Ramping up the drama is the fact that we are never permitted to forget the social pressures and restrictive mores of the mid-twentieth century. In one scene, the bewildered Therese asks her even more clueless boyfriend Richard (Jake Lacy) if he’s ever heard of a woman falling in love with another woman. It’s an innocent, almost comical moment…. Therese asks if he’s ever heard of ‘two people who fall in love suddenly with each other, out of the blue. Say two men or two girls’. Has he ever been in love with a boy? Of course not, says straight-arrow Richard.
I think this misses something important about the film, though, which is how clearly it rejects what you might call a homophobia of innocence. Read more↴
Supposedly, statistical studies of areas that have introduced abstinence-only sex education show that one of the most consistent effects is a marked increase in the numbers of teenagers having anal sex. I don’t know if this is true, but I hope it is, because it would be a great instance of the heteronormativity of these abstinence programs rebounding on itself. These programs involve saying “no” to a sex which is cast as necessarily involving a penis and a vagina, but the result of this obsessive negative focus on a heteronormative conception of sex might not be a rejection of sex, but a rejection of heteronormativity; a diffusion of sex into diverse and queerer forms. Read more↴
I think I may be the perfect age for the appeal of the finely-tooled nostalgia of The Force Awakens. The obvious target for Star Wars nostalgia is someone like J J Abrams, who saw the original films in the cinema as a child; I was too young for that, growing up in the 80s after the films had left the cinemas, but before video recorders made it easy to watch the films at home. So I first experienced the films by catching bits of them when they happened to show up on TV, or, even more, through the clouds of content thrown off by Lucasfilm’s franchising efforts (I have particularly fond memories of animated C3PO and R2D2 buddy comedy Droids). This diffuse omnipresence played brilliantly into the mythical feel the films strive for. So it’s fairly unsurprising that I enjoyed the new film, but what I hadn’t expected is that the film quite clearly dramatises this condition of franchise-dependence, and also has some quite thoughtful things to say about it. Read more↴
In the essay “Utopia as Replication”, Jameson suggests we consider Walmart as an example of how “the most noxious phenomena can serve as the repository and hiding place for all kinds of unsuspected wish-fulfilments and utopian fantasies”. Jameson intends this as a bit of a provocation, but I wonder if Walmart isn’t actually too easy a choice for the “paradoxical affirmation” of “what is most exploitative and dehumanizing in the working life of capitalism”. Walmart’s vastness of scale and remorselessness give it an aesthetic alibi, allying it with a tradition of modernist creative destruction which is likely to be attractive, at least to the sort of people who read Jameson. To really follow through Jameson’s project of unearthing the “utopian impulse”, we need to consider an aspect of capitalism that is not just exploitative but also in bad taste; for a certain strand of contemporary opinion, that would be “twee”, the kind of cutesily-retro faux-petit-bourgeois capitalism of cupcake shops and Cath Kidston. Read more↴
The New York Times describes Spring Breakers as “at once blunt and oblique,” although you might say the film spends half its time making a very obvious point and half its time not sure what point it’s making. Which doesn’t sound like much of a recommendation, but the film is actually pretty interesting. The obvious point it seems to be making at first is an analogy between the religious enthusiasm of Faith’s (Selena Gomez) evangelical church and the hedonism of spring break, emphasised by the similarity in the energized performances with which the minister encourages teenagers to get “crazy for Jesus” and the rapper Alien (James Franco) eulogises “bikinis and big booties.” If this were all the film were doing, it would be a fairly straightforward and indeed rather puritanical criticism of Schwärmerei. It would also justify interpretations of the films as entirely contemptuous of the characters and also the audience (who would be posited as a mindless Hollywood audience caught up in the hedonistic enthusiasm the film represents).
What makes the film interesting, though, is that it doesn’t just make this analogy the basis of a simple criticism: it takes this analogy seriously, or at least plays with it at length. Read more↴
Snow White and the Huntsman is certainly not a “good” film, although some of the ways in which it isn’t good I find endearing. It’s in the tradition of genre films that don’t have much narrative coherence – events happen, but there’s little sense of why any event follows from any other, or of any lasting significance to any event after it is over. In this, it reminds me of a few films I’ve seen over the past few years of which I’m rather inexplicably fond, particularly Aeon Flux and Dungeons and Dragons (the “sequence of unrelated events” structure is particularly appropriate in this case, as that is the underlying structure of a game of D&D); but the film that’s really in the back of my mind, and which explains my attraction to these incoherent films, is The Neverending Story. Read more↴