Monday, January 23, 2017

Sociologist Spotlight: C. Wright Mills





INTRODUCTION

Every Sociologist has an origin story; a tale of how they got to be where they are, and when they first were introduced to Sociology itself. Then, enthralled in its passion for the revelatory understanding of human beings and group behavior, decide (economically unwisely in many cases) to become Sociologists. Much of this origin story is steered by mentors and their perception of society. The mentor’s perception of society lays the foundation for their student’s “Sociological awakening”.  A person can easily zero in on the perception of a Sociologist by asking about Sociological Theory.
            In Sociology, at the undergraduate level, where “the passion” for sociology often gets ignited, students learn about the Three Main Sociological Theoretical Perspectives[1] From those three perspectives students also learn about the “Holy Trinity” of Sociologists (Namely Emile Durkheim, Max Weber and Karl Marx). Usually, one can trace back any and all Sociologist, and Sociological Thought back to these three principles and the work of Marx, Weber and Durkheim. Thus, for many of us contemporary Sociologists, our perception of society can be traced back through all of our theoretical parents and grandparents to (usually) one of these three men.
Unfortunately, this brings to mind the sobering reality that most of  Classical Social Theory has a “Dead White Dude” problem[2]. This problem born out of colonialism/ imperialism, dehumanization and genocide results in the elevation of the written work of upper class, heterosexual white men to be considered classical, or important to the discipline to the point that historically, people have been able to get a Sociology degree (not to mention others) without reading the work of both people of color or women. It is a problem that still stays with us today and is something that all Sociology professors today should take part in correcting.[3]
When a sociologist often completes a genealogy of their theoretical ancestry, they are liable to come across” forks” and “broken lines”. Some theorist you enjoy, combine ideas of other theorist in an attempt to advance and coalesce similar or divergent ideas (which become your forks), while other theorists you only embrace them on one singular idea or explanation of social behavior. (broken lines). For example: a sociologist may like Robert Merton because he synthesizes ideas from Durkheim and Comte (fork) but you may only like Georg Simmel for his views on the Sociology of Religion (broken line).
My theoretical genealogy, from the very beginning, was full of radicals, revolutionaries and cultural critics of society. From the inception point of Sociology into my young mind, I was on the road to being the Post-Structure Critical Sociologist that I am today. Individuals that were integral in that process were Karl Marx (for understanding Conflict), Max Weber (for understanding Structures) and (more contemporarily) Michel Foucault, Adrianne Rich and Gayle Rubin (for understanding Sexuality and Relational Power Dynamics), Eduardo Bonilla-Silva, Audre Lorde and Patricia Hill Collins (for understandings of Race), Judith Butler, Judith Lorber and Candace West ( for understanding gender)  Zigmunt Bauman[4] (for his notion of Liquidity)  all of whom have been well established and analyzed by individuals smarter and with a higher pedigree in Sociology than I. Yet, there is one Sociologist whose work, personality and perspective is vital to my understanding of society, and whom (comparably) little has been written about…which is the work of C. Wright Mills.



BRIEF BACKGROUND

            Compared to many of the other theorists mentioned above, little has been written about C. Wright Mills biography, especially his early life[5] Born on August 28th 1916 in Waco Texas, Mills had a pretty substantial middle class background (his father’s middle class white collar job would impact Mills’ perception on social class later on) he grew up in the company of many women, at a time when the gender binary was aggressively reproduced in all interactions and institutions, Mills often felt “lonely”(Kerr 2009: 25).    Growing up without a lot of male role models, Mills idolized his maternal grandfather. An intellectual and radical in his own right, Mills became a chip off the old block that embodied the masculinity of the stereotypical Texas cowboy of the time.
 Belligerent and uncompromising in his attitudes especially of his disdain for the system and the general status quo of institutions and the broader society, Mills at every turn attempted to buck the system beyond simple ideology. In his freshman year of military school, Mills penned a letter that challenged the hierarchical structure of the cadets; promoting a more egalitarian model (Kerr 2009).  In that letter, at such a young age, Mills resisted and challenged any type of social control that was created by force, and believed that criticism of society was the highest form of patriotism[6]  Mills seemed to embody that criticism later in his adult and professional career, through both his dress (refusing to wear the standard suit and tie, electing instead to wear soiled boots and motorcycle chaps) and demeanor (becoming increasingly combative with his colleagues[7]) solidifying himself as an outsider. By the time he became a professor at Columbia University he quickly not only became an outcast, but a pariah. 
Embodying the personification of the “Radical Cowboy” cost Mills as much as it mythologized him. For every story of his whimsical eccentricities[8] there were stories about the price he had to pay for being a systemic contrarian.  Mills became such an unwanted entity at Columbia that he wasn’t assigned any graduate-level classes[9].  This greatly affected Mills’ legacy and is the chief reason why many sociologists only know a fraction of his work. By not teaching any graduate-level courses, Mills’ ideas and influence over the student body at Columbia was minimized. Whether this was deliberate or not has yet to be confirmed[10]. What is known is that this greatly reduced the likelihood that he would be able to pass on his ideas directly to a group of students, effectively isolating Mills, and solidifying his reclusiveness. Because he had no grad students that he could mentor and mold into a revolutionary sociological army, there is no “Millsian” School of Sociology as there is with other sociologists (Such as Marx, Weber and Durkheim) which has caused a lot of Mills work to go unread (the notable exception being the first chapter of his most famous book[11]).  C. Wright Mills died on March 20th 1962 from a fourth and subsequently fatal heart attack.
There are several contributing factors to C. Wright Mills’ limited notoriety in addition to his lack of disciples/acolytes. Firstly, Mills died young at the age of 45 in 1962. Which means that his early death compromised the breadth of knowledge he could have provided over the span of an average lifetime. Secondly, as of this writing Mills has been dead for over half a century. In that time, a lot of his work has either ceased to be published (Listen Yankee! and New Men of Power, or difficult to come by (The Causes of World War III and The Marxist). In fact, the latest editions of his most famous books still in print were last published in 2000.[12] Therefore, with the inevitable passage of time, and a lack of a true comprehensive understanding of Mills’ work, many contemporary sociologist (plausibly) believe that many if not most of Mills’ ideas are often unrelatable or are out of touch with the current analysis of society today[13]. While I concede that Mills’ does have weakness in his overall scope of society (mostly by omission, rather than false claims), in order to understand our changing multi-variant world, and produce a population of aggressive and allied activists, we need the work of C. Wright Mills.



THEMES AND KEY IDEAS

Mills as a theorist and a critical sociologist, was a “fork” for me between Weber and Marx.  He had the revolutionary flavor and deconstructive spirit of Marx, while having an understanding of the inner workings of the system (and how it tries to resist change) from Weber.  With these influences, in these proper proportions, he was uniquely posed to be the cultural critical of his generation. He was able to understand the failing system, but also how it worked so he could promote change from both ends, outside the establishment, (which can be epitomized in his book Listen Yankee!) or within it (through his college teaching). It is my contention that Mills was writing in the wrong decade. If much of his work was published in the late sixties through the seventies I believe that the general public would have had a powerful response to Mills ideas. Mills was, when he was alive, the intellectual that we that we deserved, but not the one we needed in the 1950’s. Now, a half century after his death his themes and ideas still have relevance and speak truth.

