Tuesday, January 23, 2018

A Closing Door of Choices: The Sociological Dangers of The Disney/Fox Deal

INTRODUCTION

One of the blessings/curses of Sociology is that once you adopt the Sociological Perspective, you see the strange in the familiar and “the familiar as strange” as C. Wright Mills put it. In the simplest terms, this means that as one studies society they start to question everyday habits behaviors and norms that most people, if they have not adopted the above perspective will take for granted. This normalization of behaviors leads to a lack of critical thinking and analysis. Since sociologist are unique among scientists (in that they live in the very thing that they study) we too are prone to this normalization (and the ignorance and apathy that follows). The result is what can be deemed “sociological blind spots” in which our critical, analytical and keen sociological intellect chooses not to penetrate. While these “blind spots” are different for each sociologist, each one of us has them[1]. Usually, this is something that the sociologist has a personal investment in (something that is informative to their personality, through childhood development) which the Sociologist has to actively quiet their sociological mind in order to enjoy.[2] Most of the time, Sociologist are actively successful creating any number of leaps in logic or rationalizations that minimize the inevitable feelings of hypocrisy[3]. However, occasionally something happens within society that is so impactful that its reverberation lifts the self-imposed veil and the sociologist has to be reflexive about their behavior without qualification.  For me, comic books, superheroes and popular culture have been my blind spot; but, the recent Disney/Fox Merger  has lifted the veil causing a revaluation of the content and media I consume. What follows is a critical deconstruction of the aforementioned merger and court ruling concluding with suggestions for direct action and steps toward a solution.

THEORETICAL ANALYSIS

Aside from the obvious general sociological perspective[4] that I shall employ in this social analysis. There are several other sociological concepts that I will elucidate in order to have a deeper understanding of these events. Specifically, to scrutinize the Disney/Fox merger I will be using the Marxian ideas of Commodification, commodity fetishism, Zizek’s ideas of what he calls cultural capitalism, which not to be confused with Pierre Bourdieu, I will refer to as Consumeristic philanthropy, Naomi Kline’s ideas of branding, Zygmundt Bauman’s ideas of liquid modernity and liquid consumption, Weber’s Ideas of Rationalization, “The Iron Cage” and Ritzer’s Grobalization.

            Capitalism
            One of reasons why the Disney/Fox merger is a problem, is rooted in the overall systemic problem of Capitalism. According to Marx (and many of his denizens) Capitalism, if left unrestricted, would “naturally” lead to class inequality; specifically the exploitation of the labor force and of consumers.  The crux of this for Marx was in how capitalism as an economic system treats value. Marx stated that unlike a barter system, or other system of trade for goods, services and commodities, Capitalism does not focus on what Marx calls Use value[5] in which the value of the commodity is based on its usefulness to the longevity and support of the workers. Instead, capitalism is more interested in Exchange Value [6] in which the value of a commodity is in its ability to get something else (its ability to be exchanged). Marx (1994) explains

“As use values, commodities differ in above all quality, while exchange values, can only differ in quantity and therefore do not contain an atom of use value…All [use value’s] sensuous characteristics are extinguished…With the disappearance of the useful characters of the products of labor, the useful character of the of the kinds of labor embodied in them also disappears.” (p 222)

Essentially, Marx says that with the focus on exchange value, labor that produces a commodity becomes an abstraction, and therefore unimportant.[7]
David Harvey (2010) in his analysis of the “crisis of capitalism”, speaks eloquently about the dangers of unrestricted Capitalism. First, he quotes Marx in The Grundrisse that “ Capital cannot abide a limit. It turns limits into barriers that it needs to either circumvent or trancend… which has a consequence of enriching financers” usually at the expense of the workers.[8]
Additionally, since Capitalism is motivated by profit, and as indicated above, it desires to be limitless, the most secure way to increase profit is by lowering the cost of labor and increasing the price of the product; leading to the aforementioned exploitation of the worker and the consumer. The worker is not paid fairly for the labor that they use (and the products they help produce), and the consumers pay a price that is (usually) hundreds of times higher than the product’s cost of production. Yet, since this price is still considered cheap, by consumers those that do not see past their own biography think that this is beneficial.  Therefore, this desire for profits lead to the very fiscally conservative idea of “Free market Capitalism.”[9]. This ideology is what lead President Regan (and is Neo-Liberal doctrine) to relax anti-trust laws allowing corporate mergers to propagate; paving the way for a number of corporate mergers (many by Disney over the last 30 years) the most recent deal with Fox being so large as to be named a “mega-merger.”
The use of language to rationalize this behavior is fascinating. If one looks at the culture of business, they will not find words of anti-trust, monopolies or exploitation. According to Naomi Klein (2000, 2017) you will hear words like “Synergy” “identity branding”, “cross market advertising” and “mass market appeal” in hopes to normalize the bureaucratic corporatization of life itself.


Commodification
Because Capitalism cannot abide a limit, Marx believed that unrestricted it would cover the planet, making even our intangible ideals and emotions into tangible products.  As a Marxian term, Commodification is the process by which everything in human life, including human life is able to be bought, sold, traded or exchanged. In turn, we commodify love through gifts, flowers, and diamonds (even having its own day on reserve)[10]. We commodify fear with various security measures and methods of self-protection. We commodify happiness through many products of self-satisfaction (namely food and other forms of entertainment). To that end, Marx was correct that we have commodified everything down to an egocentric point; All of these products say something about ourselves, our emotions, identities and personalities.
A second Marxian term, Commodity Fetishism, is the way in which individuals start to only understand themselves through the products that they buy; so that who they are is represented in the products that they own.[11] This is taken to a more extreme level if we look at Zizek’s ideas of Cultural Capitalism [12] that I refer to as consumeristic Philanthropy- This is a form of commodity fetishism. The simple idea is that when a person buying a product, it makes a person feel connected to a social issue or a particular community. A perfect example of this is the pink ribbon for breast cancer awareness. Sales dramatically increase for any product that touts that ribbon due to people’s ideological support for breast cancer research. The purchase of the product makes the consumer feel more connected to social issues, that they are part of something more than just themselves; more than just a consumerist, as Zizek says.  However, this form of consumerism is shown to negatively impact social participation. Concisely, by purchasing products that represent a person’s ideology, they are less likely to engage in meaningful actions toward those ideological goals. By this action it places individuals in in a state of false conscious as to their participation in society; that they feel like they are doing more than they are.  This is epitomized by online activism, often decried as “slacktivism”[13] by its detractors which requires fall less action than traditional grassroots activism. With this form of activism, Individual’s personal investment is low, while their social and psychological benefits are so high that any aforementioned marketing around such an idea is done in the spirit of capitalism with the desired result of profit; commodifying our compassion and a desire for justice.[14]

