On film choruses. There is so much behind this curtain. An excerpt:
I wanted to find out who among this massive group would be the one to say “hey, let’s add a chorus and have it sung in Sanskrit” or something along those lines. The answer turns out to be: Pretty much any of them can and sometimes do. What film choruses offer us is a perfect synecdoche for the collective, frenzied, and deeply mercenary magic that creates movies in the first place. It’s as likely that a director had the screenwriter invent specific lyrics early in post-production as that a subcontractor, assistant composer, or orchestrator jotted down some words or went on a Wikipedia deep-dive eight weeks out from release in a desperate late-night quest for a non-copyrighted text to use with a cue that might please a bunch of suits half a world away.
Or, some Monday links on central banks, manners over matters and hard-boiled decisions
That bond salesman from the Jazz Age was right. Reserving judgement, at least sometimes, allows for a fairer outcome. Take for example the Brick film (2005), a neo-noir detective story set in a modern Southern California high school. Here in Greece it made some ripples, then it was forsaken for good. Not sure about its status in the US or elsewhere, but “overlooked”/ “underrated” seem to go with it in web searches. I agree now, but when I first watched it, its brilliance was lost to me ( and no, it was not allegedly “ahead of its time”, as some lame progressive metal bands of late 90s hilariously asserted when they zeroed in sales…).
The film’s peculiarity was obvious from the titles. A couple of gals left the theater like 10’ in. My company and I were baffled for most part, by the gritty atmosphere. And I have not even begun with the dialogue. The language was something from off the map. As late Roger Ebert noted:
These are contemporary characters who say things like, “I got all five senses and I slept last night. That puts me six up on the lot of you.” Or, “Act smarter than you look, and drop it.”
You see, the whole thing was intended to serve tropes, archetypes and mannerisms from the hard-boiled fiction of 1920s-30s. A manly man vs crime and (corrupted) government, and so on and so forth. We went there, un-f-believably how, clueless about all these. We did, however, make a recurring joke from the following lines:
Brendan: You and Em were tight for a bit. Who’s she eating with now? Kara: Eating with? Brendan: Eating with. Lunch. Who.
Seen in this light, everything made sense to my gusto. Anyway, seems that reserving judgements not only does better assessments, but also protects the lazy unaware.
Now, I have previously indicated that I have a soft spot for the “technology of collective decisions” that are central banks. I usually reserve my judgements on them, too. This comment summarises recent developments, including a few interesting links:
The author argues that central banks, supposedly the bastions of technocratic approach, tend to “respond” (i.e. be nudged by and directly appeal) to a perceived “will of the people”, as it is expressed on-line or via events like the “FED Listens” series. This bend acts as a claim to legitimacy and accountability, in exchange of trust and extended discretion, leading to a self-reinforcing circle almost beyond the democratic election process. In other words, not quite the “Bastilles” contra “modern Jacobinism” (to remember how Wilhelm Röpke deemed independent central banks in 1960). A way out could be made, concludes the author, by introducing of a rule-based monetary policy.
Central banks, as institutional arrangements developed mostly during the 20th century, share a common mojo and tempo with the FED. They gradually assumed more independence, and since the emergence of modern financial markets, (even more) power. This rise has been accompanied by increasing obligations in transparency and accountability, fulfilled through an ever-expanding volume of communication in terms of hearings, testimonies, minutes, speeches etc. This communication also plays a role in shaping economic actors’ expectations, a major insight that transformed our understanding of macroeconomic outcomes. Andy Haldane talks all these, along with other delicious bits, in an excellent speech from 2017 (his speeches have generally been quite something):
Plot twist: The endeavor of more communication has a so-so record in clarity, as documented by the rising number of “education years” needed to follow and understand central banks’ messages. The same trend goes for the pylons of rule of law, the supreme courts, at least in Europe. We certainly have come a long way since that time at the 70s, when a former Greek central bank Governor likened monetary decisions to a Talmudic text, ok, but we are not there yet.
As a parting shot, let us return just over a year back, when the German Federal Constitutional Court delivered a not exactly reserved decision (5 May 2020) about the European Central Bank’s main QE program. The FCC managed to:
scold the top EU Court for flawed reasoning and overreach in confirming the legality of the program in Dec 2018 (the FCC had stayed proceedings and referred the case to the Court of Justice of the EU, for a preliminary ruling in Jul 2017. Europe’s top courts are not members of the Swift Justice League, apparently).
indirectly demand justifications from ECB, which is beyond its jurisdiction as an independent organ of EU law, by
warning the German public bodies that implement ECB acts to observe their constitutional duties, while
effectively not disrupting the central bank’s policy.
