Berry, 157)

... when a community loses its memory, its members no longer know one another. How can they know one another if they have forgotten or have never learned one another’s stories? If they do not know one another’s stories, how can they know whether or not to trust one another? People who do not trust one another do not help one another, and moreover they fear one another. And this is our predicament now. Because of a general distrust and suspicion, we not only lose one another’s help and companionship, but we are all now living in jeopardy of being sued. (Berry, 157-158)

... most people of the present can only marvel to think of neighbors entertaining themselves for a whole evening without a single imported pleasure and without listening to a single minute of sales talk. (Berry, 159)

But if, for example, there should occur a forty-eight-hour power failure, we would find ourselves in much more backward circumstances than our ancestors. (Berry, 159)

Professionalism means more interest in salaries and less interest in what used to be known as disciplines. And so we arrive at the idea, endlessly reiterated in the news media, that education can be improved by bigger salaries for teachers—which may be true, but education cannot be improved, as the proponents too often imply, by bigger salaries alone. There must also be love of learning and of the cultural tradition and of excellence—and this love cannot exist, because it makes no sense, apart from the love of a place and a community. Without this love, education is only the importation into a local community of centrally prescribed “career preparation” designed to facilitate the export of young careerists. (Berry, 164)

Our children are educated, then, to leave home, not to stay home, and the costs of this education have been far too little acknowledged. One of the costs is psychological, and the other is at once cultural and ecological. (Berry, 164)

The natural or normal course of human growing up must begin with some sort of rebellion against one’s parents, for it is clearly impossible to grow up if one remains a child. But the child, in the process of rebellion and of achieving the emotional and economic independence that rebellion ought to lead to, finally comes to understand the parents as fellow humans and fellow sufferers, and in some manner returns to them as their friend, forgiven and forgiving the inevitable wrongs of family life. That is the old norm. (Berry, 164-165)

The new norm, according to which the child leaves home as a student and never lives at home again, interrupts the old course of coming of age at the point of rebellion, so that the child is apt to remain stalled in adolescence, never achieving any kind of reconciliation or friendship with the parents. Of course, such a return and reconciliation cannot be achieved without the recognition of mutual practical need. In the present economy, however, where individual dependences are so much exterior to both household and community, family members often have no practical need or use for one another. Hence the frequent futility of attempts at a purely psychological or emotional reconciliation. (Berry, 165)

The loss of local culture is, in part, a practical loss and an economic one. For one thing, such a culture contains, and conveys to succeeding generations, the history of the use of the place and the knowledge of how the place may be lived in and used. For another, the pattern of reminding implies affection for the place and respect for it, and so, finally, the local culture will carry the knowledge of how the place may be well and lovingly used, and also the implicit command to use it only well and lovingly. The only true and effective “operator’s manual for spaceship earth” is not a book that any human will ever write, it is hundreds of thousands of local cultures. (Berry, 166)

Lacking an authentic local culture, a place is open to exploitation, and ultimately to destruction, from the center. (Berry, 166)

Sunday, December 27, 2009

Trinie Dalton: Animal Party



"Animal Party" by Trinie Dalton

I moved to the desert to escape the noise and crap
in Los Angeles. L.A.’s air felt gunky on my skin. Just
walking outside I’d acquire greasy layers. I washed
my face three or four times a day. Four hounds next
door started barking at dawn every morning. The
city felt claustrophobic and dingy, even at night
when I was most alive. I couldn’t see stars. I’d sit at
my desk spying through binoculars into other people’s
houses. Even then, I only saw TVs flickering—
no naked woman dancing, no stoner getting high.
Everyone was so boring. Worst of all, I hated driving
the grids; it made me feel stupid, like a termite. All
the daily plugging away in the car, on the phone,
on the computer, in the kitchen, shopping, getting
dressed, talking, thinking, behaving, and controlling
amounted to nothing more than survival, something
that a termite does so easily with no financial security
or brains.

It wasn’t fair: all the responsibilities, all the years
of moral preparation and schooling, for no more
accomplishment (a rented house, decent meals) than
that of an insect. You think humans are superior, but
they’re really not—think of all the amazing feats termites
can pull off that we can’t: chewing and digesting
wood, carrying things hundreds of times their
weight, building massive muddy towers and secure
tunnel systems, communicating telepathically without
language. Being human is a gyp.