            Biography and History

“Neither the life of an individual, or the history of a society can be understood without understanding both.”-C. Wright Mills

The concepts of biography and history are chiefly speaking about the relationship between the individual and larger social groups.  Sociology has been grappling with this issue of the persons versus groups of people since its inception.  In a thinly veiled attempt to seem novel, this idea has been written about and discussed under many pseudonyms. Whether that is the general idea of Micro Sociology and Macro Sociology, or something more esoteric like “agency and “structure”, the relationship between the individual and some type of group organization (whether it be formulated by an authority or not) has always been central to the study of society; and therefore Sociology.   What Mills emphasizes with his notion of biography and history is the interconnected nature of the individual with the group. He isn’t so prosaic to say that a group is nothing more than a bunch of individuals (since all Sociologists worth their degree understand that the group often behaves in ways separate individuals never would on their own), instead he discusses how this symbiotic relationship can move us out of complacent attitudes we often find ourselves in.
            For Mills, the ideas of biography and history and the understanding of both, that allows one to embrace and utilize The Sociological Imagination (his word for what has come to be known as “the sociological perspective”) which is one’s ability to look at the world beyond the individual and see the world as an interconnected web. The choices an individual makes, is not outside of society, in a social vacuum. Instead, choices are made within a very specific set of social circumstances and context. Essentially, the relationship between biography and history is complex and interwoven to the point where neither one is independent.  This understanding can motivate for people into action, whatever that action might be. This is because, through an understanding of the relationship between biography and history, a person can understand that they are not isolated from the world, in fact they are very much a part of it; and therefore can create change.      
              
Power, Knowledge, and the Elite

            Mills’ ideas of power began with his adoption of its Weberian definition (paraphrased): Power is the ability to realize your will even when others resist. He expanded Weber’s idea to state that Power itself was localized in particular social institutions, namely: The government, politics and the economy.
Using a Power/Conflict perspective, these powerful social institutions have access or can gain access (usually by physical force) to natural and social resources resulting in their ability to shape the socio-political structure to their will.                                                 




  The “They” Mills speaks of is “The Power Elite” a small group of individuals that operate within high positions of the powerful social institutions.  It is through their positions (not necessarily themselves) that these “elite” wield power, and from them gain prestige (status), prosperity (wealth) and persuasion (influences).  They are often a collusive and intimate circle that isolates themselves from the general public.  If and when people speak of The Power Elite these are often names that you do not know or at most only vaguely heard of.  They are not celebrities, they are the visibly invisible. All of their actions are transparent and can be contentious but are far removed from the general public. It’s this collective’s decisions, or indecisions that shape society itself. This is the 1% of the 1%. Examples would be:   Joint chiefs, Congressional Committee members, C.E.O.s, Military Leaders, Think Tanks etc.
After “The Elite” Mills identifies “The Middle levels of Power”.  These are individuals who are often employed by the Power Elite to act as regulators of and distractions for the non-powerful.  For Mills, an example of the former would be the white collar workers of middle management. They may have money and a slight amount of influence over the everyday relationships within the microcosm of their job, but it is the influence afforded to them by The Power Elite.  An example of the latter, for Mills, would be Celebrities and other public personalities whose job it is to distract the non-powerful away from the actions and decisions of the powerful. Entertainment and trivialities are often used to achieve this end.   In both cases, they are the instrument of the higher authority; the mechanism by which The Power Elite exercise their power.  The Enforcers of the structural organization.
Finally, Mills identifies “The Mass Society” which is basically everyone else within the social structure.  These are the non-powerful everyday individuals whose trajectory of their daily lives is out of their control. The public is constantly being alienated from that which gives them agency (free non-coerced choice) usually, through the elements of the middle levels of power. An example of this alienation for Mills is indirect representation in decision making (i.e. our democratic republic) This is all meant to limit popular participation in the decision making process. As a result, the decisions of the powerful are less debated because the “Mass society” are maintained to be ignorant, politically ambivalent lemmings whom are disoriented by personal anxieties stemming from their manufactured trap of false consciousness within their own private orbits.
            This structure, in its control, effects the knowledge that is seen as important within our society. Mills sees that there are Men of Knowledge (those who are intellectuals and a part of the Intelligentsia) and Men of Power (Those with high positions of authority in the social institutions of Politics, the Military and the Government). Men of Knowledge are usually advisers or experts to the Men of Power.  They are “the hired men” of the powerful. Thus because of this subservience of “Knowledge” to “Power”, Power shapes Knowledge, leading to the assumption that The powerful are also the most knowledgeable. Think of the way in which we project intelligence upon our social and political leaders making the false assumption that the achievement of their high ranking social status was due to their smarts.  Ex: Political Candidates

 This makes Power into Knowledge and Knowledge an instrument of the powerful. The unfortunate result of which is the alienation of knowledge from the populace, culminating in the public's absent mindedness and fear of Knowledge as something untrustworthy. As an example think of less rigorous educational paradigms (No child left behind Common Core), Basic skills initiatives, the idea of students as customers, and experience as intelligence.
Mills solution is to create a knowledgeable and effective public that embrace knowledge as a weapon of liberation.  Mills states that it is the duty of “Men of Knowledge” to be Prometheus giving Knowledge of worth to the people, leading them in this endeavor.

“[We need] a free and knowledgeable public to which men of knowledge may address themselves and to which men of power are truly responsible; [that] public and such men-either of power or knowledge, do not now prevail, and accordingly, knowledge does not now have democratic relevance.” (Mills 2008: 136)[14]




WORK

The bulk of Mills’ contribution to the discipline of Sociology is a critical analysis of the American Society in the form of three separate texts: White Collar (1951), The Power Elite (1956) and The Sociological Imagination (1959). This trilogy is striking deconstruction of American Society at the time, and holds with it prophetic messages for the future.








“The existence of middle managers indicates a further separation of worker from owner or top manager.”- C. Wright Mills

This book was a long time coming for Mills.  Drawing from Weber’s Economy and Society, Marx’s Das Capital and his own biography (His father was in middle management), Mills presents us with a scathing dismantling of the US class structure of the time. He begins with a general explanation of corporate America and the US class system, playing close attention to the middle class.  But as the book continues, he reveals the unsettling truth that being “middle class” is a state of false consciousness of the powerful.  Those that define themselves as “middle class” are controlled by those above them.  Mills goes through many different institutions and industries (from education, lawyers, medicine, and corporations), indicating how they all are systematized; a part of the same symbiotic bureaucratic organism.  In this bureaucracy, dehumanization and rationalization are the new normal (creating what Weber called “an Iron Cage”) that causes careers to dry up just as there is an outpouring of low wage, low skill jobs. The result is a social stratification that is so acute, there is nothing in the middle.  Since education is farther and farther out of reach, there is a limited number of people who can get a high paying career while too many people are trying to fight for the “scraps” of minimum wage work. Mills believes this will not stop and will inevitably lead to regulation of the expression of emotion, mutated into a state of bureaucratic “false friendliness” which outside of any type of hierarchical structure we call “manners”.
Another major outcome of this bureaucratization is the “personality market”; where we attempt to create, unique and divergent identities, then try and sell them to others. Meanwhile, we feign interest in other’s lives just to manipulate them. Mills then adds to this the Marxian idea of alienation, that in such a bureaucratized system men are estranged from each other, therefore allowing for the control to be complete.
Of the three major text that make up Mills core treatise, White Collar is the book that is read the least.  This could be due to the fact that it was his first major work to get attention. Another reason could be that here he rests on the work of classic scholars like Marx and Weber that his work seems lacking in its contribution by comparison.[15] Finally, in true movie trilogy style, this text is often overshadowed by its impressive sequel The Power Elite.  