The judicial b-slapping provoked much outcry and theorising, but little more, at least saliently. The matter was settled by some good-willed, face-saving gestures from all institutions involved, while it probably gave a push to the Franco-German axis, to finally proceed in complementing monetary policy measures with the EU equivalent of a generous fiscal package. The rift between the EU and the German (in this case, but others could follow) respective legal orders may never be undone, though. If anyone feels like delving deeper into the EU constellation, here is a fresh long slog:
Last Friday, Joker hit cinemas to much acclaim and some anxiety. Hot takes claim it glamorizes violence while the Slate pitch is that it’s boring. Having seen it over the weekend, I don’t see anything more transgressive about it than the various Batman films to which Joker is a sort of prequel, but it is more entertaining.
The film uses both narrative and moral ambiguity driven by the theme of mental illness. We are not quite sure what’s real and what’s not. And what (if anything) is responsible for catastrophic events that turn wannabe standup-comedian Arthur Fleck into the Clown Prince of Crime. This ambiguity is in league with contemporary criminology. Many researchers now suspect that crimes are typically the result of multiple, incremental causes (little things going wrong) that together add up to sometimes catastrophic outcomes.
One thing the Notes on Liberty community may not know about me is that I worked for a while as a research (and writing) extern for the Victims of Communism Memorial Foundation. Because of my academic background in history and the arts, most of my work focused on historical communism, especially as related to propagandist representations from inside communist countries. The experience provided me with an opportunity to immerse myself in the documentation and wording of communism.
Most people know how the Soviet and Maoist propagandists portrayed their own people: the moral, brave underdogs who are hated and despised by rich, corrupt weaklings. Any of the sufferings connected to communism – famines, shortages, economic instability – these were all the fault of external forces. Except in the case of the Chinese, to whom Mao refused to offer explanation and simply told the people that their sufferings were glorious and were sacrifices to the revolution. Hua Yu in his memoir China in Ten Words conveys quite poetically exactly how “glorious” everyone’s sufferings were. Even today, we are still treated to a modern iteration in the form of Nicolás Maduro and his wild accusations regarding the cause of Venezuela’s collapse. Most of the time, the perpetrators are the White House and CIA, though in August 2018 he blamed Colombia and some unidentified Floridians and in December 2018 he threw in Brazil, along with the traditional “White House did it” trope.
What is less commonly known – outside of film and literature aficionados – about Cold War era portrayals is their representation of those who live on the other side of the divide, i.e. in capitalism. Across the board, the portrayals were fairly simplistic – the rich were evil, the poor were good. The premise was always that the former were useless and the latter were meritorious, belonging in a socialist workers’ paradise, instead of in a system that metaphorically chewed them up and spat them out. The propagandists were masters of imposing this interpretive paradigm universally, from traditional Western literature (or even their own traditional literature in the case of China) to news items. For example, the failed yachtsman and minor-league conman Donald Crowhurst became a proletariat hero in the Soviet film Race of the Centuryin which he is driven to his death by a greedy, capitalist sponsor (in real life, Crowhurst’s angel investor). The propaganda point being that in capitalism human life is expendable. One has only to read Alexander Solzhenitsyn’s Gulag Archipelago to see under which system an indifference to human life was, and still is, ingrained.
There is a reason that Marxist and post-structuralist theory and criticism focus on the concept of “the other.” It is because communism can only arise from chaos and conflict. In order to justify its existence and explain its ills and failures, there must be an “other” which opposes it. The other can be the White House, foreign intelligence services, or foreign bankers. “Othering” can be imposed on practically any person or group of people, and the dynamic can be read into any relationship. If one wants to find an “other” in Solzhenitsyn, a very good candidate is Fetyukov from One Day in the Life of Ivan Denisovich. For a literary criticism standpoint, Ivan Denisovich Shukov’s contempt for Fetyukov is a case of the former “othering” the latter. “Othering,” while a development of Marxist thought, is not a domain exclusive to communist writing. Ian Fleming used the paradigm, consciously or unconsciously, in his James Bond series, with their black-and-white portrayals of who was the good and who was the bad party.
Study of the language and structures of Marxist thought and propaganda is both lacking and overwhelming today. Yes, on the one hand, our universities have been overtaken with grievance studies and criticism classes. But on the other, the tropes and thought processes of Marxism have subtly appeared in contemporary American dialogue. More insidiously, they are not coming necessarily from the overt socialists, such as Alexandria Ocasio-Cortez, but from figures that identify as center and right. Ocasio-Cortez and her idol Bernie Sanders might be pardoned for regurgitating Marxist tropes, given that at least these politicians have had the decency to acknowledge their ideological leanings, but for “Conservative” [note the big “C”] intellectuals to do so is indicative of either ignorance or manipulation, both of which are unforgivable.