The advertising of products definitely leans into this idea of social connections in the way that markets to a person’s identity, and how the product can say something about a person chosen lifestyle (and help them express a particular point of view). Endless consumption is created by marketing to what a product can mean, and not what a product can do. This process, motivated by profit leads to various forms of branding.

Branding
           
            Branding (as we think of it today) began fairly recently in our economic history, beginning around the same time as our focus of mass production (Klein, 2000).  In this space, the product was less the focus of the marketing than the company. The structure of the branding was first organized around company logos (Think Golden Arches, Swooshes, a Horse etc.) (Klein 2000). This branding was so effective that the company, not the product, stood for quality or inferiority depending on the brand’s success.[15] Therefore the way people purchased products began to change. People began to trust brands more so than individual products. The more people trust a particular brand, the more likely they are to purchase said brand across a variety of products. This leads to a social phenomenon known as Brand Loyalty[16] which is the overall goal for companies and their advertisers. There is a greater potential for profit if you already have a built in consumer base, even if that comes with certain strings attached.[17]
             The United States is a branded society. For a lifetime or two, advertisers have not just been selling products, they have been selling ideas, values and a way of life (Kilbourne 1999). In a global economy the greatest export we (The US) have is our culture, one that is full of corporate logos, catch phrases, celebrity endorsements, and jingles[18]. Yet, in the era of social media, we have gone a step further and have begun to brand ourselves and our identities. We have adopted the word “brand” into our lexicon[19] This slowly began with social and cultural identities and experiences being seen as exclusive (experiences and identities based upon race, gender disability, social class and sexuality that help to construct different realities), which was then exacerbated by the advent and participation in online social media where individuals are encouraged, and often required to sell their ideas, through the commodification of their very identity for various amounts of capital usually in the form of online media attention: likes, shares, reposts, reblogs etc. (Bourdieu 1986). This is what Naomi Klein (2017) calls “lifestyle Brands” One of the best examples is the life and Presidency of Donald Trump; who branded his identity to be synonymous with wealth and success (regardless of the actual truth of that image) all the way to the White House.[20]

            Consumerism
Branded societies, identities and cultures can only exist because of Consumerism. According to Bauman (2007) in a consumptive economy (as opposed to a productive economy after the industrial revolution) we lack ambition because nothing is embraced by individuals in a Consumer economy for very long.  There is no ultimate desire, no point of full satisfaction. What this means, is that individuals in a consumer society are in a state of perpetual “un-fulfillment”. This creates a consumer who is: impatient, impetuous, restive and excitable; one that loses interest/ attention quickly, where any momentary satisfaction does not require learning or skill to obtain, and is often roped into consuming by the sensations and experiences certain products promise. Because of this, Bauman says that any form of product acquisition always seems hollow[21] and that people function in the world as if having no more desires, is equated to having no more prospects in the world. Thus, in a consumer economy, the ideal consumer is one in which their desires are endless, contributing to the overall commodification identified by Marx (Bauman 2007). This gets progressively worse as our society shifts from modernity into a different form of consumption.
Another chief principle of Bauman’s is the idea of liquidity[22]. This social analysis of a fluid social order he has applied to everything tangible or intangible over the course of his carrier.  The form of liquidity that it the most important for this analysis is that of “liquid consumption” this is the notion that  we have shifted to consume an increased number of experiences (the intangible) rather than just things (tangible).  This consumption of experiences has been illustrated by the use of social media and the “selfie” craze. Many people go on vacation and take “selfie” to prove to themselves and to others that they were there. As if it doesn’t become real to them until they post it on Instagram or other forms of social media. Today, this process of taking a picture of oneself does not produce anything tangible. Both the product, and the experience, produces “nothing” therefore is more transient. Thus it is through these lenses of Capitalism, commodification, branding and consumerism that the Disney/Fox deal must be analyzed; to which I now turn my attention.

SOCIAL ANALYSIS

Looking at Disney’s vast amounts of assets and Intellectual Property (prior to the Fox deal) one would already come to the conclusion that Disney is a corporate Juggernaut. Yet, if the actual deal is allowed to go through Disney is set to become a behemoth. What is sociologically “interesting”[23] is the reaction that is circulating throughout popular culture and social media.[24] Most of the general public whom are completely enveloped in this mechanism of capitalistic consumerism that rewards the unquestioning satisfaction of their own desires, (while, at the same time not recognizing that those desires are manufactured) see this deal as a blessing; an amalgamation of previously separated content that will (at least for superhero fantasy fans) fulfill long held childhood dreams.
In a recent article, David Harvey discussed his fear of the militarization of social control, that would limit the ability of people’s right to assemble, thus minimizing social participation and effectively killing the first amendment in practice. While there is plenty of evidence for the militarization of the police as an anti-protest force around the world, and especially within the US after 9/11 (think of specific examples such as Occupy Wall Street or Ferguson)[25] the one things that Marx, and many of his acolytes overlook is what Max Weber understood which is the gentle and often imperceptible power of rationalized social norms.