“The class and status and power systems of local societies are not equality weighted; they are not autonomous. Like the economic and political systems of the nation, the prestige and the power systems are no longer made up of decentralized little hierarchies, each having only thin and distant connections, if any at all with the others.”- C. Wright Mills

The second book in C. Wright Mills’ American criticism trilogy is also widely considered to be his magnum opus.  Much of Mills ideas and themes that he is known for (see above) are explored in this text.  This is also the text that is the most widely influential outside the discipline of Sociology. Written in 1956, many of the key ideas of the text showed up in President Eisenhower’s farewell Presidential address in the form of The Military Industrial Complex (MIC)[16]
The Military Industrial complex is the term[17] that explain the collusion between the three most powerful social institutions in the United States; the military, the economy, and the government.  These institutions have particular representatives that are members of the titular “Power Elite” (namely CEOs, high ranking military officials, and politicians). Mills makes it a point to say that this structure is outside of party politics.  This system continues to be in place regardless of who’s in power.  Since its inception after WWII, when we learned that war and military production stimulates the economy (it having saved us from the great depression of the 1930’s), the military industrial complex has been maintained even in times of peace. President Clinton used it in the routine bombing of the Balkans particularly Kosovo, and later Iraq. President Bush used in to expand Military presence in the Middle East and beginning the War on Terror after Sept 11, 2001 which granted more military power in the executive office.  It was this power that President Obama not only didn’t give up, he refined it into a seamless drone war machine. Given the rhetoric President Trump has been spewing, I do not see this long history stopping anytime soon.
It was through The Power Elite that Mills is the most prophetic. He outlines a system that we not only still use (as I have illustrated above) but expanded; bringing think tanks and the media into the fold. Think tanks being the private organizations that write public policy which get introduced into congress by politicians.  The media is the catchall term for the news and entertainment industry which shapes public perception, and in turn, policy.  Since its publication the ideas brimming from the pages of The Power Elite have been expanded on by authors, journalists, activists and scholars[18] keeping the spirit of Mills’ work alive and well.


In The Sociological Imagination the final third of his critical analysis of American society, Mills becomes reflective. Much of his criticism, which in the previous books were focused externally, in this text it is focused internally on what good academia and the intellectual community can do to eliminate, or at least greatly reduce social ills. Mills criticizes academia that we have not done enough.  To the point that he mentions that the ideals of reason and freedom are in direct peril.  This is due to the way social complacency has been bureaucratized in to a system of distraction and consumption. It is this complacency that blurs the line between the access, use and outcome of that behavior, resource or opportunity.

Mills explains (1959)
           
            A High level of bureaucratic rationality and of technology does not mean a high level of individual or social intelligence. From the first you cannot infer the second. For social technological, or bureaucratic rationality is not merely a grand summation of the individual will and capacity to reason. The very chance to acquire that will and that capacity seems in fact often to be decreased by it. [Bureaucratization and Rationality] are a means of tyranny and manipulation; a means of expropriating the very chance to reason, the very capacity to act as a free man.  (p.168-169).

 One solution that Mills came up with was a set of guidelines for fledgling intellectuals. Through these guidelines (in the Appendix of the book) Mills gave us a blueprint on how to be better academics, intellectuals and scholars. Mills believes that through this solution we can challenge the bureaucracy and become a populace, and more importantly an electorate, that is intelligent, knowledgeable and informed.  By becoming independent intellectuals, Mills also believes we can not only break out of this toxic and treacherous apathy that the bureaucracy lulls us into, but challenge the system to move from an oligarchy to something more egalitarian.

My Favorite Text



“Democracy requires that those who bear the consequences of decisions have enough knowledge to hold the decision makers accountable.”- C. Wright Mills in The Causes of World War III

Outside of his critical Analysis of America trilogy.  Much of Mills’ work is forgotten lost or put by the wayside.  Books like The Marxists, Listen Yankee (which Tom Hayden is reviving) and my personal favorite… The Causes of World War III.   Like his other work, The Causes of World War III is a scathing critique of the American socio-political system. What makes this text different is in detail and tone. Written in 1958, post The Power Elite, Mills seems angry, more aggressive in his tone. The attacks he wages seems more personal in nature as he dismantles the organizational system he had explained in the previous book.  He outlines a list of six criteria that will inevitably lead to world war three, which Mills believes, that if we fail to change our ways, it will lead to a perpetual war, one without end.


The Causes of WWIII
1)      Bureaucracies
2)      Military institutions shape economic life- (a war machine)
3)      The permanent war economy- (Capitalism)
4)      Lack of diplomacy – tanks before talking
5)      Mass indifference of the Public –Media (p 78)
6)      “Crackpot Realism” Ideology (p 89)

The first two of these causes Mills expertly outlines in The Power Elite. The rest of the causes are exclusive to this particular text. In explaining the third cause of “Capitalism” Mills takes his cues from Marx, believing as he did, that we needed to explore other options other than Capitalism (especially one that is based in Military production and proliferation) such as an economic democracy.  But it is in the causes of a lack of diplomacy, indifference of the public and what he coins as “Crackpot Realism” that eerily predicts our recent, and current political climate.
 Mills believes that the lack of diplomacy Americans generally have is due, in part, to our history of imperialism and colonialism.  Speaking generationally, many of us have not had to compromise. Usually any geo-political difficulty we face is often met with military action.  We have a long history of genocide and the use of force to promote and achieve our interests around the world. When historically you have been able to get what you want, by a superior show of force, you do not even have the social tools (language)[19] to begin a dialogue with someone else let alone properly ask for what you want in order to come to a mutually beneficial agreement with another party. Therefore, blissful in our ignorance and misunderstanding we often rationalize this polemic behavior through national rhetoric and calls for patriotism[20]. As Mills says in no uncertain terms: “The Absence of an American Program for Peace is the major cause of the thrust and drift of toward World War III.”
A tool in the creation and maintenance of war is the control of the public and public perception. Mills believed that as people become politically indifferent, they will also become morally indifferent, a mass society of individuals whom have willfully given up their power sometimes without their knowledge. The media is a tool that constructs this indifference.  A perfect example of this dangerous complacency is the internet.  While there is the potential to use the internet to be well informed and politically and morally active/invested in our society; many of us (if not most) use it to escape, to decompress and relieve ourselves of the stress of our  private orbits.[21] Through social media and streaming video services we can live within a personal bubble, mainly because that bubble is exponentially mobile, never having to step outside of it, or have our ideas values and behaviors challenged in any way[22] Additionally, since most media that people consume are owned by only 6 corporations (Time Warner, Disney, Viacom, CBS, News Corp and Comcast) we being provided with not only limited information but a limited perspective on the world.  Mills makes a point to say that when this happens, we become desensitized to the real horrors of the world, especially war.   It is this mass indifference, moral or otherwise, that leads to war and allows it to continue.
“Crackpot Realism” is a term coined by Mills to define the perception of the world held by the elite-and by acting upon this perception of the world results in World War III. Mills’ explanation of “crackpot realism” has ten components.
Chief among them are:
·         Preparing for war rather than peace
·         War is complex so trust governing to military leaders
·         Tying the economy to war and military production
·         Problems of war are easier to handle…peace is more difficult
·         Believe in “Winning” but winning is not clearly defined