Akashic Books

Monday, December 14, 2009

Seeing Red Radio: The US Constitution and the Rebellion that Shaped It, Pt. 1

The US Constitution and the Rebellion that Shaped It, Pt. 1
Seeing Red Radio

Stepping back into local history, this edition of SRR examines the US Constitution and the rebellion that woke up the Founding Fathers; Shay’s Rebellion, which took place in the hills and valleys of Western Massachusetts. We include excerpts of talks by Howard Zinn and Michael Parenti.

Toward an American Revolution: Exposing the Constitution and other Illusions by Jerry Fresia

Music:
Who is This America? – Antibalas Afrobeat Orchestra
Down on Penny’s Farm – The Bently Boys
Excuse Me Mr. – Ben Harper
The Best Democracy Money Can Buy – David Rovics
Take Back the Power – Asian Dub Foundation

To Listen to the Episode

Twilight in a Minute Parody

jacksfilm's channel

Sunday, December 13, 2009

The People Speak (Sunday, December 13th: 8PM on the History Channel)

We have organized a public gathering tonight to watch this... I am curious to hear what you think of it if you watch it.

Matt Taibbi: Obama's Big Sellout

(Courtesy of JV)

Obama's Big Sellout: The president has packed his economic team with Wall Street insiders intent on turning the bailout into an all-out giveaway
by MATT TAIBBI
Rolling Stone

Barack Obama ran for president as a man of the people, standing up to Wall Street as the global economy melted down in that fateful fall of 2008. He pushed a tax plan to soak the rich, ripped NAFTA for hurting the middle class and tore into John McCain for supporting a bankruptcy bill that sided with wealthy bankers "at the expense of hardworking Americans." Obama may not have run to the left of Samuel Gompers or Cesar Chavez, but it's not like you saw him on the campaign trail flanked by bankers from Citigroup and Goldman Sachs. What inspired supporters who pushed him to his historic win was the sense that a genuine outsider was finally breaking into an exclusive club, that walls were being torn down, that things were, for lack of a better or more specific term, changing.

Then he got elected.

What's taken place in the year since Obama won the presidency has turned out to be one of the most dramatic political about-faces in our history. Elected in the midst of a crushing economic crisis brought on by a decade of orgiastic deregulation and unchecked greed, Obama had a clear mandate to rein in Wall Street and remake the entire structure of the American economy. What he did instead was ship even his most marginally progressive campaign advisers off to various bureaucratic Siberias, while packing the key economic positions in his White House with the very people who caused the crisis in the first place. This new team of bubble-fattened ex-bankers and laissez-faire intellectuals then proceeded to sell us all out, instituting a massive, trickle-up bailout and systematically gutting regulatory reform from the inside.

How could Obama let this happen? Is he just a rookie in the political big leagues, hoodwinked by Beltway old-timers? Or is the vacillating, ineffectual servant of banking interests we've been seeing on TV this fall who Obama really is?

Whatever the president's real motives are, the extensive series of loophole-rich financial "reforms" that the Democrats are currently pushing may ultimately do more harm than good. In fact, some parts of the new reforms border on insanity, threatening to vastly amplify Wall Street's political power by institutionalizing the taxpayer's role as a welfare provider for the financial-services industry. At one point in the debate, Obama's top economic advisers demanded the power to award future bailouts without even going to Congress for approval — and without providing taxpayers a single dime in equity on the deals.

How did we get here? It started just moments after the election — and almost nobody noticed.

'Just look at the timeline of the Citigroup deal," says one leading Democratic consultant. "Just look at it. It's fucking amazing. Amazing! And nobody said a thing about it."

Barack Obama was still just the president-elect when it happened, but the revolting and inexcusable $306 billion bailout that Citigroup received was the first major act of his presidency. In order to grasp the full horror of what took place, however, one needs to go back a few weeks before the actual bailout — to November 5th, 2008, the day after Obama's election.

That was the day the jubilant Obama campaign announced its transition team. Though many of the names were familiar — former Bill Clinton chief of staff John Podesta, long-time Obama confidante Valerie Jarrett — the list was most notable for who was not on it, especially on the economic side. Austan Goolsbee, a University of Chicago economist who had served as one of Obama's chief advisers during the campaign, didn't make the cut. Neither did Karen Kornbluh, who had served as Obama's policy director and was instrumental in crafting the Democratic Party's platform. Both had emphasized populist themes during the campaign: Kornbluh was known for pushing Democrats to focus on the plight of the poor and middle class, while Goolsbee was an aggressive critic of Wall Street, declaring that AIG executives should receive "a Nobel Prize — for evil."