Rationalization

In Economy and Society, Weber (later supported by George Ritzer), understood that the formation of a bureaucratic social structure ultimately attempts (and to a large part succeeds) in eliminating human diversity and choice by organizing human behavior in a rational way.  This rationalization of irrational (emotional) human behavior and beliefs results in what Weber calls “The Iron Cage” this is a bureaucratic trap in which people are objectified, depersonalized, disenchanted, standardized, and alienated.  The idea is that we are either physically replaced, for the efficiency of machines, or we have been socialized to follow such a ridged set of behaviors and routines (many of which we follow in such rapid succession with each other that  we are always in a routine/behavioral pattern) that we lack critical thinking and become machine like ourselves.
This becomes important when looking at the response to the Disney/Fox Merger. By using a Weberian analysis instead of a Marxist one, there is a realization that what we need to fear is not the militarization of social control, but of the use of routines and social norms. By socializing us to the synergy of monopolistic corporations, and making it more and more difficult and/or fruitless to engage our civil liberties, we won’t need to have our rights forcibly taken away, we just won’t exercise them. This is a win for the corporations because they gain social control, and increase their profits while not having any blowback by ideas that seem unpopular. This leads us to an explanation for the “tepid resistance” to the deal. We get what we believe we want, more content. But, as Weber points out, this is a state of false consciousness it is really the elimination of diversity and choice.

Grobalization of Nothing

This elimination of choice is continued by George Ritzer and Roland Robertson in their work on Globalization. In 2004, Ritzer came up with a term Grobalization- to define all of the macro level rationalized dehumanizing practices of the process of globalization. Ritzer and Robertson (separately) came to the conclusion that Grobalization- produced “Nothing”. Nothing was defined as anything that was devoid of unique and distinct content, homogenized to appeal the broadest audience possible. “Nothing” is the chief product of mass production; the foremost architect of mass production are corporations. The profit motive that drives corporations leads to the inevitable production of nothing because Nothing is safe, it does not take a social or political stance. Additionally, because of its lack of focus, more advertising dollars are put in to the selling of ‘Nothing’ because advertisers have to “Manufacture desire” for that thing in the minds of consumers (hence the pitch towards a synergy of content). Therefore, instead of “something’ people want various forms of ‘Nothing’ A product that gives the illusion of both quality and content, (the illusion that it is in fact ‘something’ when it is not) while making it easier for producers to create something for the broadest and simplistic tastes.  

For these reasons we all need to be afraid.

SOLUTIONS

            Solutions to this particular problem, are difficult to assess if you are looking from a macro level (and cynical) perspective it may already be too late. However, Let’s start with something simple. On social media get the hashtag #BreakupDisney trending.  Follow and support the Suit against the At&T/ Time Warner deal because that will set a precedent on whether or not the Disney/Fox deal will actually go through. Finally, support the fight for net neutrality because these two ideas are inexorably linked.

And Remember the warning of Dr. Ian Malcom
           




[1] In some respects there are necessary in order to live in the world. Otherwise individuals would have no respite from the deconstruction of the world around them that they are trained to do.
[2] It is important to note that the sociologist is often aware of this process, but the emotional investment is so strong that the behaviors continue.
[3] This hypocrisy is often used against a sociologist in arguments. There might be a separate post later about this occupational hazard that all sociologists have to endure
[4] Which allows me to unite the personal and the political as well as understand the link between biography and history
[5] Very crudely defined as the ability to keep a worker working
[6] The value of a commodity in relation to a third “equalizing variable”
[7] One way that I always pose this idea to my students is through this simple question: “By a show of hands, how many of you  when you go to the store and are thinking about purchasing a product, think about the working conditions and the wages of the person(s) who made the product?” To which virtually no hands are raised. “Now, how many of you think about the price before you purchase?” To which all hands rise. “That…” I say “is Marx’s point.”
[10] Valentine’s day of course
[11] Part of this can be understood through an understanding of Goffman’s Presentation of self. We use commercialized products to help us maintain an elaborate presentation of self, in order to control how other people see ourselves
[14] Essentially, our desire for social justice is commodified and sold back to us at a premium price.
[15] It is also important to note that Advertising does not sell products
[16] The process by which individual continue to purchase the same brand of products over time regardless of convenience or price
[17][17] However, while a consumer base is good, it can limit the amount of diversity that a company can put in their products; out of fear that they will lose their fan base. A recent example of this is the divisive nature of the latest Star Wars film The Last Jedi
[18][18] In a recent episode of The Social Breakdown Podcast I learned (but not surprised by) that the image of Santa Claus that we have come to know and love in our society was created by Coca-Cola….how American
[19] People even going as far to say that a particular action or opinion is “on brand”
[20] Klein (2017) goes on to suggest that Trump is running the White House on the rules of Branding, and aptly makes the point that one cannot disinvest in their company, if that company is their name (p35)
[21] Klein (2017) even calls this the “hollow brand model.”
[22] I am particularly discussing liquid modernity here which is the cultural and social condition of radical ambivalence, social change, and institutional flexibility in which weakened social bonds and high levels of individual mobility develop new patterns of identity formation based upon minimization of institutional commitments, flexibility of interpersonal responsibility
[23] By interesting I mean involving social behaviors that are bot perplexing to those who study and dangerous
[24] To be fair it is important to note that, as I write this in early January, this deal has been out of the news cycle for weeks, we have completely lost touch with this story; This is more telling of the difficulty of being an academic and analyst when the news cycle is so short. Which is a long way to say I think few people will read this.
[25] Some of you might think well “What about the Women’s march?” You have to look at the intersections of race and class to understand that the militarization of the police is usually rooted in the fear of people of color 

Saturday, July 22, 2017

The Films of Christopher Nolan: Dunkirk




The Tenth film in my comprehensive analysis of the films of Christopher Nolan is the WWII epic Dunkirk.  This film marks a number of “firsts” for the acclaimed auteur. It is the first war film of his career, it is his first semi-biographical period film (in that it is a real life event that happened) it is the first time working with stars like Mark Rylance, and Henry Styles, it is the first to have 75% of its run time shot in 70mm IMAX film, and it is the first (Non-Batman) film since his break out hit Memento to receive near flawless praise from critics. As of this writing, Dunkirk’s advanced ticket sales (Thursday evening screenings) have totaled 5.5 million dollars. However, unlike a lot of “seasonal blockbusters” Nolan films always seem to stick around in the theaters longer than the typical summer fanfare. The best example of this being Inception who’s box office run was analogous to “the little engine that could” and is still the largest grossing (Non-Batman) Nolan film to date.  Currently, Dunkirk is projected to take home a modest, but respectable 30-40 million dollars on opening weekend. It is my hope that with its positive buzz, and critical reception, the present estimate is a conservative one; because this film is amazing.