Crackpot realism easily explains every military endeavor since World War II. But the military action that epitomizes the notion of Crackpot realism is “The War on Terror”.  This is the first time we have declared war on an ideology rather than a specific enemy outright[23] Therefore, our enemies will change and be cycled out like a revolving door. In his state of the union address, then President Bush outlined “the access of evil” that not only included Iraq and Afghanistan, but included Syria, North Korea, and Iran.  This means that since its inception, The War on Terror was never designed to have an end.  It was the perpetual war that would allow the never ending continuance of the military war machine.  The War on Terror is the Millsian World War III.



LIMITATIONS

            The personal, is political”- C. Wright Mills

            All sociologists have limitations. Individually, we do not have all of the answers to every aspect of society that is out there. It is just not humanly possible. The structure and operation of graduate school intensifies and makes clearly visible a Sociologist’s limitations, mainly because through the process of getting advanced degrees we have to specialize in a particular area of our field. Typically in the specialization begins in the Master’s Program when we are asked to choose an area in our discipline where we would focus our efforts.  Since the school is designed for students to follow a particular sequence, and the cost of school increasing exponentially, most  student’s specialize early in graduate school to minimize the cost of taking ”unnecessary” courses.  This is only compounded when students have to produce their own research during their pursuit of a Ph.D. Therefore, there are a lot of gaps in an individual Sociologist’s knowledge of society, and C. Wright Mills is no different.
            Mills’ greatest limitation in his work is that he fails to consider the impact of race and gender in our society. Mills is very terse on the subject if he talked about it at all.  Some scholars would look to his work in Listen Yankee the narrative about a family in Cuba as his contribution to the discussion of race. I disagree. As someone who specializes in the study of inequality; specifically stratification and injustice that focuses on race, gender, class, sexuality and disability discrimination; it pains me that Mills very brief on this subject outside of his discussions of social class.
Mills’ silence on the issues of race and gender can partially be explained by historical context and through Mills own biography. It is plausible to believe that growing up in the early 1920’s, in Texas that he would have adopted a form of toxic masculinity that was common among abrasive white blue collar heterosexual men of the time. If you couple this historical context with Mills’ biographical experiences of not having strong male role models (neither his father or other male figures in his life) and having an abundance of female relatives as company (Kerr: 2009). It is understandable that in such a gender divisive climate (where the gender binary is considered, publically, to be set in stone…normalized through biological explanations) without a male reference group to look up to, being around a majority of women, it is plausible that Mills was pressured to prove his masculinity.  Mills’ subsequently did this when he rejected the female relationships he had within his family and began, at an early age, to emulate his grandfather, an intellectual in his own right, but a stereotypical Texas in both look an attitude (Kerr, 2009).  This division was so complete within Mills that later in his work he disparaged women’s place within society, and their aptitude (Mills, 1951). Yet, while we understand it, it cannot be condoned.  Mills’ remarks are still upsetting and deflates Mills as an academic for me, personally. I am still able to go back to Mills’ work, despite this glaring omission, because much like Marx or any other classical, white, heterosexual scholar; their work speaks from a place of privilege that is invisible to them.  
 What makes this race and gender criticism unique in Mills’ case is the way in which his work is often used by marginalized groups in an attempt to amass political and social power. Even though Mills never spoke to them directly, since his death, civil rights groups dealing with race and gender have been using his work to motivate their struggle. The most notable example of this is feminisms use of Millsian quote “ The personal is political.”.  While Mills was talking about the relationship between biography and history in an attempt to motivate people out of complacency; the feminist movement used his words to identify their plight, and to use their collective biography as a mechanism to foster worth within society in the form of access to jobs and other resources, equal pay, sexual equality and many more issues that are still being fought today.
There are those that have written and spoken about Mills and his impact on the civil rights movement (Hayden: 2006). Yet, I agree with Michael Burawoy (2008) and often wonder what Mills’ response to these social movements would have been. What brilliance did we miss out on? Or, equally possible, what horrific remark or text could he have created?  Burawoy’s motivation behind his curiosity is his belief that Mills would support this social movements because they are an example of public sociology, of which Mills was the founder (posthumously) (Burawoy 2008). I wonder if the use of the kinds of grassroots social activism/antagonism (that Mills promoted in in his work and in his life) by the feminist movement and other marginalized groups would have softened him, made him supportive of the peril they are in. I would like to think so. Thus, despite his limitations C. Wright Mills is an important Sociologist and needs to be continuously read and remembered.



CONCLUSION
            C. Wright Mills is one of the most important Sociologist. If there was a Mount Rushmore of Sociology he would be right next to Marx, Weber and Durkheim. Not only is his work still being read and written about nearly sixty years after his death, but many have acknowledged him for his contributions to subfields/topics in Sociology that he never directly addressed by name. One such field is the study of Social problems. All of Mills work revolve around the identification and the elimination of Social Problems.  Mills is often cited in introduction to Social Problems textbooks as a way to lay the foundations of a course/study of Social problems.  This link is further strengthened by the existence of the C. Wright Mills Award.
Starting in 1964, just two years after his death, The Society for the Study of Social Problems created the C. Wright Mills award for the work that best exemplifies “spirit” of C. Wright Mills work. The book needs to fit the following criteria:
  
1) Critically addresses an issue of contemporary public importance,
2) Brings to the topic a fresh, imaginative perspective,
3) Advances social scientific understanding of the topic,
4) Displays a theoretically informed view and empirical orientation,
5) Evinces quality in style of writing,
6) Explicitly or implicitly contains implications for courses of action

In the spirit of revisionist history, the awarding of this prize to many scholars that write about the numerous threats experienced by people of color and women, allows Mills’ academic descendants the ability to transcend Mills’ academic limitations.  That is an enduring legacy.


