The Daily

Posts Tagged ‘censorship’

A Raving Maniac of the Cinema

June 3, 2016 | by

The anticriticism of Jonas Mekas.

Jonas Mekas

Discussion of American film criticism in the sixties and seventies tends to hew to the Andrew Sarris–Pauline Kael binary. Their legendary, exasperating debate over auteurism and the One True Criticism shaped a generation of writers and the trajectory of film culture, so much so that both writers and their acolytes still haunt the field. But while Sarris/the cultists and Kael/the Paulettes slap-fought at center stage, a third party lobbed firecrackers from the back of the theater—at them, at anyone, at everyone—to disrupt of the status quo and redefine “cinema art.”

Jonas Mekas, now ninety-three, occupies an outsize yet virtually ignored place in the pantheon of film criticism. In 1955, he cofounded the influential magazine Film Culture, which in a 1962–1963 issue included both Sarris’s landmark “Notes on the Auteur Theory, 1962” and Manny Farber’s seminal “White Elephant Art vs. Termite Art.” Three years later, on November 12, 1958, he introduced film criticism to the Village Voice. But rather than adjudicate the week’s releases, his “Movie Journal” column was a pulpit for spreading the gospel of underground cinema and the launchpad for broadsides against the establishment and its critics, censorship and its enforcers. Mekas claims a lot of titles—pioneering filmmaker, poet, activist, organizer, rabble-rouser, patron saint of the underground—but, he stated bluntly in 1968, “I am not a critic. I don’t criticize. I am a cold, objective, ‘piercing’ eye that watches things and sees where they are and where they are going and I’m bringing all these facts to your attention.” Read More »

Marisol’s Marathon Silences, and Other News

May 3, 2016 | by

Marisol, in 1963.

Timbuktu’s Massive Book Heist, and Other News

April 25, 2016 | by

Abdel Kader Haidara in Timbuktu, 2009. Photo: Brent Stirton/National Geographic

  • Today in censored statues: in Italy, the fashionable thing to do with one’s nude statues is not to display them but to conceal them with some plywood or maybe a heavy drop-cloth or whatever else you’ve got lying around. The Capitoline Venus, which resides in the hall of the Capitoline Museums, in Rome, was boxed up last month to preserve the delicate sensibilities of the visiting Iranian president, but really this sort of thing happens all the time: “True, some discussions were had. According to one journalist, questions were raised about the conspicuous testicles of Marcus Aurelius’s horse in the equestrian statue which also graces the hall … This kind of artistic censorship is remarkably common in Italy, to the point of being frequently unreported. As journalist Giovanna Vitale has pointed out, for instance, it had been only five months since a nude by Jeff Koons in a Florentine palace included in the itinerary of sheik Mohammed Bin Zayed al Nahyan was concealed … And—in case you think it’s only heads of state of the Muslim faith who are reserved this peculiar treatment—it was eight months since posters of a Tamara de Lempicka exhibition in Turin ... were covered to save the Pope from certain emotional trauma.”
  • A few months ago, I used this space to hawk Saul Bellow’s ten-thousand-dollar desk, which was not, at the time, a hot seller. But things have changed. That desk is gone. As Bellow’s son Daniel explained to Atlas Obscura: “All of a sudden, everyone from famous journalists to doctors from the Mayo Clinic contacted him about purchasing his father’s desk … In the end, though, Bellow’s desk was sold to his son’s niece, who matched the top bid at the auction, and kept the desk in the family … The desk will be put in his niece’s new home in Hudson, New York. As for the money from the auction, Daniel says he is going to use it to build a kiln chimney in his new pottery studio.”
  • Faced with an al-Qaida invasion, librarians in Timbuktu oversaw a massive smuggling operation in which some 300,000 rare books and manuscripts were secreted away to safety: “The first thing we’re going to do is get them out of these big libraries. We’re going to take trunks. We’re going to pack them into trunks at night when the rebels are asleep, and then we’re going to move them in the dead of night by mule cart to these various houses—safe houses scattered around the city. And hopefully they’ll be safe for the duration of this occupation … They’re in about a dozen climate-controlled storage rooms in Bamako, the capital of Mali.”
  • In which Meghan O’Gieblyn decides to give Updike a chance, takes Couples off the shelf, and finds … many things she expected and a few she didn’t: “There was plenty in the book that lived up to Updike’s contemporary reputation: women who think things no woman would think (‘She had wanted to bear Ken a child, to brew his excellence in her warmth’) … There are many passages in which Updike’s prodigious gifts as a prose artist are given over to the effects of gravity on women’s bodies. Nobody can write the female body in decay quite like Updike. So clinical and unrelenting is his gaze, he manages to call attention to signs of aging that even I—someone in possession of a female body—had never considered. ‘Age had touched only the softened line of her jaw and her hands,’ he writes of Piet’s wife, Angela, ‘their stringy backs and reddened fingertips’ … What intrigued me most about Couples, though, was the sense of doom that undercuts the orgy.”
  • Jonas Mekas was the first film critic for the Village Voice, and a new collection of his critical writing reveals “an artistic time capsule of New York at a moment of crucial energy”: “There’s a live-wire spontaneity to Mekas’s writing, an excitement sparked by his sense of beauty, by his sheer pleasure in cinematic imagination, and it’s connected to a soulful sense of inwardness and empathy … What energizes his discussions and exhortations is the impulse behind the films, rather than the films themselves—the lives and dreams of the artists, the harsh demands placed on filmmakers by the effort to create homemade, self-financed, independent films, made by oneself and one’s friends. These are films that repudiate openly the conventions of the commercial cinema, the norms and limits on subject matter and representation, while the filmmakers submit to a horrific range of deprivations and afflictions for the sake of their art. In effect, Mekas offers, both in and as film criticism, extraordinary and enduring sketches of downtown lives.”

