Posts Tagged ‘Communism’
August 23, 2016 | by Dan Piepenbring
Is Kanye’s McDonald’s poem a parable of class struggle?
When I wrote in May about the seriocomic implications of a Burger King Spa opening in Helsinki, I thought I’d pegged the most extraordinary fast-food story of the year. Reader, I blew it. In the past month alone, McDonald’s has opened a “McDonald’s of the Future” in Saint Joseph, Missouri, luring customers to their purportedly healthier, Chipotlified restaurant by promising all-you-can-eat fries; BK has debuted the “Whopperito,” a burger-burrito hybrid that fits in your cup holder; and KFC has sold two thousand bottles of fried-chicken-scented SPF 30 sunscreen. For any writer hoping to capture the texture of our greasy-fingered moment, the ineffable Sturm und Drang of life in a world where Denny’s believes the ideal male body is a stack of flapjacks, the outlook is grim. As Philip Roth wrote, American reality “stupefies, it sickens, it infuriates, and finally it is even a kind of embarrassment to one’s own meager imagination. The actuality is continually outdoing our talents.” And he said that before Chicken Fries were a thing.
But Philip Roth is no Kanye West, and Kanye West won’t just sit there while actuality outdoes his talents—heaven forfend. Instead, Kanye West has published a poem about Mickey D’s in Boys Don’t Cry, a one-off zine from Frank Ocean. It goes like this: Read More »
August 18, 2016 | by Wei Tchou
How my mother’s accordion led to a chance encounter in Mao’s China.
For years my parents have told me about a photograph that shows my mother shaking hands with Zhou Enlai, the first premier of China under Mao Zedong. The photograph was taken in 1962, four years before the Cultural Revolution began, but it was lost until a few weeks ago, when a barrage of Instagram notifications, texts, e-mails, and WeChat messages alerted me that the picture had been found. It had turned up on Facebook, of all places, in a post detailing the history of my mother’s grade school in Shanghai. (A point of recent pride: Yao Ming, the basketball player, was a student at the same school, albeit decades later). An aunt of mine who lives in Hong Kong forwarded the picture to my father, who then distributed it across the Internet.
In the picture, my mother is fourteen. Her hair is in a low ponytail and she has an accordion strapped over her shoulders. She wears a checked knee-length skirt, a white blouse, white ankle socks, and Mary Janes. Several rows of Chinese flags fly in the background; in front of these stand many smiling girls holding bouquets of flowers. All eyes in the picture are on Zhou Enlai as he grips my mother’s hand. He’s tall and handsome, in a Mao suit and strappy sandals. Her smile is easy and uncalculated, bordering on surprise.Read More »
July 11, 2016 | by Lee Lockwood
Late in 1959, the photojournalist Lee Lockwood flew to Cuba to witness the end of Batista’s regime. After a long search, he found Fidel Castro, who had only just seized power. The two had an immediate rapport, and in successive trips over the next decade, Lockwood found that Castro granted him unprecedented access to the island; in 1965, he sat for a marathon seven-day interview. First published in 1967, Lockwood’s portrait of Castro stands as arguably the most penetrating document that exists of the man. Lockwood died in 2010; this month, in light of the new course in U.S. relations with Cuba and the paucity of historical context, Taschen is reissuing his interviews in Castro’s Cuba: An American Journalist’s Inside Look at Cuba 1959–1969, including hundreds of photographs, many of them previously unpublished. The excerpt below covers Castro’s opinions on literature, arts, and culture in Cuba.
Is there any attempt to exert control over the production of art in Cuba? For example, in literature?
All manifestations of art have different characteristics. For example, movies are different from painting. Movies are a modern industry requiring a lot of resources. It is not the same thing to make a film as it is to paint a picture or write a book. But if you ask whether there is control—no. Read More »
June 2, 2015 | by Willie Osterweil
Anticommunism at the movies.
You’re trying awful hard with all this patriotic eyewash.