PLOT

            Christopher Nolan’s Dunkirk recounts the evacuation of British and French soldiers off of the beaches of Dunkirk, France by requisitioned civilian vessels during the week of May 26th-June 4th 1940. The film, told in Triptych story structure, focuses on three major parts of that evacuation:
1. The Land: The Soldiers (among them Harry Styles and Kenneth Branagh) on the beach, getting boxed in by the German army, hoping against hope that they can find a way home.
2. The Sea: Appropriated civilian vessels (piloted by Mark Rylance and featuring Cillian Murphy) as they leave England to help rescue the soldier.
3. The Air: A group of three British airmen (Tom Hardy, Michael Caine and Jack Lowman) whom provide cover during the evacuation.


FILM ANALYSIS
  
            Overall Impressions

This film is the best film of the year, and I don’t see many other films surpassing it in the remaining months of 2017. The film is a breathless, suspenseful, white-knuckling caustic assault of sensory overload which, at a tight 107min, never lets you go. The film’s run time is notable due to the last four of Nolan’s Films (The Dark Knight, Inception, The Dark Knight Rises, and Interstellar) clocking in between 145min to 179min. Here, Nolan seems to have gone back to the economy of storytelling that we haven’t seen from him since The Prestige. This is a welcomed return to the kind of pacing control and lean focus of his earlier films (such as the aforementioned Memento, or even Following).
Unlike those longer films, Dunkirk is not a story about the entire battle and complete evacuation, (as I am sure it would be if the runtime was any longer). It tells the middle of the story. It drops you in after the battle, and carries you through the evacuation; but the film ends before the evacuation is completely over. The film lives in the middle space between the beginning and the ending of a historical event. This allows Nolan the space he needs to “turn things up to eleven”. From the very first frame of soldiers clutching at fear mongering propaganda dropped by enemy war planes, the audience is gripped by an all-consuming tension that, while allowing a few brief moments of relief, they are never truly released from until the screen cuts to black at the end of the film.  It is then that the audience can exhale, only to then cheer at the films brilliance.  



The Structure
           
The first rule of being a “Nolanite” (A ravenous Christopher Nolan fan) is that a Christopher Nolan film will not have a linear story structure. Part of the overall fun of a Nolan film is to attempt to piece it together as Nolan lays the labyrinth before me. To this day, Nolan has never disappointed me in this regard, unlike some other directors. 
I was unaware of what a Triptych structure was until this film.  A technique typically used in painting (of murals), A triptych painting structure involves three separate panels that are at once independent and, when put together, part of a complete story. The three parts of the film are the aforementioned The Land (which Nolan calls “the mole”), The Sea, and The Air.  Nolan even uncharacteristically gives out subtle hints of how those pieces fit together. He provides a subheading time stamp as to how long each one of the vignettes lasted in film time, allowing the audience to easily follow along.
Nolan’s atypical transparency can be attributed to his very real chances of receiving an Academy Award. With the subject matter of WWII historically generating award gold, Nolan and his entire team, are strong contenders to sweep the 2018 Oscars. It isn’t that he is explicitly “dumbing down” his esoterically pretentious pedagogy (that I have come to love). It is that he seems to be leading the audience a little more than he has in the past; making sure that no audience member had any doubt about what happened, in what order, and to whom at the film’s end.  With a filmography that is rich in subtext and subversion, it is plausible that Nolan, desiring (much deserved) recognition from the Academy, made a choice to be less opaque in hopes that the added clarity may help his chances at winning the coveted award.
Outside of motivation, the structure is woven beautifully together; each part of the three piece structure fuels and builds off of the other two. Instead of linearly moving from one part of the story to the next, Nolan and editor Lee Smith begin each of the stories at the same time; cutting back and forth between them.  This consistent shift of character, perspective and action; Nolan uses to build tension to the point that eventually, with each cut to multiple people in peril, there is no respite for the audience. All that is left is the imbalance of constantly teetering on the edge of their seat. There is one sequence in particular where Nolan and Smith cut between the three different sequences, and in each sequence, one or more characters are in danger of drowning. So, even though we jump between sequences, there is this mounting dread that is slowly turning into doom in the hearts of the audience as we watch characters fight the sea, in various different capacities. The structure and the editing style hooks us deep into the individual moments in the film which propels us into the next; and with an exercise in minimalist dialogue, it is the craftsmanship of these intercut moments that progresses the story.