But come November 5th, both were banished from Obama's inner circle — and replaced with a group of Wall Street bankers. Leading the search for the president's new economic team was his close friend and Harvard Law classmate Michael Froman, a high-ranking executive at Citigroup. During the campaign, Froman had emerged as one of Obama's biggest fundraisers, bundling $200,000 in contributions and introducing the candidate to a host of heavy hitters — chief among them his mentor Bob Rubin, the former co-chairman of Goldman Sachs who served as Treasury secretary under Bill Clinton. Froman had served as chief of staff to Rubin at Treasury, and had followed his boss when Rubin left the Clinton administration to serve as a senior counselor to Citigroup (a massive new financial conglomerate created by deregulatory moves pushed through by Rubin himself).

Incredibly, Froman did not resign from the bank when he went to work for Obama: He remained in the employ of Citigroup for two more months, even as he helped appoint the very people who would shape the future of his own firm. And to help him pick Obama's economic team, Froman brought in none other than Jamie Rubin who happens to be Bob Rubin's son. At the time, Jamie's dad was still earning roughly $15 million a year working for Citigroup, which was in the midst of a collapse brought on in part because Rubin had pushed the bank to invest heavily in mortgage-backed CDOs and other risky instruments.

Now here's where it gets really interesting. It's three weeks after the election. You have a lame-duck president in George W. Bush — still nominally in charge, but in reality already halfway to the golf-and-O'Doul's portion of his career and more than happy to vacate the scene. Left to deal with the still-reeling economy are lame-duck Treasury Secretary Henry Paulson, a former head of Goldman Sachs, and New York Fed chief Timothy Geithner, who served under Bob Rubin in the Clinton White House. Running Obama's economic team are a still-employed Citigroup executive and the son of another Citigroup executive, who himself joined Obama's transition team that same month.

So on November 23rd, 2008, a deal is announced in which the government will bail out Rubin's messes at Citigroup with a massive buffet of taxpayer-funded cash and guarantees. It is a terrible deal for the government, almost universally panned by all serious economists, an outrage to anyone who pays taxes. Under the deal, the bank gets $20 billion in cash, on top of the $25 billion it had already received just weeks before as part of the Troubled Asset Relief Program. But that's just the appetizer. The government also agrees to charge taxpayers for up to $277 billion in losses on troubled Citi assets, many of them those toxic CDOs that Rubin had pushed Citi to invest in. No Citi executives are replaced, and few restrictions are placed on their compensation. It's the sweetheart deal of the century, putting generations of working-stiff taxpayers on the hook to pay off Bob Rubin's fuck-up-rich tenure at Citi. "If you had any doubts at all about the primacy of Wall Street over Main Street," former labor secretary Robert Reich declares when the bailout is announced, "your doubts should be laid to rest."

It is bad enough that one of Bob Rubin's former protégés from the Clinton years, the New York Fed chief Geithner, is intimately involved in the negotiations, which unsurprisingly leave the Federal Reserve massively exposed to future Citi losses. But the real stunner comes only hours after the bailout deal is struck, when the Obama transition team makes a cheerful announcement: Timothy Geithner is going to be Barack Obama's Treasury secretary!

Geithner, in other words, is hired to head the U.S. Treasury by an executive from Citigroup — Michael Froman — before the ink is even dry on a massive government giveaway to Citigroup that Geithner himself was instrumental in delivering. In the annals of brazen political swindles, this one has to go in the all-time Fuck-the-Optics Hall of Fame.

To Read the Rest of the Essay

Air: La Femme D'Argent

Low Anthem: Charlie Darwin

Courtesy of Jonathan Vincent

Saturday, December 12, 2009

Wendell Berry: "To damage the Earth, is to damage your children."

Berry, Wendell. The Unsettling of America. San Francisco, CA: Sierra Club Books, 1986.

