In Brian Gilbert?s Wilde, Oscar Wilde (Stephen Fry) says of the male escorts? he meets through Lord Alfred ?Bosie? Douglas (Jude Law), ?Such flowers never could grow in the harsh light of day.? This comment is more than a simple scripted line. It is the basis for much of the film?s mis-en-scene. For the filmmakers, homosexuality becomes a descent into darkness in terms of secrecy, invoking the necessity for Wilde to hide his true identity from the social critics of his time. This theme is strategically played out through the careful use of lighting in both interior and exterior scenes.
In scenes representing homosexuality, although brilliantly colored, the rooms are?also dimly lit and contained by dark walls. The first inkling of Wilde?s desire for young men is depicted when he descends into the darkness of the Leadville, CO mines and yet is guided by ?angels.? When Bosie sings at the piano, the dark wood interior makes his light gray suit and honey colored face stand out. All the young faces glow and these fresh flowers of men flourish in this type of light. Wilde wears white and also shines brightly within the scene, a film gesture than not only represents his eccentric taste, but his desire to reclaim his fearless and confident youth. In the hotel, this pattern is repeated. The costumes coordinate Wilde?s solid yellow suit with Bosie?s yellow and gray plaid. Bosie wears a yellow rose in his lapel coordinating with Wilde. Each shines brightly against the dark wood paneling. A shift is foreshadowed when Bosie learns of his brother?s death and is consoled by Wilde. The two sit in a very dark room huddled on the couch. Blinding light from the outside outlines their bodies morphing together into a nearly unrecognizable shrinking silhouette. The flowers appear to be wilting as they become smothered by the harsh scrutiny of Bosie?s father, Marquess of Queensbury (Tom Wilkenson).
The sequel to a previous post…
In?response to a classmate who believes that French author Madam George Sand (Judy Davis) in James Lapine’s 1991 film Impromptu, is?”attracted to Chopin [(Hugh Grant)] because she unconsciously learned to be more feminine like he was,” I’d like to respectfully disagree.
Prior to Sand’s pursuit of Chopin, she is already quite feminine as demonstrated through her clothing throughout the film. As a child, she wears a dress and has long hair. Sand’s bed clothes in the very first scene are traditionally frilly with ruffles, bows and layers. At the first party where she is to meet her publisher, Chopin’s presence yet unbeknownst to her, Sand wears a rather eccentric dress/pants combination, but somewhat of a silken embroidered dress with a bow in front all the same. When she visits her mother prior to engaging in her relationship with Chopin she wears a conservatively elegant cloak and, when her mother dies, Sand’s mourning dress is a traditional black gown and her hair is traditionally upswept. Perhaps Sand entertains the idea of being fit for a more traditional dress when in pursuit of Chopin, but she also tries moving in the opposite direction by buying men’s clothing. Overall, I’d say Sand is never portrayed as strictly masculine nor feminine, but rather the perfect embodiment of both at once.
My first introduction to Aurore “George” Sand, the French author, has come solely from my viewing of director James Lapine?s Impromptu. Having never read?Sand’s work, nor any form of a biography, I have come to the topic with no preconceived notions. This film’s limited window into Sand?s life provides the opportunity for an interesting experiment. I?d like to compare my first impression of Sand as directed by Lapine with that produced by acquiring additional information. Will my initial understanding be supported, contradicted or enhanced by some quick research? Let?s find out.
When Young Aurore (Lucy Speed) first appears, she is a child running through the wilderness away from an authoritative voice calling her name. She arrives at a self-made altar of stones among the ferns growing at the base of a tree. There she kneels and prays:
Hear me, O Corambe. Corambe, thou who art man, woman and god in one, hear me. I free this bird in thy name. Come to me, sublime being. I want to know the meaning of life. And I want to find perfect, perfect love. I free this lizard in thy name. [To lizard] Don?t be dead. Oh, balls.
This shot dissolves to reveal Madame ?George? Sand (Judy Davis) seated at a desk writing her memoirs.