Democracy, then, requires strategically strengthening institutions that working-class people can control or at least influence. That means, among other things, defending the institutional independence of diverse religious communities, while sometimes favoring pragmatic municipal socialism. Whatever form an authentic grassroots working-class movement might take in the twenty-first-century United States, it is likely to look like historic precedents, including old-fashioned Milwaukee-style “sewer socialism” (municipal ownership of public utilities) and the Salvation Army. It will not look like the campus-based social justice and climate-change NGOs of progressive upper-middle-class professionals or, for that matter, free-market agitprop groups funded by the libertarian rich.
Lind has had a decades-old, well-publicized bugbear with libertarian thought, and to some extent his language reflects this. What is concerning about his words is the justification of localized socialism (history shows that this would not remain local for long) using the language of agency. The entire argument is built upon the fundamental Marxist assumption that the proletariat has no agency, wants it, and must collectivize to have it. In Marxist speak, Lind’s acceptance of the laborer-has-only-his-labor paradigm effectively “others” everyone on the other side of an indeterminate class line – upper-middle-class professionals (progressive or not), college students, free-marketeers, oh, and rich libertarians (one wonders where poor student classical liberals and middle-class libertarians fall in this equation).
In old fairy tales, a common theme is a beloved plant, usually a tree, that begins to wither away. The tree is externally healthy, and no one can discern a logical reason for it to be dying. After a long search, consulting of necromancers, and other typical fairy tale activities, the hero digs around the tree’s roots and discovers that there is a repulsive, venomous animal, usually a snake or a toad, living there, and it is the cause of the plant’s slow decline. Marxist thought and paradigms, not Marxism as an ideology, have become that snake for American Conservatism and center-right politics. Its poison is exacerbated by the fact that its acolytes and proselytizers appear to be unconscious of its presence as they argue that their only desire is to preserve the American Republic through preventing class conflict. But if they are doing is to hurl us faster and faster, more inexorably toward this very breakdown, as their ideas begin to overlap with those of the acknowledged far-left.
On the new year day, searching on Youtube for something to watch, by chance, I stumbled upon a low budget and poorly made Western Yellow Rock (2012). By now, I watched enough of Hollywood products that were tailored to current “diversity” ideology and PC tastes. At least, some of them (e.g. Django Unchained, Black Panther, Dances with Wolves) were well crafted . But this Yellow Rock really “rocks.” It totally “overwhelmed” me.
An official plot description is rather innocent:
“A man searching for his missing son hires a group of rugged cowboys to take him into territory controlled by the Black Paw Indians. When they come upon an ancient burial ground, their own greed tears them apart, as the posse turns on itself.”
Yet, in reality, from the first scenes, you are literally plunged into the “diversity pulp fiction”: caricature whisky-drinking and swearing white male rednecks (the posse) approach a camp of no less caricature noble American Indians who are taken care of by an all-female team of noble physicians and nurses. The head of the posse claims that he is looking for his missing son. Yet, in reality, they need to secure a permission from the tribe to cross Indian lands to reach an abandoned gold mine to get hold of some sacks with gold dust. Through their wooden characters, from the very beginning, producers defined clearly ideological sides: noble victims (Native Americans), allies (white women), and oppressors (white males). Not a single shade of grey. The only exception is a white male alcoholic scout who takes the posse into the wild. As a victim of his addiction, he is also somewhat qualified to be noble, and, in fact, he acts as an ally too.
The cliche plot is painfully predictable: the posse of the “whitey” wants to cross straight across Indian burial grounds, although the “Injuns” warn them not to do it. Of course, by violating the sacred land, the “whitey” offend local spirits, who send against the rednecks a pack of wolves who appear as grotesque caricature shiny silver wolves resembling their brethren from New Age postcards and posters. Finally, the evil posse, which en route harasses an accompanying female physician and a male Indian, finds the gold. Yet, driven by an expected greed, the members of the posse take on each other. The rest of them are finished by the physician who is able to snatch a gun and by Black Paw Indians who arrive just in time to commit the act of justice. The movie ends with a scene of a slow motion collective execution of the last greedy redneck by a group of the Black Paws who repeatedly shoot the guy holding tightly a sack of gold. When the justice warriors lean over the dead corpse, they find out that gold dust somehow miraculously turned into regular dust; elements of paranormal and New Age mystique are rather common in latter day Westerns.