… no matter the distinctions we draw, the connections, the dependencies, remain. To damage the Earth, is to damage your children. (Berry, 1986: 57)

“Anarchism and Anarchy: A Historical Perspective” Barry Pateman at the 2009 NAASN Conference

“Anarchism and Anarchy: A Historical Perspective” Barry Pateman at the 2009 NAASN Conference



Revolution by the Book

Uprising Radio: This Week In Copenhagen

This Week in Copenhagen…
Uprising Radio

In the first major street demonstrations on global warming in Copenhagen, about 40 activists were arrested today. The demonstrations were aimed at a meeting of corporate leaders gathered as part of the larger UN climate summit or COP 15 to discuss the role of business in tackling global warming. The activists chanted “Mind your business, this is our climate.” Over 50,000 activists have gathered in Copenhagen, Denmark, and many are hailing the gathering as the “most important meeting of their lives.” Today we’ll kick off the show with an audio summary of the first week’s events in Copenhagen, gathered by the hundreds of media activists and street journalists that are creating their own media.

To Listen

The Avett Brothers: Paranoia in B Flat Minor

XKCD: Natural Parenting

XKCD

Bill Moyers Journal: Howard Zinn -- The People Speak

Howard Zinn -- The People Speak
Bill Moyers Journal

"They're willing to let people think about mild reforms and little changes, and incremental changes, but they don't want people to think that we could actually transform this country."

Howard Zinn has long been known as the historian of the American everyman and woman. His groundbreaking work, THE PEOPLE'S HISTORY OF THE UNITED STATES, turned history on its head — concentrating on the power of the people to effect change, not just the deeds of great men and those in political power.

BILL MOYERS: There's a long tradition in America of people power, and no one has done more to document it than the historian, Howard Zinn. Listen to this paragraph from his most famous book. Quote: "If democracy were to be given any meaning, if it were to go beyond the limits of capitalism and nationalism, this would not come, if history were any guide, from the top. It would come through citizen's movements, educating, organizing, agitating, striking, boycotting, demonstrating, threatening those in power with disruption of the stability they needed." This son of a working class family got a job in the Brooklyn shipyards and then flew as a bombardier during World War II. He went to NYU on the G.I. Bill, taught history at Spellman College in Atlanta, where he was first active in the Civil Rights movement, and then became a professor of political science at Boston University.

There, he and his students sought a more down-to-earth way of looking at American history. And when no book could provide it, Zinn decided to write one. Since his publication in 1980, "A People's History of the United States" has sold more than two million copies. This Sunday night, the History Channel will premiere a 90-minute special, "The People Speak" based on Howard Zinn's book. It was produced by Zinn along with Matt Damon, Josh Brolin, Chris Moore and Anthony Arnove.

To Read/Listen/Watch and Access More Resources

Jenny Lewis: The Next Messiah

Friday, December 11, 2009

Jon Lewis: Real Sex -- Aesthetics and Economics of Art-House Porn

Real sex: aesthetics and economics of art-house porn
by Jon Lewis
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...

The most successful U.S. real sex film to date is John Cameron Mitchell’s Shortbus, which opened on just six screens in October 2006, then on positive word-of-mouth expanded to over sixty screens in its third week of release. The film eventually grossed nearly $2 million, a respectable run for any art house film, let alone one with ample gay-male content.

What distinguishes Shortbus from previous real sex indies and imports is its exuberance, the notion that sex (and sex on film) might actually be fun. This hearkens back to the “different strokes for different folks” spirit of the groundbreaking 1972 porn film Deep Throat, which promoted an egalitarianism, a democracy of on-screen sex. Several mainstream reviewers celebrated Mitchell’s novel approach. David Ansen of Newsweek wrote:

“Other films (mainly foreign) have certainly given us totally explicit sex before. Think of Catherine Breillat’s Romance and Anatomy of Hell. Or the grittily aggressive Baise Moi. But these were all films that rewarded prurience with punishment (in the form of either graphically unpleasant sex or windy French philosophizing). Mitchell brings an all-American cheerfulness to his sex romp, a native-born faith in the therapeutic benefits of unfettered desire.”


With regard to the film’s orgy finale, Ansen shrugged off all the real sex on screen, concluding,

“This is XXX with a happy face.”


The New York Times’ Manohla Dargis similarly commented upon the film’s happy feel:

“Mr. Mitchell isn’t the first nonpornographic filmmaker to incorporate sexually explicit material into his work, but he may be the most optimistic and good natured.”