VIDEOS

            Here are a couple of great lectures on the brilliance of C. Wright Mills

1) John Summers





2) Colin Samson



REFERENCES

Burawoy, Michael (2008) “An Open Letter to C. Wright Mills” Antipode 10:3 pp-365-375 retrieved on [ January 23rd 2017] http://burawoy.berkeley.edu/PS/Open%20Letter%20to%20Mills.pdf  
Kerr Keith (2009) Postmodern Cowboy: C. Wright Mills and the New 21st Century Sociology Boulder, CO: Paradigm
Hayden T   (2006)  Radical Nomad: C. Wright Mills and his times  Boulder, CO: Paradigm
Summers, John H. eds. (2008) The Politics of Truth: Selected Writings of C. Wright Mills New York: Oxford University Press
Wright Mills C (1951) White Collar: The American Middle Classes  New York: Oxford University Press
_________ (1956) The Power Elite. New York: Oxford University Press
_________ (1958) The Causes of World War Three New York: Oxford University Press
_________ (1959) The Sociological Imagination. New York: Oxford University Press



[1] Structural Functionalism, Symbolic Interactionism and Power/Conflict
[2] There is also W. E. B. Dubois, Harriet Martineau Jane Addams, Fredrick Douglas, Charlotte Perkins Gilman, Marianne Weber and Sojourner Truth
[3] This is an easy task, and it is the bare minimum we can do in order to have representation. Just as film and television needs to do its part in increasing diversity in the media, so to do Professors (especially oblivious white ones) to include the work of people of color and women.
[4] As of this writing Bauman recently passed away at the age of 91
[5] Postmodern Cowboy: C. Wright Mills and a New 21st Century Sociology by Keith Kerr
[6] A Perception I whole heartedly agree with.
[7] After his doctorial defense with Famed Sociologist Howard P. Becker at the University of Madison, Mills reportedly blurted out “Fuck You Howard!” (Kerr 2009:50) 
[8] Kerr (2009) speaks of a time when the establishment once demanded that Mills wear a tie when he lecture. The next day he proceeded to lecture wearing just a tie, undershirt and jeans.
[9] C. Wright Mills: An American Utopian by Alan Horowitz
[10] Though due to Mills’ personality being described as “corrosive” by a lot of his colleagues at the time I tend to think this restriction was purposeful
[11] The would be “The Promise” in the book titled The Sociological Imagination
[12] Granted, since 2000 there have been a retrospective, a biography, an a book of selected writings published
[13] It should be noted Mills did enjoy a brief resurgence in 2012 during the occupy wall street movement along with Karl Marx
[14] The Politics of Truth: Selected Writings of C. Wright Mills
[15] I find this idea false, considering that the extension of Marxian and Weberian ideas outlined in White Collar sets up his prophetic message of corporate greed and the alienation of labor. He basically predicted the 1980’s nearly 30 years before. Also, since President Trump is going back to the Economic plan of the 1980’s I would assume that all of the problems Mills predicted (that came true in the 1980’s) will soon be relevant again.
[16]  Eisenhower was the president of Columbia University when C. Wright Mills was a Professor there and composing The Power Elite
[17] Credited to Eisenhower but the idea was Mills
[18] Most notably G. William Domhoff
[19] This basically means that we don’t know how to talk to other countries often times due to our retention of cultural ethnocentric ideas.  This can be illustrated at the micro level by identifying just how many Americans (especially those who are white) can only speak one language.
[20] Whether that be  “Make America Great again”; or “America First” as an example.
[21] This is another Millsian term to explain the trap of complacency that most people find themselves in. The idea is that, people who are trapped in their own private orbit only care about what is in front of them in their daily lives. Never looking outside their own biography.
[22] This is compounded by dejure and defacto forms of segregation whether that be by race, class, gender, sexuality or disability
[23] Yes in World War II we were fighting fascism but it wasn’t fascism as a concept we still had three major enemies in that war.

Wednesday, December 21, 2016

The Machete Cut and the Diminishing Margin Utility of Star Wars



INTRODUCTION

            I grew up with Star Wars, and I loved it. However, my childhood love of Star Wars was very, very specific. At the time, I was not interested in Space, Planets, the rebellion, blasters, war or the overall scope of George Lucas’s Sci-Fi Opera.  My love of Star Wars as a child was derived from my love and passion for the martial arts.  Therefore the only thing that I found interesting in the whole Star Wars saga was the elements that connected it to the martial arts; meaning Jedi and the Sith (Samurai) The Force (Ki, and Zen philosophy), and lightsabers (Katanas).[1]
As I got older, I dug deep into the history and the background of Star Wars to keep this connection alive. I found out that the term Jedi was derived from the Japanese term Jidaigeki meaning “period piece” which for the Japanese usually meant a story involving Samurai. George Lucas was greatly influenced by the work of Akira Kurosawa (who was ironically, influenced by American Westerns), specifically The Hidden Fortress and Seven Samurai to the point that Lucas originally offered the role of Obi-Wan Kenobi to Tashiro Mifune a frequent collaborator with Kurosawa and whom some may call his muse.[2]



Additionally, I started getting interested Zen Buddhism and philosophy by initially hanging on the words of Jedi Master Yoda whom encouraged “No mindedness”, and Passive yet passionate embrace of the life energy (Ki) in the universe. I loved (and still love) these aspects of Star Wars. Yet, whenever I decide to sit down and watch any Star Wars film I find myself skipping to, or, only paying attention to those scenes. As I grew in my appreciation for film as a medium and a mechanism for storytelling, this dissecting cycle of only watching (what I consider to be) the best bits of the Star Wars films[3] seemed masochistic. Why was I holding on to these bits and pieces of a grander story, and why did I not feel overtaken by the phenomena that is Star Wars?  The answer has everything to do with context.

ANALYSIS  
 
     “ The Personal is also Political.”- C. Wright Mills

            Sociologically speaking (from a symbolic Interactionist point of view) everything is about context.  The reality that we live in and the “truths that we cling to” as Obi Wan would say, depend on our interpretation of a specific social, cultural and historical context.  In sort, the time period when I saw Star Wars, what was happening historically both in my life and in society at that time, impact the effect of the film and in what ways that it resonated with me.  
Not being born when Episode IV was released, and being too young to see the other two films in the original trilogy during their initial theatrical run, my first exposure to Star Wars was years later on home video. Therefore, by the time that I had seen the films, the hype fanfare and cultural impact of Star Wars had waned, migrating into geek pop culture of which, at the time I had yet to be inducted.
 Additionally, it is important to note that I initially saw the original Star Wars Trilogy in reverse order. I saw it in the order of VI, V, IV. Also, I watched episodes VI and V many more times than Episode IV, because we had a taped copy of Episodes V, and VI  but not of IV. I first saw A New Hope in a hospital recovering from surgery when I was 12, many years after repeatedly seeing the other two films.  Thus, I did not feel the fear for Han Solo as he was frozen in Carbonite, the peril of Luke Skywalker as he faced Vader on Bespin, or the surprise of the Anakin Skywalker/Darth Vader reveal.  Because of this, much of what is in A New Hope seemed cheaper to me than in the other two films; old and out dated when compared even to its immediate predecessors.  This became even more apparent when the Prequel trilogy was released.