—Skip McCoy, Pickup on South Street
If you’re feeling polemical, you might argue that all Hollywood cinema is anticommunist: as the central commodity of the culture industry, big studio movies are designed for nothing so much as circulating and producing capital. But if we want to talk Communist with a capital C—you know, where the C stands for USSR—then Hollywood’s anticommunist films are a special and specific genre of flops and farces, a cinematic tradition featuring such classics as I Married a Communist, The Red Menace, Assignment: Paris, and My Son John. (Spoiler: John’s a goddamned Bolshie!)
The fifties saw the heyday of anticommie popcorn flicks. True, the silent era had its Bolshevism on Trial and Red Russia Revealed, and the eighties met with Soviet invasion in Red Dawn and some serious anti-Vietcong violence in the later Rambo movies. But when you wanna see a square-jawed U.S. American call a sweaty creep a commie and slug him in the mouth, it’s the postwar period you turn to. Though most of the era’s anticommunist films were too vulgar and outlandish to survive as anything other than hilarious artifacts—or as evidence of the ever-imperialist, state-serving agenda of the Hollywood apparatus, depending on which side of the bed you woke up on—a few, Robert Aldrich’s Kiss Me Deadly and Samuel Fuller’s Pickup on South Street among them, are truly great works of cinema. (Granted, 1982’s Rambo: First Blood—if you excise the last four minutes, when Sly gives a speech crying about how hippies, those “maggots at the airport,” spit on him—is also pretty great.) Both are tense, pulpy noirs, both center around the sale of nuclear secrets, and both take anticommunism more as a genre then a narrative drive. But only one, Pickup on South Street (1953), is being revived this week at Film Forum, in New York. Read More »
May 13, 2015 | by Dan Piepenbring
- As Thomas the Tank Engine turns seventy, it’s worth asking: What’s this talking train’s political agenda? A thoughtless pushover, fearful of going off the rails and fixed on his cohort’s industriousness, “Thomas resembles one of those preposterous idealized figures of Stalinist propaganda. Face radiant with a dream of heightened productivity. In fact, Stalin would probably have approved of Thomas, who always does what the Fat Controller tells him and strongly disapproves of other engines who step out of line.”
- If society seems increasingly illiterate to you, person of letters, remember that society relies less on literacy every year: “Most human beings worldwide would rather talk than read. Reading and writing are late inventions in the human story; widespread literacy in most places is only a few centuries old. And the fact that in black-and-white pictures of a commuter train almost every passenger is reading was an artifact of the technological state of things at the time. Today, most of those people’s equivalents are either talking on their phone or listening to music on it. Their forebears in those pictures would have been as well, if there had been devices to allow it.”
- Piero di Cosimo is remembered most for his religious paintings, but he also made “startlingly vivid portraits of individuals … He gave himself the same tests, again and again, though he did not always pass them: for example, depicting feet, which he did in an elegantly detailed manner, down to their splayed toes.”
- “When I began my first novel … I asked my colleague whether writing fiction caused manic-depression or merely mimicked the symptoms of manic-depression. He answered, ‘Yes,’ a cleverly enigmatic but also oddly confirming response.”
- Want a euphemism for motherfucker? Try melon-farmer, mother-fouler, or motorcycle, and have a nice day.
February 13, 2015 | by Dan Piepenbring
Even with the advent of digital photography, it’s never been easy to publish a book of photographs: time, labor, and production costs ensure that such projects can’t be undertaken casually, at least not well. There’s something inherently lavish in a book of pictures, something that makes the eyebrows rise. A photobook, with its unwieldy trim size, its color printing, and its demanding design constraints, always answers to a grave question of purpose: What does it do? Why did it need to exist? Does it serve merely to bring prestige to your coffee table, or can it act to didactic, moral, or even geopolitical ends? If some publisher’s going to pony up, those questions are less rhetorical than they might sound.
“The Chinese Photobook,” a new exhibition at Aperture Gallery curated by Martin Parr and the Dutch “artist-duo” WassinkLundgren, surveys more than a century of China’s rich photo-book publishing history. It surprises both in its complex portrayal of Chinese history and in the depth it gives to photo-book publishing as an enterprise. Read More »