Dargis went so far as to assert that the final scene in Shortbus offers not only an answer for the lonely twentysomethings in the film but a model for filmmakers in Hollywood:

“Mr. Mitchell finds his happy ending in raucous music and warm caresses, in an oceanic feeling in which everyone is free to be freakily you and me. His idealism is pleasingly touching and just maybe a bit naïve. It’s an idealism that feels out of place next to the hot-to-trot television housewives, panting pop divas, cringingly graphic memoirs and novels in which sex is an index of late capitalism at its most bleak. Certainly it’s deeply, if promisingly, at odds with an U.S. movie mainstream that has grown progressively more prudish about sex over the last three decades, while its representations of violence have grown more obscenely violent. Hollywood says let it bleed. Mr. Mitchell would rather we get off on life.”


Parting glances

Regimes of censorship are inevitably capricious, ambiguous, and inconsistent, yet they reflect upon the culture they serve in ways that are at once telling and troubling. The Classification and Rating Administration (CARA), which rates films for the MPAA, makes possible the wide release of R-rated torture films like Saw and Hostel, yet offers no “legitimate” designation for a sweet-natured (adults-only) real-sex film like Shortbus. Saw IV, the R-rated installment of the popular torture film series released during the same twelve month period as Shortbus, opened on more than 3,000 screens nationwide and grossed over $60 million in its first 2 months in release. That’s 2,940 more screens than the reigning real-sex box office champion Shortbus reached at its peak and roughly thirty times its theatrical gross.

There’s more to this than the obvious double standard at the MPAA regarding sex and violence. The Shortbus/Saw IV comparison reveals the ways in which industrial policy and practice drives cultural standards. In the marginalization of art-house porn and in the mainstream commercial success of disturbingly violent horror films, we find our society not so much mirrored but reified by MPAA censorship policies and procedures. We are fascinated by violence in even its most extreme and hideous representation, and we are willing to indulge this fascination with few (if any) limits. Sex, especially real sex, makes us nervous … so nervous that if it can be shown (in any legitimate venue) it must be, it better be “art.” Art has become as much a matter of commerce as aesthetics. That is, by labeling something art you pretty much guarantee a small audience, one that is marginal to (and systematically marginalized by) U.S. pop culture.

To Read the Entire Essay

Joan Slonczewski: A Door Into Ocean

I literally devoured this book ... a beautiful realization of a pacifist, anti-authoritarian, all-female (but not necessarily anti-male) ocean world resisting a 100 world-spanning militaristic empire's attempt to place them under control/domination. All the way to the end I wasn't sure how it would turn out... Joan Slonczewski is a biologist and she spent eight years creating this book. It is evident in the careful construction of the novel, the characters are brilliantly realized and the strange world makes sense (at least to me).



A Library Journal reviewer stated "Slonczewski creates an all-female nonviolent culture that reaches beyond feminism to a new definition of human nature" (Library Journal Vol. 110 (Issue 20): p129) ... I can understand the reviewer's exuberance, but the definition of human nature is not new. It can be seen in anarchist collectives, Quaker gatherings, Unitarian spirituality and the tradition of non-violent resistance. The Shora gatherings for collective decision-making and their lack of official leaders/permanent hierarchy prove to be particularly frustrating for the empire trying to dominate them through the domestication of elite native puppet leaders.

A Door Into Ocean Study Guide

Thursday, December 10, 2009

Annie Leonard: The Story of Cap and Trade

(Courtesy of The Socialist Project)

The Story of Stuff

Animation (Archive)

Kozachik, Pete. "2 Worlds, in Three Dimensions: Pete Kozachik, ASC details his approach to the 3-D digital stop-motion feature Coraline, whose heroine discovers a sinister world behind the walls of her new home." American Cinematographer (February 2009)

Newcomb, Julie. "Anime Guide." Green Cine (March 22, 2007)

Polonsky, David, et al. "Waltz With Bashir: The Art Director's War." Open Source (April 17, 2009)

Scharf, David. "The Big Brother State." Vimeo (February 2009)

---. "The Forest." Vimeo (August 2009)

Silvio, Carl. "Refiguring the Radical Cyborg in Mamoru Oshii’s Ghost in the Shell. Science Fiction Studies 26.1 (March 1999)

Simonova, Kseniya. "Sand Animation." (Youtube video: posted June 7, 2009)

