Skip to main content

Cover for the fall

conspiracy-theory-5

AP file

The image of the burning towers defined this decade. It dominated waking and sleeping life, political debates and Sunday dinners, birthday parties and weddings and funerals, for a solid year, maybe two, then lurked in the background for the rest of this decade, haunting elections and reelections, military debacles and constitutional fights. And it forced every artist in every medium to start each new piece by first asking if the work was meant to confront the image of the burning towers or deliberately avoid it (avoidance is also a response). (Matt Zoller-Seitz, “Image of the decade: Osama and the towers,” Salon, 31 Dec. 2009)

Cover for the fall

If we focus on this image, then it means we're attracted to the awesome, feel the need for awe. There is a sense that it belongs in the "mission accomplished" category, only much more successfully. That is, it might mean we'll be getting on through by means of huge true-life kicks like this.

The other image to be considered, is the one we are not prone to so readily replicate / revisit (just try it in art, and see what happens). The people falling. You felt there their experience. We briefly considered it, and decided immediately that, however much art there was in that, we will never, ever, allow ourselves to go back there -- not really -- the whole rest of our lives. We've all agreed. And most of us won't. Our super-ego allows the crash-bang, as cover, perhaps, of what it just will not allow on through, because it would disassemble us.

Link: Image of the decade: Osama and the towers (Salon)

Comments

Popular posts from this blog

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   


2) When Wade/Deadpool and Vanessa are excha…

"The Zookeeper's Wife" as historical romance

A Polish zoologist and his wife maintain a zoo which is utopia, realized. The people who work there are blissfully satisfied and happy. The caged animals aren't distraught but rather, very satisfied. These animals have been very well attended to, and have developed so healthily for it that they almost seem proud to display what is distinctively excellent about them for viewers to enjoy. But there is a shadow coming--Nazis! The Nazis literally blow apart much of this happy configuration. Many of the animals die. But the zookeeper's wife is a prize any Nazi officer would covet, and the Nazi's chief zoologist is interested in claiming her for his own. So if there can be some pretence that would allow for her and her husband to keep their zoo in piece rather than be destroyed for war supplies, he's willing to concede it.

The zookeeper and his wife want to try and use their zoo to house as many Jews as they can. They approach the stately quarters of Hitler's zoologist …

"Life" as political analogy, coming to you via Breitbart News

Immediately after seeing the film, I worked over whether or not the movie works as something the alt-right would produce to alienate us from the left. Mostly the film does work this way  -- as a sort of, de facto, Breitbart production -- I decided, though it's not entirely slam-dunk. There is no disparagement evident for the crew of the space station being a multicultural mix, for instance. Race is not invisible in the film; it feels conspicuous at times, like when the Japanese crew member is shown looking at his black wife on video conference; but the film maker, wherever he was actually raised, seems like someone who was a longtime habitat of a multicultural milieu, some place like London, and likes things that way. But the film cannot convince only as macabre relating to our current fascination with the possibility of life on Mars -- what it no doubt pretends to be doing -- because the idea of “threat” does not permeate this interest at all, whereas it absolutely saturates our …