Between the pages of 155 and 268, our narrator, Powers, and Dr. Lentz struggle with their traditional masculine roles, feeling that they must care for and protect their women. Lentz feels responsible for his wife Audrey?s stroke occuring directly after their argument while?he was intentionally unreachable.?Guilt ridden?for not taking enough care, he visits her waning consciousness with daily devotion at the Center. Powers also cares for his lost and confused C. but learns that:
The more care I took, the more I turned her into the needy one. And the more I did that, the needier she became. We construed her neediness between the two of us. And that was not care on my part. That was cowardice. (240)
Together, Powers and Lentz search for some sort of answer to the masculine condition through the production and training of Helen, the beloved and experimental neural net in Galatea 2.2. Lentz, although he can?t change the past, has the desire to change the future, developing a way to back up the brain in the case of memory failure. Powers interprets and mulls this goal:
We could eliminate death. That was the long-term idea. We might freeze the temperament of our choice. Suspend it painlessly above experience. Hold it forever at twenty-two. (170)
We have yet to learn what Powers gains from the experiment, but perhaps Donna Haraway might offer a clue.
Pulling out the ol’ Norton, I brushed up on Donna Haraway?s ?A Manifesto for Cyborgs?, several quotes of which were rather pertinent to Helen. First off, ?a cyborg is a cybernetic organism? a creature of social reality as well as a creature of fiction? (2269). Already, in this one definition, the cyborg blurs the boundaries of human, animal?and machine as well as reality and fiction.
Since?Helen is essentially a new ?other,? her existence could be constued as?a cultural encounter similar to, for example, that of Europeans and Native Americans. It is assumed from the ideology at hand that one must dominate the other. That said, how is it possible to avoid the dominant/male and submissive/female trap that haunts the majority of historical human existence? According to Haraway, the power lies within the technology.
The cyborg has no origin story? they are the illegitimate offspring of militarism and patriarchal capitalism, not to mention state socialism. But illegitimate offspring are often exceedingly unfaithful to their origins. Their fathers, after all, are inessential. (2270-2271)
According to Haraway, Powers and Lentz are “inessential” as fathers.?Once they load the data, Helen thinks on her own. Although Powers has coded Helen with gender, it is within the power of the cyborg to blur the boundaries of such a dichotomy as the masculine and feminine. Once blurred, perhaps some revelation will be made to both about the roles of men and women in society.
While this unique?lesson of love?between man and machine has yet to be revealed , one thing is certain. Helen has already invoked much discussion about what constitutes human intelligence, blurring the distinction between true knowledge and switch flipping. Are we nothing more than weighted switches constantly back-feeding input through our neural nets, or is there something inherently human that sets us apart from a machine?
I’ll be turning pages rapidly to?find out?
So far this?semester, our class?has covered:
- John Barth’s short story, “Lost in the Fun House”
- Jeannette Winterson’s novel, Written on the Body
- and Chuck Palahniuk’s novel, Fight Club.?
To help define what postmodern means we have explored excerpts from:
- Simon Malpas’ book, The Postmodern (2005)
- H?l?ne Cixous? critique “Sorties: Out and Out: Attacks/Ways Out/Forays” (1975)
- Jean-Fran?ois Lyotard’s The Postmodern Condition (1979)
- Frederic Jameson’s Postmodernism, or, The Cultural Logic of Late Capitalism (1991).
- and Linda Hutcheon’s Poetics of Postmodernism (1988)
How?do I cohesively make sense of all this????Having drank fully from the fire hose for weeks on end, I wonder… Will I digest or?blow??This post?is where?I just vomit in my mouth a little.
As Malpas explains, “at the heart of identity there is a ?thinking I? that experiences, conceptualizes and interacts with the world” (Malpas, 57). Consequently, running rampant throughout postmodern fiction is the question of this subject’s reliability as an authority?representing truth.