Cinematography, and Soundtrack

            A well-known serial collaborator, Christopher Nolan always has a spot open for the hand full of individuals with whom he works well, both behind and in front of the camera. Tom Hardy (who has worked with Nolan 3 times including Dunkirk) has been cited in an interview saying that “When Christopher Nolan asks you to be in a movie, you just say yes and find out what your part is later.” However, given Tom Hardy’s previous roles in Nolan’s films there is a pretty good chance, the next film will require the majority of his face be covered.  In addition to Hardy, Nolan has worked with Cillian Murphy 5 times (in various capacities) Christian Bale, 4 times and his grand “lucky charm” Sir Michael Caine (including the voice cameo in Dunkirk) 7 out of his last 10 films. 
            However, Dunkirk marks only the sophomore outing for Nolan and Director of Photography Hoyte Van Hoytema.  Starting on Interstellar, Hoytema took over for Wally Pfister while he was off making Transcendence. Together Hoytema and Nolan have continued to champion the medium of film. They attempt to push film beyond the boundaries of everyday filmmaking, into a premium crisp and vibrantly palpable experience, through the use and continued exploration of IMAX film and large print film stock.  Dunkirk is the latest fruit of that labor.
            Dunkirk is the first full length feature film to have 75% of the film shot with IMAX cameras. The IMAX camera that shoots in 15/70mm allows this biographical war epic to literally be larger than life (and many small buildings). The result is a completely immersive experience to the audience that is so enveloping that few have commented on the aspect ratio changes throughout the film as the other 25% of the film was shot on 35mm at a different aspect ratio. Nolan and Smith wove these changes so expertly in the middle of the story (many times within the same shot) that it was seamless.  But it was Nolan and Hoytema (who previously created a shoulder rig for the infamously heavy camera on Interstellar), who out did themselves on Dunkirk where they not only built an IMAX rig so that it would fit into a 1940 Supermarine Spitfire cockpit, but they also strapped an IMAX camera to the outside of one of those planes and then crashed it into the ocean. Ambition, thy name is Nolan.
            Very rarely in modern cinema, does a war epic get a PG-13 rating. Unlike its predecessors such as Saving Private Ryan, Apocalypse Now, or Platoon, Dunkirk itself is pretty bloodless. It trades the gore of war and crimson clad warfare, for wiry tension, trusting in the audience’s imagination to fill in the graphic gaps between each bullet, bomb, and the impossible decision of whether to drown or burn to death. It is that trade off, along with the effort of using IMAX cameras that pays off in spades. With it, Nolan and Hoytema are able to capture the terror exhaustion and determination on the faces of those in the scene. This personalizes their struggle and amplifies their terror in the hearts of the audience.
 An example of one such scene is the way Nolan and Hoytema personalize the capsizing of British Destroyer. In this particular unnerving IMAX sequence, the point of view is from the perspective of soldiers on the collapsing vessel.  Nolan and Hoytema use a camera technique called a “Dutch Tilt” (something that can be overused if not careful) to make it seem like a wall of water was engulfing the men where they stood.  A hauntingly well-crafted shot displaying a horror that is hard to shake once you leave the theater.
            Another of Nolan’s frequent collaborators over the last 6 films has been Hans Zimmer. Hans Zimmer is the genius composer that has brought us a literal cacophony of sound in his tenure working in film. Often times, a Zimmer score has been the bright spot in a lot of dim films. However it is his work with Christopher Nolan that Zimmer always seems to outdo himself. From the Brilliance of the Joker’s theme in The Dark Knight to Catwoman's and Bane’s theme in Rises, to the cosmic “docking sequence in Interstellar Zimmer titled “No Time for Caution”, Nolan makes Zimmer better. Conversely, the melodies that Zimmer creates for Nolan are just right to emphasize what is on screen, allowing the film to reach the desired emotional pitch. This is somewhat ironic considering that when Zimmer scores a Nolan film he is purposefully ignorant about the film’s plot.


            With Dunkirk, Zimmer uses a number of different practical and symphonic sounds that are consistently building up tension. Whether that be the use of the sound of Nolan’s own pocket watch during the sea rescue to conveying the bleakness and hopelessness that the soldiers on the beach listening as time literally ticked away; or the use of actual WWII plane engines in the theme for the aerial dog fights to get to exacerbate the intense feelings. Zimmer’s score preys on the audience, never really feeling the characters are out of danger even when it seems they are. The best track for Zimmer’s score is his theme for the air sequences called “Supermarine” as we follow Tom Hardy’s Ferrier giving cover to both boat and soldier.



CRITICISM

            Having only seen the film once, and also having little prior knowledge of the actual events that this film is based on, I cannot give a deeply rooted social critique of the actual plot and development of the story.  This may change in my subsequent viewings and when the film is released on Blu-ray. Yet, there seems to be a strong theme that is easily conveyed through a single viewing.


Theme: Survival is Heroic
            Dunkirk is a war film that glorifies the human struggle of war without glorifying the violence of war itself. Part of this is done though the cleaver editing and shot composition of this PG-13 film and their ability to not dwell on the violence. Yet, as I mentioned above, that is somehow more breathtaking, and at times more sinister on Nolan’s part, because the greatest horrors are the ones that we create in our own mind. We feel the human struggle for war because we see the struggle play out on the faces of the soldiers, mariners, and pilots on screen. We feel their struggle because we read it through their portrayal.
            A consistent criticism of Nolan is that he is a cold filmmaker, that he lacks the ability to give the audience a human connection, and character development that leads to feelings of compassion for those on screen. I have never felt that. I don’t believe that Nolan is a cold filmmaker, I believe that he thinks that empathy for characters needs to be predicated on personal audience investment. Nolan’s Dunkirk is indeed propelled by story and less by character, predominantly because the characters are (in my mind) purposefully left two dimensional so that they could retain their anonymity; thus becoming a blank canvas on which the audience can project themselves.
            In a film where the dialogue is minimal, each word uttered becomes rich with subtext and deeper meaning. There was one exchange between two characters that caught my attention. One of the evacuated soldiers is handed a blanket by a volunteer when they get back to England.
           
Volunteer: Thank you, well done.
            Soldier:     We didn’t do anything, we just survived.
            Volunteer: Sometimes that is enough.

In our current socio-political climate there seems to be a lack of consideration and kindness to the point that individuals are criticized for not producing anything, not being successful. This exchange caught my attention because it recognized that in a dire situation that seems hopeless, life is a prosperous outcome, in and of itself. The scene described above, and the train scene that follows, gives off a feeling of community that we seem to have lost since. It shows the celebration of a defeat. Not because we revel in defeat, but because even though the battle was a complete military disaster, 84% of the men trapped were able to make it home. The message, life is worth celebrating. That does not sound like a cold filmmaker at all.