THE PREQUEL TRILLOGY


News of the production of the prequel trilogy first reached my ears when I was in high school. Hearing about the production it seemed like a dream come true. I was promised more of the Star Wars aspects that I loved: More Jedi, More Sith, more of “the Force”, and more lightsabers! I became even more obsessed when one of my best friends[4] told me that in this prequel trilogy (that focused on the fall of Anakin Skywalker to the dark side and the rise of  Darth Vader) would show “the epic duel between Obi-Wan and Anakin” that ended, in his mind with Obi-Wan dismembering Anakin and throwing him in a lava pit.[5] This was also the first time that I realized (through my friend telling me) that Vader, being a quadruple amputee, was a Person with a disability. (PWD)[6]
Unfortunately, whenever Darth Vader is discussed in regards to disability, it is usually only in the context of representation (of people with disabilities in media) and it is usually negative ( his disability is used to represent his villainy)  rather than positive ( that he is a PWD that is feared and respected by all in the galaxy and has reached near the height of political and religious power ( being mythic and second in abilities only to The Emperor)[7]  Needless to say the promise  of the prequels excited me; the reality was far different.
The prequel trilogy spans my entire college career, from graduating high school through grad school. In that time, and given the socio-political context in which it became a piece of popular culture, I was able to engage with the prequel trilogy in a far different way than the original trilogy. Firstly, I saw this trilogy in the theater, in order of its release, which allowed me to be properly heightened by the narrative and not be spoiled. Secondly, I saw these films when I was just getting into Sociology as a discipline and the social analysis of popular culture. Because of this, I am an apologist of the prequels in one very specific way: aside from all of the problems around it THE PREQUEL TRILOGY IS GREAT STORY ABOUT THE RISE OF FASCISM  FROM DEMOCRACY THROUGH THE MECHANISM OF WAR.



Historical Context.[8]
 By the time the empire is established in 2005 at the end of Episode III: Revenge of the Sith,  politically we were already a few months into George W. Bush’s second term. The War on Terror was in full swing as was the War in Iraq. So, seeing a political figure concentrate power in his executive office[9] by throwing us into a false war, was pertinent at the time. Though, Lucas said that the idea for the story, written decades before George W. Bush took office, was more reminiscent of Julius Cesar than the politics of the day. However, this fact has done little to stop the apt comparison between Vader/ Palpatine and Bush/ Cheney. Ironically, this comparison is often on a sliding scale, as these same comparisons are currently being made with the Trump Administration[10]



Biographical Context

    I saw Episode I: The Phantom Menace on midnight at my local Cineplex.[11]Due to the heightened situation I was in, and the effect of emotional contagion of the rest of the fans in the screening we walked away having enjoyed the film.  Yet, as the power of the experience waned, I began to see the enormous flaws with the film[12]. As the number of flaws I found grew, kept going back to the things that I loved about Star Wars and focused on what the film did give me: More Jedi, and more dynamic lightsaber duals.  With this understanding of exactly what I wanted from a Star Wars film, paltry as it was, it effectively lowered my expectations for Episodes II and III. I looked passed plot holes, wooden dialogue and acting, lack of chemistry between leads, and even more sexism and racism. I blocked all of it out, and focused on the multitude of lightsaber duels, especially the ones involving Yoda, Palpatine, Mace Windu, Dooku, and the fabled Anakin vs. Obi-Wan. Soon, whenever I went back to any of the Star Wars (including the original trilogy) I would find myself skipping around and only watching scenes that were about the force, or those that involved a lightsaber duel…and nothing else.  That means that the six film- 13+ hour story, for me, can be reduced to about 60 min.[13]



THE MACHETE CUT

Recently, in preparation for Rogue One: A Star Wars Story I wanted to go back and watch the preceding films (Episodes I II and III), however I did not want it to turn into me just skipping around to the bits and pieces that I liked. It was then that a colleague of mine (and fellow geek) told me about the machete cut, otherwise known as “The Machete Order” which is a viewing order for the first 6 films in the Star Wars saga that, according to him, and compelling.  In short, he and others are correct.
The Machete Order of the first two completed trilogies connects the “best” parts of the Star Wars story and jettisons the rest. The order (which is Episodes IV, V, II, III, and VI) retains the mystery and cliff hanging reveal of Luke Skywalker’s parentage, while maintaining continuity with the (now canonical) special editions of the original trilogy (i.e. Hayden Christiansen showing up at the end of Return of the Jedi) while fixing the errors in continuity by eliminating the need for Episode I.
The creator of The Machete Order surmises (correctly in my view) that Episode I: The Phantom Menace is meaningless to the overall story. Nothing that happens in Episode I is impactful in the overall arc of either Anakin or Luke Skywalker, not to mention that the ten year gap (in story) between Episode I and Episode II requires a large amount or reorientation anyway. Plus without Episode I,  there are no mention of Midi-chlorians, boring pod races, and an Unnecessary Sith, that has no impact on the story (unlike Christopher Lee’s Count Dooku).
In the Machete order, we get the danger of the empire and then after the end of Episode V, when our heroes are at their lowest point, we flash back to see how the Universe got to its current state. With all of the teases in Empire fresh in our heads from “I am your Father,” and “For 500 years did I train Jedi.  Once a council did I keep on who was to be trained.” to “That boy was our last hope.” “No, there is another.” watching Episodes II and III directly after that capitalizes on those teases in a more satisfying way that watching it in either Episode Order( I-VI ) or Release Order (IV, V, VI, I, II, III). However, even with the Machete order, I found it difficult to get through several parts of each film (aside from Empire, I will concede that Episode V, is a good film), I began to question whether or not The Star Wars Saga is really any good at all.


THE MARGIN OF DIMINISHED UTILITY

          The margin of diminished utility is an economic term to explain that with the continued consumption of a particular product, the greater the since of dissatisfaction one has with that product as a result.  An easy analogy is that of drug addicts, the more drugs they consume the less likely they will achieve the same high.  Though many might have a better association with the common phrase “Too much of a good thing.”. With each new Star Wars film we get, it seems to reorient out perception of the previous films. Sometimes, to fill in gaps, and other times to address criticism decades after the film’s release.[14] In the wake of this perception shift is often novelty, mystery, and in some cases actor performances, are sacrificed all in the name of continuity.  To that end, the newer iterations of Star Wars (especially since being purchased by Disney) spoon feed the audience colorful forms of childhood Nostalgia that, when it wears off or is wiped away, reveals an unoriginal story that is not only boring but not well crafted.  There are several examples of this.


     Exhibit A: The Prequels

            Outside of my unique perspective on the prequels, the majority of the Star Wars fans (not necessarily those in the mainstream) hate the prequels to the point that many of them do not consider them cannon.  In their mind, what George Lucas did was tantamount to murdering their childhood.  Yet, as indicated above, the reason many people hate the prequels is because of the way it changes our understanding of the original trilogy, mainly it weakens the badass all powerful villain of Vader, to nothing more than a whiney, petulant child that has such an ego that he never learned to accept loss to became a control freak. Through the Prequels, all of Vader’s menace evaporates, and he becomes pitiful.
            We must remember the importance of biographical context. The point at which you are exposed to Star Wars, in your life makes all the difference.  Many people who love the original trilogy as something sacrosanct often saw it when they were a kid, and the film informed on their sense of self.  You are obviously not going to get that same experience when you watch a film that is for children in your 20’s or 30’s; that is, unless they give you the exact same film (more on that later). In fact many people that saw the prequel trilogy when they were children or (gasp) saw the prequels first have a much more favorable opinion of them.      
         