Suzuki, Ayumi. "A nightmare of capitalist Japan: Spirited Away> Jump Cut #51 (Spring 2009)

Tobias, Scott. "Team America: World Police." A.V. Club (May 28, 2009)

Walden, Kim Louise. "Double Take: Rotoscoping and the Processing of Performance. Refractory #14 (December 24, 2008)

Caroline Koebel: Torture, maternity, and truth in Jasmila Zbanic’s Grbavica: Land of My Dreams

Torture, maternity, and truth in Jasmila Zbanic’s Grbavica: Land of My Dreams
by Caroline Koebel
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Set some ten years into the aftermath of Slobodan Milosevic’s onslaught in former Yugoslavia, Jasmila Zbanic’s Grbavica: Land of My Dreams (2005)[3] does not examine how Esma (Mirjana Karanovic), the narrative’s protagonist, coped with life in a prisoner of war camp for Bosnian Muslims (Bosniaks).

“My belly grew. With her inside. Even then they came….In twos, threes, every day.”[4]


It does not account for how she was able to sustain herself day after day of multiple gang rapes, to continue indefinitely, and lasting well into her pregnancy with the “bastard Chetnik”[5] daughter to whom she eventually gave birth. It does not detail Esma’s liberation from the camp. Rather, Grbavica follows Esma as mother of a now pubescent daughter as she confronts her struggle to exist in the present. The film proposes that for Esma to have the possibility of a future, she must speak the truth of her past in all its inexorable trauma. And in the process, the film hoes the battleground between ethics and truth.

Should a mother protect her child from knowledge of its identity as product of rape by the enemy? How does deceit once conceived take on a life of its own? Can internal conflict be represented so as to evoke sympathy while resisting sentimentality and sensationalism?

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Lexington Film League: DO-ERS Community Video Contest

Make Yourself Necessary

“DO-ERS”
Community Video Contest
Lights, Community, Action!

What are people doing in a neighborhood near you? We want you to film it and tell us the story!

The Lexington Film League invites all filmmakers and those interested in making films to go out and create a 5 minute (or less) video about what’s going on in your community. Find a group or do it yourself, the idea is to just go out and make it!

All submissions must be in before January 15th, 2010 and will be reviewed by a team of judges and voted on by YOU! The winner will receive a cash prize, half of which will be donated to the non-profit organization of their choice.

This is open to all filmmakers and community members across Kentucky.

Winner(s) will be announced during a special event held in February 2010.

All submissions will be posted on our YouTube channel and available for you and your peers to vote on.
Guidelines:

* no more than 5 minutes in length
* any subject of anyone or organization “doing” something in your community
* this project is state-wide
* credits include non-profit website (if applicable) and all participants names
* no copy-written music or images
* please deliver a high quality QT file: H.264 or upload the video to your personal YouTube account and send us your user name for us to link: lexfilmleague@gmail.com
* include all contact information with your submission
* send to:

"Doers" Video Contest
c/o Sarah Wylie Ammerman
1113 N. Limestone St.
Lexington, 40505

Wednesday, December 09, 2009

Sarah Haskins in Target Women: Doofy Husbands

Courtesy of Laura W.

Sarah Haskins

Wendell Berry: "The acquisition of knowledge always involves the revelation of ignorance"

Berry, Wendell. “A Letter to Wes Jackson.” Home Economics. Berkeley, CA: North Point Press, 1987.

The acquisition of knowledge always involves the revelation of ignorance. Our knowledge of the world instructs us first of all that the world is greater than our knowledge of it. To those who rejoice in abundance and intricacy, this is a source of joy. To those would-be solvers of “the human problem,” who hope for knowledge equal to (capable of controlling) the world, it is a source of unremitting defeat and bewilderment. One thing we do know, and dare not forget, is that better solutions than ours have at times been made by people with much less information than we have. We know, too that the same information that in one [person’s] hands will ruin the land, in another’s will save and improve it. (Berry: 65)

Element Skateboards: Power to the Planet

Courtesy of About-Face

America the Beautiful (USA: Darryl Roberts, 2007)

Courtesy of About-Face

Sexual Education and Side Hugs

(Commentary on this phenomenon: The Side-Hug: Youth Group Puts Down Sinful "Front-Hugs" With Rap)

Courtesy of Laura W.

ZOMGitsCriss