            Nolan’s Protagonist Problem

            Another criticism that has been leveled against the film, and for Nolan’s entire career, is that the majority of his films tend to be populated by a lot of white cisgender men. This is a criticism that is sadly apt considering Nolan’s previous work; and while it is a criticism that some, including myself to be honest, have let slide and do not address it due to the overall quality of the work itself (with Dunkirk the excuse of it being a period piece is used); which should not let him off the hook.
Secondly, many of Nolan’s male protagonists tend to also have backstories that involve a dead female spouse or relative that motivates them into action. This is a constant problem in the majority of Nolan’s filmography (along with the very problematic fridging, or in some cases “water tanking” (ala The Prestige) of those female characters). It seems that he does not know how to write women or female characters in general. His best attempt at this, Selena Kyle in The Dark Knight Rises, was not even his first choice to be included in the film. He had to be convinced to add her in the film by his brother, Jonathan Nolan.
Finally, I would like to see Nolan take on this deficit by having a female writing partner, or at least someone that can look over his scripts to make sure there is both representation and development for women and people of color throughout his stories. It is obvious, that this is a blind spot in his writing ability (as it is for many white men). The crime is not having this problem, the crime is in not acknowledging it or trying to resolve it.  Christopher Nolan is a brilliant filmmaker in almost every way. This change, would make him perfect. I very much want that for him, and for his fellow fans.  



CONCLUSION

This is Nolan’s best work to date. While I may sound like a broken record, it is my pleasure to say it because Nolan keeps getting better as a filmmaker. He keeps pushing himself in both technique and technical brilliance that helps to challenge the way that movies are made, and improving the industry as a whole.  It seems that Nolan is hell bent on taking on every genre of film, and upon each success, causing its reinvention. I can’t wait to see what genre he tackles next. While there are many rumors of what Christopher Nolan will do next, it is sure to be a spectacular well-crafted journey that will be worth every film frame.   


AUTHOR’S NOTE

Film Formats

 While Dunkirk is out now in wide release, it is in a variety of digital and film formats. There is regular Digital Cinema Projection (DCP) 1:85:1 aspect ratio (which is a digital format you will find at any local Cineplex) IMAX Xenon projection at 1:9:1 aspect ratio, IMAX Digital and 4k laser projection is at 1:43:1 ( this is the closest digital format to film to date). On film, it is being shown in 35mm 2:45:1 aspect ratio, 70mm film 2:20:1 aspect ratio, and IMAX 70mm in 1:43:1 aspect ratio. In my opinion, the last in this list is by far the best presentation, with the clearest picture and the most encompassing detail. If you have both the ability, and the means to see the film in the IMAX 70mm film I recommend that you do so; at least for your first viewing experience. Regarding all subsequent viewings, IMAX 70mm is not required, but it would be better if you could be able to see it on film, rather than one of the digital projections. Seeing it on film was, as a cinephile, a pure delight. Being able to see the crispness of the image and have an internal smirk of watching the reel change added to my overall experience. This should be taken into consideration, if you decide to seek out an alternate presentation that is not the typical DCP.

Saturday, June 10, 2017

The Distilled and Sterilized Feminism of Wonder Woman



Spoilers Ahead!!!!

INTRODUCTION
Coming out of the Wonder Woman screening I was conflicted. I had opposing thoughts, as I tried to process my feelings about the film.  I felt let down by the film, that it promised one thing, and did not even deliver on that promise. Choosing, instead to give me a watered down version of what I had expected. However, I knew how much the success of Wonder Woman would mean for female lead superhero films in general. So, on some level, I wanted it to succeed, if only to have more female lead heroes on screen. Additionally, I was working with a handicap, I am a white Heterosexual Male, so I was unclear, at least at the outset, if I did not like the film because the film wasn’t for me. I was cautious because I did not want to hate on a film just for not being its target audience/demographic.  Therefore, I struggled with even writing this review because I did not want to come off as a “Mansplaining Asshole” (which I still might) given that many of the other negative reviews of the film (also written by men) have been peppered with thinly veiled sexism producing pieces of misogynistic crap. In an attempt to temper this feeling, I relied on a few negative reviews from a feminist perspective (one author I greatly respect) whom are in the obvious minority; I was also motivated by my wife’s unbridled hatred of this film to complete this review even if it is a dissenting opinion.   


A “REQUIRED” SUCCESS
With our current socio-political reality that has seen a small hand genital grabbing narcissistic man-baby become president, and his actions criminalizing being a woman; it seemed the success of Diana of Thymyscira’s first major film was in question. Would this be a continuation of most recent anti-female rhetoric and sexist political policies, or would it be a breath of fresh air? This was further complicated by the fact that the character of Wonder Woman, the literal poster child for second wave feminism, had to be incorporated into Zack Snyder’s sexist “Douche-Canoe” Universe. Yet, these red-flags, such as Zack Snyder’s involvement (he was given a story credit on this film that was also written by all men) were ignored due to the near dehydration felt by the lack of Wonder Woman content over the last 75 years. We are so thirsty for Wonder Woman content that we see the mediocre as extraordinary; as the saying goes, “Hunger is the best spice.” We are willing to feast on this second rate Wonder Woman because unlike her peers in the Trinity (Batman and Superman), her story has seen limited adaptations and expansions. Yet, as Wonder Woman rides on the cultural novelty of treating a woman as a person, it was the focal point of socio-cultural pressure that made the success of Wonder Woman inevitable or bust.
            From its inception (and many false starts, hang ups and various delays) the new Wonder Woman film was put upon by unfair pressure. Because we live in a patriarchal society that values men over women in a false egalitarian democratic meritocracy, the future of women in leading roles in a film genre dominated by men, was biasedly riding on the success of this one film. Whereas many films directed, written, and staring men have allowed to be sub-par to “god awful” in terms of quality with only marginal financial success in order to get a sequel. This is the quiniessential example of a gendered double standard. This is an industry (like other larger social institutions) that see men as complex and different, with different attitudes and tastes and women as a single solitary group and a “niche” market. Thus, by seeing all women the same way, and that formula of previous female lead superhero films having been less than successful, resulted in the stalled overall production of female led superhero films because they “failed” in the eyes of a male driven studio (EX: Electra, Catwoman etc.) thus setting back the development of such films for a decade or so.  Therefore, when Wonder Woman went into production it needed to be a success because if it wasn’t, as history has shown us, it would have been an excuse to, yet again, shelve any attempt to have women break the glass ceiling of successful superhero films.  With so much riding on it, all of a sudden, Wonder Woman became too big to fail and on that road to inevitable success the character becomes sanitized in her own story, manipulated into being a shell of herself (as she is written in the comics). 2017’s Wonder Woman’s Diana is a facsimile of feminism; a representation of mainstream “Marketplace feminism” used as a tool to sell a product rather than what she could be: A beacon of egalitarian female empowerment that challenges the very sadistic misogyny of our culture.