          Exhibit B: The Original Trilogy

            If you take away nostalgia, and the biographical context of most audience members, what they may find is that most of the original trilogy is not very good.  Many characters aren’t fleshed out, or they are tropes[15]; it is full of poorly written dialogue delivered by many individuals that can barely act.[16] Yet, many of us want to retain these childhood memories of Star Wars, preferring instead to rely on our memory (which is suspect) rather than the sobering reality that Star Wars is a better pop cultural phenomena than they are films.
            The pop cultural impact of Star Wars cannot be denied. It is beyond itself. However, the idea of Star Wars, its merchandizing and its spectacle get muddled with the quality of the actual film. Whether this is caused by  mob mentality or group think, or something in the water, Star Wars soon to be retitled Episode IV due to its success, became something bigger than the low budget independent film it was intended to be.
The major part of the Star Wars phenomena, is not, as I have stated, because of the groundbreaking, or interesting story that the film tells. George Lucas by his own account is not a good storyteller[17] Instead, the genius of Lucas is his business acumen and his willingness to experiment. This desire for experimentation however can be a double-edged sword. On one hand, it lead to the innovation of Star Wars’s visual effects at the time of its release (allowing the trilogy to continue). On the other hand, this drive of innovation caused him to also come under fire (from fans) once he released the special editions in the mid 1990’s with new VFX shots and added content[18].



Exhibit C: Episode VII: The Force Awakens

            One of the best examples of the problem with the continuing Star Wars Saga in relation to the margin of diminished utility is Episode VII: The Force Awakens. Before I become too overly critical, I have to say I commend Disney in their ads campaigns as they sharply leaned into the desired Nostalgia in a fully committed way.  Even though, as stated, I have a complicated relationship with Star Wars, I was all in for this film[19] I was swept away by the marketing, tearing up as I saw Han Solo on the Millennium Falcon saying “Chewie, we’re home.” in the final seconds of the first trailer.  I was so enthralled by the second trailer that I was a part of the group that crashed the internet trying to buy tickets. Disney had me, and I knew it. I was still enthralled during the opening fanfare, and the opening crawl. I embraced and was ecstatic about the increased amounts of diverse representation of people of color and women that were finally added to the story. However, as the story progressed, I slowly realize that I had been duped.
            I Hate Episode VII: The Force Awakens.  I hate it for the following reasons. Firstly, before its release, Disney eliminated the expanded universe in order to have complete control of the story moving forward. While I understand this from a business perspective, it eliminates years of work of many creative people and frankly, sounds like something the Empire would do.  Secondly, this film is a remake masking as a sequel.[20] It is a reshuffling of the plot and characters of a New Hope. BB-8 is R2, Rey is Luke,  Kylo is Vader, Poe is Han, and Han is Obi-Wan. There is a “Super” Death Star, and the Mcguffin is Luke Skywalker. Thus, outside of the nostalgia of seeing these characters again, the film is boring, predictable and overall lazy filmmaking. Thirdly, they killed Han.[21]
            Even though this film made over 2 billion dollars, there is a danger in relying on nostalgia as it can lead people to be complacent and malleable to antiquated ideas, which can have disastrous consequences. Yet, it seems with similar films being released around or just after  The Force Awakens, and the fact that these films make billions of dollars it is clear this requel trend is here to stay, and that The Star Wars Saga will not be ending anytime soon.

CONCLUSION

 Simply, the more Star Wars we get, the less satisfied we become.  As the Star Wars story continues into infinity it is the new thing, the fresh thing that will be embraced, as long as it makes us long for the past. Each new expanding or continuing story will reshape how we see all of the previous films.  In this cathartic process of writing about Star Wars I have come to the uncomfortable realization that I do not like the story of  Star Wars  that much. There are many other similar stories told by true auteurs, providing a more satisfying, sometimes self-contained, story that The Star Wars Saga has not achieved. I will however always embrace the pop cultural flavor of Star Wars through the movies and other merchandising material. The importance of the Jedi, Darth Vader and the concept of “the force” still informs me as a person. Therefore, I will always have investment in anything that begins “A long time ago, in a galaxy far far way…  



[1] This was my first experience of the merging of two interests: my love of Sci-Fi and of the martial arts. After watching each film I would annoyingly beg my father to duel me with a pair of plastic swords
[3] At least the original trilogy
[4] To this day, whom read a lot of the expanded Universe that has since become non-canonical
[5] Upon hearing this I had instantly created a “head cannon” where the dismemberment of Anakin happened periodically throughout the duel. I envisioned Anakin fighting with only one arm for a time only to ceremoniously end up on some scaffolding above the open mouth of an active volcano as Obi-Wan finally takes out Anakin’s legs that sends him tumbling over the side and into lava.
[6] Thus began my love affair with Darth Vader, that has grown far beyond the films.  Yes, Darth Vader has become an iconic piece of pop culture outside of the Star Wars Saga, but as a person with a disability myself, I see Darth Vader as a champion of the disability community.
[7] The Next Character profile I will do will be on Darth Vader.
[9] Which Palpatine was able to do by Manipulating Jar Jar Binks into granting him “emergency powers” In Episode II: Attack of the Clones
[11] As the story goes, it was the Friday of the premiere in May 1999. I was working on a rough draft of a paper that wasn’t due for another 4 weeks.  My mother, thinking that I was working too hard, called two of my friends to come and “get” me.  They came to the front door; my mother opened it “He’s in his room.” I heard from behind my closed door. Suddenly, my bedroom door flung open. “You’re coming with us to Episode 1.!” My friend shouted “ No!” I cried and a wrestling match ensued.  It concluded with my friend putting me in a back bear hug while the other grabbed my feet and together they carried me down the stairs and out the door (which was being held by my mother) they thanked my mother as we passed and they placed me in the back seat of the car, and took me to the movie.
[12] Midi-clorians, pod racing, Jake Loyd, weird puppet Yoda, stinted dialogue, poor story construction that was a rehash of the original trilogy, not to mention the copious amounts of Racism and Sexism throughout all seven films.
[14] A practice that Rogue One seems to be continuing
[15] Luke Skywalker, Obi Wan Kenobi
[16] This is excluding Alec Guinness and Peter Cushing
[17] Heck, in a video embedded above, Lucas basically reveals that he stole a lot from Kurosawa (even attempting to steal his main actor)
[18] The Most outrageous change he made, that actually effected the arc of a main character was having Greedo Shoot at Han first rather than Han shooting first
[19] Going so far as to buy advanced tickets and waiting in line for hours to get a proper seat for me and my friends
[20] This has become so blatant in Hollywood that it has spawned a new term “Requel”
[21] I understand the irony of this statement as I have railed against Nostalgia

Friday, December 16, 2016

Miss Sloane brings Mills back to Washington





Author’s Note: Portions of this essay-review will be re-used in a new series of posts highlighting Important and influential Sociologists