Barney’s Wall

April 20, 2016 | by

From the trailer for Barney’s Wall.

Longtime readers of the Review will recall our 1997 interview with Barney Rosset, the irrepressible publisher of Grove Press and the Evergreen Review. In the fifties and sixties, Rosset brought scores of ostensibly obscene books to the U.S., often to the gross offense of the era’s leading fuddy-duddies. The unexpurgated Lady Chatterley’s Lover? A Grove title. Tropic of Cancer—also Grove. American editions of Waiting for Godot, Our Lady of the Flowers, Naked Lunch, Last Exit to Brooklyn—all Rosset’s doing. Even I Am Curious (Yellow), everyone’s favorite X-rated Swedish art-house flick, was a Rosset import. As he says in his Art of Publishing interview, all this illicit material came with its share of trouble—some of which he sought out willingly. When he published Chatterley, for example, Rosset was so eager to strike a blow against censorship that he used the book as bait, getting himself hauled into court: Read More »

Special Effects

December 24, 2015 | by

We’re away until January 4, but we’re re-posting some of our favorite pieces from 2015. Please enjoy, and have a happy New Year!

District_9_vector_poster_by_butterflyka

From a District 9 poster, 2009.

 Sharia law goes to the movies.

In 2009, halfway through my second deployment as an infantryman in Iraq, I was made company armorer. Instead of spending days in the field or going on patrols at odd hours, I had a set schedule repairing our company’s guns and night vision goggles—a normal nine-to-five, in many ways, except that I was stuck on a military compound in the Diyala Province and my office was a shipping container. As a newly ordained soldier of leisure, I decided to reconnect with American culture by watching a couple of new movies.

I chose The Wrestler and District 9 for arbitrary reasons: friends back home had mentioned them and they were for sale in stacks at my base’s knickknack shop, run by locals. The Wrestler, I discovered, is a Darren Aronofsky film starring Mickey Rourke as a washed-up professional wrestler haunted by his past fame, torn between focusing on building a new life outside of wrestling and rekindling some of his former glory. The film crackles with the dark intensity of the knowledge that Rourke’s character will have to make a choice—the violence of the wrestling ring or domestic tranquility. I thought The Wrestler triumphed in the end by leaving the character’s fate up in the air; the film culminates in a poignant hospital scene where the broken wrestler’s love interest pleads that he not agree to a reunion matchup with his old rival, the Ayatollah. Read More >> 

The Most Mysterious Hyphen in Literature, and Other News

December 14, 2015 | by

“The Voyage of the Pequod,” 1956. One of twelve literary maps based on British and American literature produced by the Harris-Seybold Company.