- Barth’s narrator, Ambrose,?is at once a child and an adult, interweaving the blind?experience of?”living in the moment”?with 20/20 hindsight?and calling attention, through various narrative devices, to the limitations of the narrating subject both as child and adult, in other words, as narrator looking in at the main character and main character being himself.
- Winterson complicates her narrator by creating a nongender-specific bisexual who objectifies?the beloved, Louise, pitting the power of subject?vs. object, one against the other, both creating and destroying the linguistic barrier to?fully realizing true love.
- Palahniuk splits?his narrator’s identity into two dueling?subjects within the same body who both objectify not only Marla, but each other, creating a power triangle rather than a single identifiable?power source.
By complicating?the subject, these authors use fiction?to turn?the subject?in on itself and reveal it’s limitations. The point for the reader is that perspective and?representation are not natural ways of reaching some sort of truth, but are cultural devices?that, until postmodernism hit the stage, were accepted?as natural. The most we can hope for, as Stephen Colbert often points out, is mere “truthiness” (or “falsiness” as the following parody explains), which is called into question each time subjectivity becomes decentered by an alternate?version of the?traditional subject. (Hello, Derrida!)
Sexuality is also addressed in each piece, not just in terms of masculinity or femininity, but where the two overlap. According to theorist H?l?ne Cixous:
Traditionally, the question of sexual difference is treated by coupling it with the opposition ? a culture?s values are premised on an organisation of thought in which descriptions of the feminine are determined by masculine categories of order, opposition and hierarchy. (Malpas, 72)
Lyotard says that metanarratives order the world for a particular culture and not all cultures order the world in the same way. Because of this he believes reality is not real, that it is rather ?simplicity, communicability? (75) in the name of the ?unity of experience? (72) and that the postmodern ?puts forward the unpresentable in presentation itself? (81).
- Barth calls masculinity into question by addressing the subservience of women in the ’50s and how that defines the angered narrator’s role as he matures socially in contrast with what he feels differently internally.?
- Winterson’s non-specifically gendered and bisexual narrator?draws attention to the?dysfunction of defining through opposition, creating a world of confusion for the reader while, at the same time, pointing out the problem.
- Palahniuk’s split identity, one masculinized and one feminized, are?embodied within one male person which shows that neither masculinity nor femininity encompass fully what comprises the essence of a human being.
These narrators struggle with the idea?that identity is formed through the constriction of language and social mapping?according to opposing?genders. Each illustrates that society provides no useful language or ordering of our world to address these grey areas. Postmodern work obviously strives to draw attention to the gap between the grand narrative and what actually exists.
And, although there are many more threads to follow, the HUGE question of history (revered by Jameson as fact of lived experience) versus historicity (truthiness and the closest we can get to truth) is the last item I have time to duscuss. Jameson argues that the democratization of art subjects it?to the corruption of marketing and capitalism. They are inseparable?to the detriment of?world cultures and history through?depthless representation and pastiche unless we map how the depthless came to be, “in which we may again begin to grasp our new positioning as individual and collective subjects and regain a capacity to act and struggle which is at present neutralized by our spacial as well as our social confusion” (54). SOOO, the question of historical validity appears repeatedly in our fiction selections.
- Barth criticizes history by describing the role of generations of copulation in constructing social understanding of sexuality.
- Winterson explores the narrator’s serial monogamy and only in breaking the tradition does he/she find love.
- Palahniuk creates Tyler Durden who desperately wants to break free from history to redefine it from his point of view.
According to Malpas, Hutcheon?argues that parody is not dead, it is now focused to use form?to reveal a failure of form. She also finds great value studying?the unrepresentable in fiction, as?much as that?which has been represented as “history,” because both employ the same narrative devices (Malpas, 25-26). In the fiction we have read, we can see this parody in action, where our authors provide recognition of the power forms hold, and turn around to employ these forms to point out the flaws within them. We’ll talk more about this next week when we read more of Hutcheon.