I would not have ventured into the description of this “movie” unless it had not provoked me to jump to an obvious conclusion: at times a trashy cultural product might serve as a good learning tool. Trashy stuff highlights dominant ideological cliches and sentiments more than any other more or less well crafted movie. Like an imbecile who mimics the behavior of surrounding people, such “masterpieces” clone the mainstream ideology that is superimposed on people in public schools and colleges. To me, Yellow Rocks demonstrated how deeply the educational system (film studies along with the rest of humanities) and print media has ingrained in the minds of movie makes the pillars of what people on the right label Cultural Marxism and that people on the left call Critical Theory. In its turn, this elusive theoretical “beast” served as a major fountainhead of the Multiculturalism ideology.
Watching that particular movie, I suddenly felt catapulted to the “good old” Soviet Union. Replace noble Indians+female do-gooders with noble workers (proletarians) and greedy white evil males with greedy capitalists and you will get a solid Soviet movie tailored according to the cliches of Socialist Realism. For those who do not know what Socialist Realism is, I want to note that it was a Stalinist doctrine that required from movie makers, poets, writers, and the rest of the intellectual gang to depict the surrounding life not as it was but as should be in the ideal future. I have also realized that comparing old Soviet and communist Chinese movies with current multikulti products in European and American realms might have a pedagogical value. It will allow us to trace the genetic links between the Marxism of old that had been obsessed with political economy and class warfare and the current Cultural Marxism that is obsessed with racial and gender identity wars. In the 1920s and the 1930s, both in the Soviet Union and Western progressive subculture the ultimate noble savage was a metaphysical muscular male proletarian.
Since the 1960s, “noble savages” of old Marxism became replaced by the new cultural left with new “noble savages”: third world, people of “color,” females, gays….The list of victims who are simultaneously to act as redeemers from the evil Western civilization is not yet complete.
In a typical Soviet heroic movie a people-friendly misfit character without a stable class-based moral compass chaotically fought against oppression. He or she needed a solid back up form a wise muscular industrial proletarian who, with his working class salt of the earth wisdom, was to take this character to the highest level of consciousness. In Yellow Rock, the alcoholic scout similarly was upgraded by female and Indian wisdom. Incidentally, the same trope one can observe in the third part of the famous (and well made) Hunger Games trilogy that I watched again last night. The major character, Katniss Everdeen, a noble female warrior, was not complete without receiving an endorsement (in the final scene of that trilogy) from the victim/redeemer of a “higher caliber.” After Everdeen defeats dictator Snow, an aged cunning white male, a black female elder approaches Everdeen and gently leads her to the center of the new power, where masters of the multikulti paradise gathered to usher the new world.
I am a big fan of animation, but I often have to ‘turn my brain off’ to enjoy a comic trying to make political commentary. With rare exceptions, like the Incredibles series, the industry has a strong statist bent. The industry is so statist that Superman: Red Son, a story line with the premise that Superman landed in the Soviet Union instead of the United States, ends with the message that communism would work if only it were a bit more democratic. Note that I say statist bent, as opposed to leftist bent. They are smaller in number, but there are several conservative comics (e.g. the Kingsman) that leave a statist aftertaste.
I can’t do much on the supply side of liberty-friendly comics, but I can at least highlight those comics that I think fellow libertarians might enjoy via blog posts.
First off is Burn the Witch, a new comic series published by Shonen Jump. I was pleasantly surprised when I read through Tite Kubo’s Burn the Witch. Tite Kubo is best known for authoring Bleach, a comic about Japanese school children fighting demons in fantasy Mexico.
Burn the Witch is about Anglo-Japanese school children fighting demons in fantasy Britain. The twist? Unlike their counterparts in fantasy Mexico, the British demons (referred to as ‘Dragons’ in-series) aren’t killed outright. Instead they are raised for the resources they provide. Only ‘bad’ demons who are killing humans or otherwise causing destruction are killed. It is noteworthy that the protagonists refer to themselves as ‘conservationists’. They kill the occasional demon, providing the story with action scenes when doing so, but their primary purpose is to conserve them. In an off hand comment the protagonists note that their fantasy Mexican counterparts are barbaric and indiscriminately kill their demons.
Contrary to the protagonist’s comments, it isn’t that individual fantasy Mexicans are barbaric so much that fantasy Mexico doesn’t recognize property rights in demons. Since no one has a property right in demons, no one has an incentive to conserve, much less domesticate, them in fantasy Mexico. Fantasy Britain enjoys strong property rights and consequently has minimal problems associated with its demons. One of the protagonists is ethnically from fantasy Mexico, but seems to be thriving under fantasy Britain’s rules. The story’s lesson? Property rights matter.
Only one chapter of Burn the Witch has been published thus far, and it’s unclear if it’ll become a recurring series, but I like what I’ve seen so far.
Thoughts? Comments? As always, write in the comments below. If you’re a fan of animation and a fellow libertarian, consider joining the anime libertarian alliance facebook group.