  • Punctuation was once the stuff of radical experimentation; today it tends to be the site of tired grammatical debates, the kind that feel antiquated a mere decade or so after they first got people riled up. David Crystal’s book Making a Point hopes to assuage our punctuation anxiety: “In Old English manuscripts, punctuation is idiosyncratic; to denote word divisions, writers tried a variety of strategies: dots, spaces, ‘camel case’ (that is, using capital letters rather than spaces ToMarkTheBeginningsOfNewWords). Then the rise of printing created the demand for a standardized system … A 2007 Daily Mail article titled ‘I h8 txt msgs’ had declared that ‘SMS vandals’ were ‘pillaging our punctuation; savaging our sentences; raping our vocabulary. And they must be stopped.’ Crystal rebuffed these drastic claims: the supposed ‘innovations’ of texting, he notes—abbreviations, omitted letters, ideograms, nonstandard spellings—have been features of the language for centuries.”
  • Melville must’ve been an intimate of punctuation anxiety; Moby-Dick has a hyphen that seems to disappear and reappear at will. Where did it come from? What does it mean? Did he intend to put it there at all? “Thomas Tanselle writes that Melville’s brother, Allan, made a last-minute change to the title of the American edition. ‘[Melville] has determined upon a new title,’ his brother wrote. ‘It is thought here that the new title will be a better selling title … Moby-Dick is a legitimate title for the book.’ The American edition went to press, hyphen intact, despite the fact that the whale within was only referred to with a hyphen one time … It’s still unclear whether Melville, who didn’t use a hyphen inside the book, chose a hyphen for the book’s title or whether his brother punctuated the title incorrectly. Whether you chalk it up to typographical error, long-obsolete custom or authorial intention, the hunt for the true story behind Moby-Dick’s hyphen continues.”
  • Living life on the Gregorian calendar is okay—the days go by, the weeks go by, the months go by, the years go by. Break up the tedium by overlaying some other markers on your worldly existence: by reading fiction, say. “Memorable novels have a way of affixing a secondary story to themselves, a plot that touches tangentially, if at all, upon the plot of the book. Sometimes you recall a novel chiefly for the circumstances under which it was absorbed … It’s one of the keenest and least replaceable pleasures I know—the sense, native to a capacious novel, of existing simultaneously inside two calendars. One plot steadily proceeds and it is called Your Life; it’s the old, ongoing, errand-filled business of your datebook. The other plot is new; it’s called The Novel You’re Reading, and it unfolds with its own errands, its own weather and its own zodiac.”
  • Today in cover judging: hats off to our art editor, Charlotte Strick, whose design for the reissue of Flannery O’Connor’s Everything That Rises Must Converge is among the New York Timestwelve best covers of the year.
  • China’s approach to film ratings (it doesn’t have them) and censorship (plenty of that, though) reflects a nervous ideological tension—and it results in some programming choices that feel frankly bizarre to a Western audience. “Its constraints on what may appear on screen represent a laundry list of the state’s anxieties. Content must not ‘endanger’ China’s unity, security or honor. It also should not ‘twist’ history, feature explicit sex or gambling, advocate ‘the supremacy of religion’ or ‘meticulously describe fortune-telling.’ Playing up violence is prohibited, in theory … A Chinese film released in 2006, Curse of the Golden Flower, was given a rating in America that required those under seventeen to be accompanied by an adult because of its violent scenes. But these scenes were left uncut when it was screened in China. Viewers were given no warning about them. On TV The Patriot (Yue Fei), a popular historical drama, commonly features long fights with bloody swords, arrows through the heart and dripping corpses. It currently airs on one channel in the early afternoon.”