BACKGROUND



            C. Wright Mills was one of the most influential, polemic and incendiary public intellectuals of the late 20th Century. Listed as one of the greatest Sociologist to have ever lived (just behind classical Europeans like Emile Durkheim and Max Weber); C. Wright Mills and his work has been a staple of the Sociologist’s diet for at least the last 40 years.  Each year every burgeoning would-be sociologist is introduced to C. Wright Mills in Introductory to Sociology courses around the country and abroad (Usually by reading an excerpt from his influential text The Sociological Imagination). C. Wright Mills has become the base of Sociological Thought for many Sociologist working in the field today.  Yet, this was not always the case.
             During Mills’ career he was often seen as a firebrand, an instigator; especially at Columbia University  Labeled as a “Radical Nomad”[1] and a “Post Modern Cowboy”[2], many of his biographies contain stories that are so fantastical that they boarder on myth (One of my favorites is a story involving a rant he gave during one of his lectures about the how to incite a violent revolution in the US in front of President-elect Eisenhower)  His life being unceremoniously cut short in 1962 (due to a fourth and fatal heart attack) Mills never got to see the fruits of his labor, and personally bask in the recognition he so richly deserves.
            One of Mills’ most enduring concepts outside of the groundbreaking and eventually foundational notion of The Sociological Imagination in Post Civil Rights Sociology, was The Power Elite. For Mills, The Power Elite are a small group of individuals that operate within high positions of the powerful social institutions. In Mills’ work he exclusively mentions the institutions of Politics, the Military and the Economy. Additionally, today Media and Media corporations are also included.  It is through their positions (not necessarily themselves) that these “elite” wield power, and from them gain prestige (status), prosperity (wealth) and persuasion (influences).  They are often a collusive and intimate circle that isolates themselves from the general public.  If and when people speak of The Power Elite these are often names that you do not know or at most only vaguely heard of.  They are not celebrities, or media personalities, they are the visibly invisible. All of their actions are transparent and can be contentious but are far removed from the general public. It’s this collective’s decisions, or indecisions that shape society itself.[3] These are the 1% of the 1%. They are CEO’s, Congressional Committee Members, high ranking military officials, and lobbyists.


Mills (2000) describes lobbying as:

liaison work [used] when issues are firmly drawn, individuals related to the larger corporate interests are called upon to exert pressure in the proper places at the strategic time…in various subcommittees, prestigious clubs, open political affiliations and consumer relationships…within the confines of [the] elite. (p.291-292)[4]

            Lobbying is a political practice in which individuals and or groups are paid by corporations and special interests to exercise their will in congress. Typically, a corporation and/or industry will use lobbyists to sway congressional votes through the promise of campaign finance, gifts, or other more nefarious tactics in order to defeat or promote a bill. It is in the world of lobbying and the Millsian intersections of politics, special interests and corporations that the film Miss Sloane takes place.

REVIEW

            From the Film’s Marketing:

In the high-stakes world of political power-brokers, Elizabeth Sloane is the most sought after and formidable lobbyist in D.C. But when taking on the most powerful opponent of her career, she finds winning may come at too high a price.

   Plot   

         The titular Miss Sloane (I would prefer the title of Ms. Sloane) played by Jessica Chastain, is one of the most ruthless cut throat lobbyists in Washington. She is cold, calculating and rational.  As she states in the film, “[She] was hired to win, and that is what [she}does.”.  The film opens with her asked to spearhead a new campaign to promote Gun ownership in women by the NRA. She not so politely declines and decides to leave her lobbying firm to be hired by those that are lobbying congress for universal background checks for all private and public gun sales.  What follows is a political cat and mouse thriller that broadens the scope of the Millsian understanding of lobbyists and paints shades of grey with a very broad brush. 

Film analysis

        This film is a tightly wound well-paced engaging thriller that only slightly tips its hand just before delivering the twist.  Supported by terrific performances by Chastain, Waterson, and Strong this movie is efficient in its execution building to its satisfying conclusion. 
       The film stands on the shoulders of Jessica Chastain. A less capable actress would have made this a subpar film.  Chastain fills Sloane with her gravitas, giving her complexity and ambiguity. As a moviegoer, you are reviled by her and some of her tactics, yet oddly you root for her to win through her duplicity, because you loath the opposition that much more. 
       The Cinematography is subtle for this film. Some of the color is leeched out to give it a despondent feel that is reflects the kind of work (and behaviors) lobbyists are asked/required to do. There are no quick frenetic cuts that give you a feeling of hyper urgency and alertness. Over the shoulder two shots, panning and wide shots are often used to focus not on where the scene is, because everywhere starts looking the same after a while, but what is being said, is ultimately Unique.
       The Script was one of 2015’s top five on the famous Hollywood blacklist[5] a survey website that identifies the favorite, if not “unproducable” scripts/screenplays of the year. The dialogue and the care to which the audience has to listen and piece together the plot should make a fan of mysteries and tense drama swoon.  There is no moment of this film that can be missed, each scene builds upon the foundation of the previous one and helps to strengthen the proceeding scene. This is a welcome respite from the mindless explosive (both literally and figuratively) blockbusters[6] that continues to dominate cinema[7]. This is quiet, thinking person’s thriller that sheds light on society and sociological issues.

Social Issues      

        As mentioned, this film is a window into the Military-Industrial Complex that was outlined by C. Wright Mills. What this film attempts to do is humanize the corrupted industry through the characterization of Miss Sloane and the supporting cast of the film. Lobbying in this film, much like “the force” in the Star Wars Universe, is treated as a constant (of our socio-political system) and can be used for “good” (in the case of the film to created stricter background checks) or “bad” (the manipulation of the justice system to make gun laws more lax). Either way both parties, regardless of their intentions operate in a morally grey space, akin to Utilitarian philosophies, specifically Consequentialism[8] While this may make many people uncomfortable, especially those whom are either morally pure or anti-establishment, if we look to Max Weber[9], whose work was instrumental to Mills’ own writings, we see that the bureaucratic system (of which the Military Industrial Complex is a part) exists as a system that is constant, regardless of the players that are involved.
        Like many other Anti-heroes before her, Elizabeth Sloane is the wild card to fight against a corrupted system, because she is a product of that corrupted system. Because of that the film’s ending ultimately “takes her off the board” mainly because we can not be sure that on a separate social issue, Miss Sloane would be on “the right side.”, which makes her both compelling and interesting.


CONCLUSION

         I cannot recommend this film enough, both as a cinephile and as a sociologist.  Those sociologists whom have an admiration for the works of C. Wright Mills will more likely get more out of it that other sociologists and the majority of the movie going public.  Additionally, since modern movie goer tastes[10] err on the side of action and explosions these days, this film is a quite sleeper and (hopeful) independent hit that reminds us of the true craft of filmmaking and the use of film as a sociological mirror to criticize our own society.




[3] Yet in a response to criticism Mills points out that “the power elite is not a homogeneous circle of a specified number men whose solidified will continuously prevails against all obstacles.” (Mills 2008: 148)
[6] Where you can literally miss the large chunks of the movie without missing plot details or understanding of the films progression. Additionally, this speaks to the trend of mindless escapism and nostalgia that is chiefly desired by the populace today. We all know where that can lead.
[7] Over the last 5 years, particularly since the end of Nolan’s Batman Trilogy, I have personally been experiencing the law of diminished margin utility when it comes to Superhero films. The more I consume, the less satisfied I am by the product. And, like a drug addict, who moves on to harder and harder drugs for the same high, it is the films that are unique, or outside of the mainstream (Think of your Guardians of the Galaxy or Deadpool) in order to get excited or even really like a Superhero film. It is my fear that I will eventually reach a maturation point where I will never be contented again
[8][8] Think of the Quote “The ends justify the means.”
[9] Particularly his work The Economy and Society
[10]  An indication of their culture ala Pierre Bourdieu