A WATERED DOWN HEROINE

            Forgive the cliché, but Wonder Woman and the character of Diana of Themyscira could have been the perfect heroine for our time. A strong, queer identified, feminist badass that is ruled by her compassion and love for all people. This is what I was hoping for as I sat in the theater and the lights dimmed. As the film began, I was instantly brought to tears as I gazed upon Themyscira and watched as a society that showcased (albeit briefly) women in all social and societal roles beyond any kind of gender stratified socialization. I was overcome with joy as I watched young Diana mimic fighting techniques and desired to be as powerful as her “sisters”. Yet, that joy was slowly eroded away as the story continued and I realized, to my grave disappointment that by story’s end it did not understand the character of Diana at all. At least the one I have come to know and love through the work of writers such as Gail Simone and Greg Rucka. 
            The most egregious of these errors is the film’s misinterpretation of Diana’s core motivation.. In the comics, each of DC’s holy trinity has a single driving force. Superman is driven by Truth (he is an honest, good moral person) Batman is motivated by Will (he will sacrifice and overcome any obstacle) Wonder Woman is motivated by Compassion, for everyone…especially her enemies.  One of the reasons the above quote (that introduces this section) is so salient is because as Diana fosters love and compassion in other people, it leaches out the very masculine desire for war and violence.
While the film flirts with the importance of Diana’s compassion though passing glances and flippant facial expressions by star Gal Gadot, this notion is completely undermined by films end when, being motivated by the love and loss of Steve Trevor, Diana declares (in a direct heavy handed way) that she is motivated by love and compassion and will not kill Dr. Poison. However, this declaration does not stop her from violently killing Ares that results in the ending of the war.  The overall message of this action is: That violence can be solved by violence: This is not only historically inaccurate, but it undermines the character of Wonder Woman herself, and her core motivation from the comics. Instead, this Wonder Woman expresses her emotional complexity through violence; a typically masculine trait.
In our society, women are often chastised for being aggressive and angry while being allowed to have more emotional flexibility than men, who conversely are socialized to embrace only the aggressive emotions of hate and anger. Therefore, men are often taught to filter all of their complex emotions of love, and fear through acts of violence. Thus, the core problem of Wonder Woman as a film is that it resolves itself through a masculine interpretation of Love and Compassion instead of a feminine one.
            What would have a more novel approach[1] was to have Diana use her love and compassion for people to motivate an end to the war through diplomacy.  The armistice that she would have brokered would have weakened Ares (who is fueled by war and discord) to the point where he could be subdued and locked away in Tartarus… because Wonder Woman only kills as a last resort, with great reservation and guilt. But I guess in a Zack Snyder Universe where both Batman and Superman are uncompassionate murderers, we shouldn’t be surprised that the Wonder Woman of this universe is less than ideal.  This is not the feminist Wonder Woman I wanted, it is the male interpretation of Wonder Woman, feminism through the male gaze, feigning progressiveness while reinforcing regressive ideals.


A Frustrating Facsimile

                In the comics, as in the film, Diana of Themyscira is depicted as a beautiful woman; said to be blessed with the beauty of Aphrodite herself. This beauty in the comics, which is also mirrored in the film, is consistent with the typical male gaze. A woman who is thin, conventionally attractive symmetry of face and depicted as constantly wearing make-up. Thus the film does its part, like so many film before it, to reinforce problematic beauty and body norms that have plagued women since forever.
            This is again another missed opportunity for the film to subvert convention. Wonder Woman on screen could have been a chance to increase the visibility of women with different body shapes and sizes; promoting their diversity and normalizing their existence. Given that Wonder Woman is an Amazon she could have been portrayed as a towering giant with a certain level of muscle definition. Unfortunately, the film coward away from such a prospect[2], and instead, doubled down on Diana’s adherence to western beauty standards. While I will concede that it is nice to see Wonder Woman depicted as a woman of color (Gal Gadot is from Israel); she is still depicted as a white woman (with white parents), when in the comics, she is of Greek heritage with Olive colored skin. While the film does not make Diana’s beauty a defining characteristic, it also seems to go out of its way to comment on Diana’s attractiveness and desirability to other men; in almost every scene that she is in. This reinforces the tired gender stereotype that girls learn early on: that their value is in their body. A stereotype that asserts that girls and women can be strong, and empowered, courageous and violent…as long as they maintain societal beauty standards and be sexual attractiveness to heterosexual men. This stereotype also warps the perception of a woman’s access to power. Girls and women are taught though such stereotypes that power is obtained through their bodies.  But that power, and to some extent their body, is not theirs. Their body is a mechanism, a form of currency women are trained to use to glean power from men; instead of having power themselves. While these specific messages aren’t directly found in Wonder Woman, the film’s unwillingness to challenge the status quo indirectly supports it.
 A perfect example of this capitulation is Diana’s Naiveté a product of her proverbial “fish out of water” story.  While some reviews incorrectly identify her ignorance for stupidity, the lack of understanding social cues and cultural mores does hamstrings Diana’s righteousness and outrage against the sexist Patriarchy that she should have dismantled in. every. scene. A typical response as to why this didn’t happen would be the origin story excuse. A producer might say “Oh, our Diana isn’t fully formed yet, she hasn’t “become Wonder Woman until the end of the film.”  Given your level of origin story fatigue is the litmus test on whether not this comment would incite violent rage or a mild annoyance. To me, as in the comics, Diana is a fully formed Wonder Woman when she leaves home. She just requires a brief adjustment period to get used to “man’s world” Yet in this film, and the 2009 animated film of the same name, Diana’s experiences change her, away from the feminist icon and closer to a woman that could blend in; which is code for a woman that is non-threaten to men and their fragile masculinity.  This is not what we need.
In fact, 2017’s Wonder Woman takes this even further by making Steve Trevor Diana’s motivational, mansplaining guru of the rest of “man’s world”.  He is the one that explains the evils of humanity and human nature (but don’t worry, #notallmen). Yet, in these scenes especially, she is there to react to him. His desires, and his mission are driving the story. His needs, and his accomplishments are important; she is just the secret weapon along for the ride.  Unlike his female counterparts in other films, Chris Pine’s Steve Trevor has his own completed story arc. Yes, his death is used as a form of motivation for the Titular heroine that her love and loss of Him propels her to greater insight at the end of the film. However, the important difference is that he is not violently “fridged” like so many women are whom are in the same position. Steve has a “glorious moment of masculine triumph” though violent self-sacrifice.   
            Another opportunity the film squandered was the possibility of a queer narrative. From the first pages of Wonder Woman’s origin stemming from an all-female island that comes from the Greek myth of the Amazon warriors of Lesbos (root of the word lesbian), the Wonder Woman story is steeped in queerness. Even with the fight and general acceptance of multifaceted queer identities today, especially among millennials, Hollywood still depicts Dina as being heterosexual; when nothing about her existence even remotely suggests that she would be strictly heterosexual; considering that she has already reached sexual maturity by the time she meets her first man. At the very least, I would have like to see her at least identify as bisexual or some other form of fluid sexual identity that is afforded by Diana’s backstory.  All we get is a line about the lack of importance of men to female sexual pleasure; which is played more for laughs and as an emasculating “mic drop” moment, than as a salient plot point or character beat.
Additionally, here again the film, failed to meet my expectation of possibly showing an intimate relationship between a man and a woman that did not rely on romance. They had every opportunity to have Steve and Diana love and care for one another without it ending in sex. Furthermore, the scene that sets up the implied sexual intercourse off screen between Steve and Diana did not have any inclusion of active sexual consent by either party.  She looks at him, and he steps inside her room and shuts the door. Considering the staggering statistics of female survivors of rape and sexual violence, and that Wonder Woman is an icon of Feminism, I expected at the very least a verbal “Yes” from each of them. Instead, all we got were looks and assumptions of implied consent that are more likely to continue the problematic practices of non-consent that leads to the reproduction of the Rape Culture.