Other pan drippings, grey in color, that deserve to make it into the gravy bowl are
- body/soul connections
- bodily parts in gender definition,
- disease: death in life and life in death
- and many, many more.
Sadly, the repair man is here and I have to supervise the fixing of shit.
Watching movies for class rocks.?
From the opening credits, Fight Club alludes to the unrepresentable. As the names spin off into gaseous clouds, what appears to be the universe swirls within the biologic make-up of Edward Norton’s character, yet one would think that the character would exist somewhere within the Universe. So, where does the Universe begin or end? Does it start with human perception or is human perception a byproduct of the Universe? Ooooh, the questions stew already.
In the opening scene, perspective shifts from within Norton?s character?s body, through the gun, and into Pitt?s character?s point of view. Perspective then leaves both characters (or halves of one character) and the camera travels out of body altogether. Now the point of view becomes that of the movie viewers? as we get a voyeuristic view of the explosives below the city. Throughout the morphing POV, we never fully know where one begins and another ends.
Cut to Bob?s boobs. Is he still a man with no balls and full breasts? What essentially makes a man ?manly? if not the biological pieces and parts? Can comfort be derived from any breasts but a mother?s or lover?s? Norton says yes.
Then we back up. The beginning of the movie isn?t the beginning as we traditionally know it. ?Nothing is real? Everything is a copy of a copy of a copy.? And here, Baudrillard. Really, need I say more? Norton is a copy of himself on many levels. Stuck in the marketing galaxy, ?What kind of dining set defines me as a person?? What else does?
Playing Cornelius and other ?characters? so he can cry and sleep like a baby, where does Norton?s character end and his others begin? He dies and is reborn with each new meeting. But who dies and who is reborn? Cornelius, Tyler Durden?
Pitt’s image flashes in several scenes, spliced into a single frame at the hospital, the testicular cancer meeting, when Marla walks off supposedly forever. Later, we learn that Tyler splices frames between reels at the theater. Does he create himself then? Has Norton’s character created him?
Do events shape us or do we shape them? Do we own things or do they own us? Half asleep, half awake? Reality enters dreams, dream enters reality? Half alive, half dead? Not quite whole but not fully cleaved in half? Somewhere between life and death lies meaning.
?It was on the tip of everyone?s tongue. Tyler and I just gave it a name.?
?First rule of Fight Club? You do not talk about Fight Club.?
Coincidentally, that’s the second rule too.
?It wasn?t about words.?
We’re back to the failure of language again. Instead, the sublime is the pleasure derived from the pain of pummeling and being pummeled.
?Nothing was solved when the fight was over, but nothing mattered.?
?This was freedom. Losing all hope was freedom.?
The car wreck: All I could think of were the Futurists. Historically, not just in the movie, a car launches into a ditch and?gives birth to four survivors who create a Modern movement infatuated with technology, speed and chaos.
“Let go of everything you?think you know?about life…”
You can?t explain the unexplainable, sublime. Familiar themes?akin to?Wnnterson’s Written on the Body… Marla: Love as invasive. Love as pure desire. Love as a bridesmaid dress loved for only one day and then thrown aside. Narrating organs in books?left by a recluse. Cancer of the prostrate will kill. Combination of form: Movie – documentary – porn – and back again. Characters talk to themselves on screen, then they turn to the audience and talk to … ME! I have just become the object of two subjects. How beautifully postmodern.
Capitalism: The democratization of art?becomes public taste governed by money. To?free our identity from?being defined by our stuff and our menial jobs that make us slaves?to purchasing?more stuff, Capitalism must be destroyed.
Then the biggie: Dualing subjects. One fights the other for power. Can there ever be two, particularly when they share one body? According to the smoking gun, the answer is no.
I could continue with the play-by-play but we?re all watching the same thing. Suffice it to say, I loved this movie the first two times I saw it. I have a renewed appreciation this third time. Now excuse me while I retire the keyboard and get back to the milk and cookies.