That praise is not praise

            One of Many points of praise I have read in the plethora of glowing reviews for this film is the positive female representation in the film.  Yet, this is another instance where, what seems progressive on the surface to mainstream audiences, tumbles like a house of cards when up against any strict critical analysis. The only true moments of the film that have such equal and consistently positive representations of women is on Themyscira. There women are generals, politicians, artisans, laborers, warriors, and clerics. Seeing this in the opening scenes gave me visions of Charlotte Perkins Gillman’s Herland and it is truly wonderful. Yet, this representation all falls to pieces the minute they leave the island. Moreover, since the island scene are in the first 30-45min of a 2 hrs. and 21 minute film, that means that the majority of film takes place off the island…where there are only three named female characters Diana included. Given Wonder Woman being a feminist icon, the writers of this film could have easily added a lot more female characters throughout the rest of the film by doing a simple internet search on women in World War 1. They would have learned about the vast extent that women participated and even fought on the front lines during the war. Imagine a Wonder Woman film where she meets and fights alongside other women in the trenches. The simple possibility of that subplot is far better than the transparency of scenes like Diana stepping out into the DMZ of WW1. There is a lack of subtlety in both the set up and execution. Just after Steve Trevor says “No man’s land is where No man survives.” we see Wonder Woman stride across “the No man’s land” and incite victory. She was able to do it because she’s a woman. Get it? She is literally “No man”. (*eye roll).  While this was pretty heavy handed, we were blissfully spared the cringe worthy dialogue of “I am no man!!!”[3] (I.e. Return of the King). But as she steps out onto the battlefield that phrase is screaming in our heads. This scene is the perfect example of what this film encapsulates, a prepackaged, boiled down, mass market, faux feminism that does not challenge the patriarchal system and is non-threatening to heterosexual men.        


CONCLUSION

  Wonder Woman as advertising

This Wonder Woman drapes herself in the trappings of Feminism, but when it comes to the actual Feminist work she falls short.  Wonder Woman is an example of what Andi Zeisler calls “Marketplace Feminism” in her recent book We were Feminist Once. In the book she explains that in this new era of brand identity and identity politics where young people are told to “rebrand themselves”, or to “stay on brand” Feminism has just become another tool to sell products, and it has opened up a whole new market. Advertisers and corporations use feminist ideals and rhetoric to sell their products without any emphasis on feminist work or the constant struggle that the fight for gender equity requires. To them, feminism is something you can buy, achieved through your capitalistic purchasing power, not something that you actively have to work towards.  The difference between “marketplace feminism” and actual feminism is the work involved. It is easy to put on a t-shirt and watch a movie and call yourself a feminist, it is more difficult to work, sacrifice, circumvent and sometimes usurp authority in order to keep the revolution of gender equality ever moving forward.

Solidarity towards (potential) greatness

            However, the need for forward momentum of a movement is a complex issue that comes with compromise. It is easy for me to say, that real feminism is in the work, when much of the inspiration to be an activist is often found in examples of “Marketplace Feminism”. Millions of children and adults across the gendered spectrum are motivated into activism because of the empowerment that they feel from of a song, movie TV show or book. We can be surprised by the things that end up motivating us to do great things, to better ourselves, those around us, to help with our community, fight tranny and challenge the authority. As Patty Jenkins’ Wonder Woman rockets past 300 million worldwide in its second weekend of release,  its success needs to be praised and supported. Because even though this film is not perfect, and this representation of Wonder Woman is a hollow shell of what she could be; we are not sure how many girls and women she, and this film will inspire to greatness. And finally, the more merchandise the character sells creates corporate confidence in female lead stories; so that eventually there will be so much female lead pop culture that we won’t have to comment on it anymore; it will just be the norm.  And that would be a true “Wonder” to behold.




[1] And one that I was expecting due to this film’s hype and high praised reviews I read before going into my screening
[2] marginally giving women of different color and shape tertiary background status among the other Amazons