March 25, 2012 § 7 Comments
Another way in which the 70s influence is felt in the film is in the striking strand of second-wave feminism that runs through it (well, I thought it was striking, but I spent the day prior to watching the film reading the feminist genealogy in Janet Halley’s Split Decisions, so maybe I was just primed to look at things in these terms). We see this at the beginning of the film, when Katniss is instructed to wear a dress for the ceremony which precedes the Hunger Games, in the fact that one of the biopolitical indignities she suffers in preparation for the Games is having her legs waxed, and in her unwillingness to perform a pleasing femininity in order to win supporters in the Games; all places, that is, where the film emphasizes the social construction of the feminine. I write “social construction of the feminine” rather than “social construction of gender” advisedly, because unfortunately the film also repeats a problematic gesture of some second-wave feminisms, which expressed a hostility to the imposition of compulsory femininity in a hostility to femininity as such, which can reinforce a traditional misogynistic trope in which women are criticized for inauthenticity and artifice. The evilness of Katniss’s main antagonists within the Games themselves, for instance, is demonstrated by their willingness to wear pretty dresses, which marks them as “mean girls.” More generally, the decedance of the Capitol (which runs the Games), as opposed to the virtue of the Districts from which Katniss comes, takes the visual form of feminization, in pink clothes and elaborate make-up. On the other hand, though, the film ends with Katniss, now a winner of the Hunger Games, wearing a pretty dress herself, and her greatest ally throughout the films is her stylist, who teaches her how to use dress and performance to her advantage, so perhaps we will see further dialectical developments of this theme in the subsequent films.
This is a significant passage from this post: “Hunger Games in austere times”. I’ve been thinking about this aspect of the film (and book, which I read the night before watching it). I haven’t read the sequels, so like Voyou I’m not how this theme develops throughout the series. But aside from this — the decadence of Capitol taking on the visual form of feminization, astutely described in the passage above — the added element of Katniss being taught “how to use dress and performance to her advantage” is linked closely to how both Katniss and Peeta are taught to use mannerisms and performance to their advantage in demonstrating a form of compulsory heterosexuality. The story of “star-crossed lovers”, as their mentor Haymitch is meant to “sell” it, is supposed to keep the two tributes from District 12 alive. The only thing that those bored, bloodlusty brutes of Capitol can apparently cheer on, besides death, is a boy and a girl in love with each other. (All roads from eros lead back to thanatos. Or vice versa. Or, you know, something like that.) Pretending to be in love will win Katniss and Peeta support, which translates to money (sponsorship, in the world of Hunger Games), and money translates to stuff that you can use to stay alive during the games.
Interestingly, Katniss the girl isn’t as good at affective labour as Peeta the boy, and increasingly all the attempts to teach her to use dress and performance to her advantage is to: 1) make her charming and feminine enough to be liked; and 2) make her charming and feminine enough to be desirable. (Which is Peeta’s “gift” to her at the start, when he confesses to his deep and abiding crush on Katniss during the early interview session before the Games. This was a move engineered by their “mentor” Haymitch, which as Haymitch later tells Katniss is a move can only help her, since Peeta helped her appear desirable – something Katniss wasn’t able to quite achieve on her own, as impressive as she looked in her stylist Cinna’s various looks.)
As it turns out, the reason why Peeta is so good at affecting this performance of romance is because it’s apparently not a performance; he has had a crush on Katniss all this while. Katniss, meanwhile, may or may not have faked it (what’s interesting in the book is the way it complicates the whole “fake it till you make it” scenario to render the question of “real feelings” meaningless: it doesn’t matter if Katniss faked it or not, her feelings for Peeta are there, and they’re “real” enough.)
“Inauthenticity and artifice” are the means by which Katniss comes to perform her femininity, but in the world of Capitol’s compulsory heterosexuality, it’s the only way to stay alive. The film suggests this, but it’s clearly expressed in the novel because it’s written from Katniss’ POV. After they’ve won the Games and Katniss hears from Haymitch about how the folks at Capitol are mad at her for trying to outsmart them with the nightlock berries trick, she is again advised to play up the girl-in-love role to save herself (and others, because Haymitch implies that this time, Capitol’s anger will be directed at her entire District if she doesn’t play it right.) And so, in the book, during the all-important interview, Katniss tells us this:
I sit so close to Peeta that I’m practically on his lap, but one look from Haymitch tells me it isn’t enough. Kicking off my sandals, I tuck my feet to the side and lean my head on Peeta’s shoulder. His arm goes around me automatically, and I feel like I’m back in the cave, curled up against him, trying to keep warm. His shirt is made of the same yellow material as my dress, but Portia’s put him in long black pants. No sandals, either, but a pair of sturdy black boots he keeps solidly planted on the stage. I wish Cinna had given me a similar outfit, I feel so vulnerable in this flimsy dress. But I guess that was the point.
A little later on we learn the reason for why Peeta had to wear pants and boots (an incident from the novel that the film adaptation left alone), but it still seems pretty troubling to me that it’s this required performance of lovestruck, vulnerable femininity that is needed, quite literally, to save Katniss’ life. And this too precisely because she has demonstrated what is apparently meant to be understood as an unfeminine lack of vulnerability throughout. It’s almost as if she must be punished for not being feminine enough or female in all the right ways (which is why comments to the effect that Katniss Everdeen is a “better” feminist role model than Bella Swan of the Twilight series seems to me rather strange, not least because comparing who’s more feminist is precisely why feminism is still needed, but more to the point because so many seem to miss how similar these two female characters have to be in order to be allowed to exist within the social order.)
Anyway, this seems to tie in to what Voyou pointed out: the decadence of the Capitol expressed through the “visual form of feminization”. This also somehow hints at the subtle underlying factor about what makes Katniss a “worthy” poor person – she is, ultimately a very pretty woman, even if it’s achieved through artifice (i.e. Boy, doesn’t she clean up nice! etc.). The markers of femininity, or what makes a girl worthy, still seem depressingly familiar: pretty, vulnerable, likeable, charming, and most of all, “desirable” (in general) and desired by a man (in particular).
March 22, 2012 § 6 Comments
1) I used to be a Hanson fan.
There, I said it.
No. I have to tell you that it was the best of times, it was the worst of times. I was an active member on a Hanson fan forum! I got mad at my sister when told me that Taylor Hanson looks like a girl! I read Hanson fanfic! I wrote Hanson fanfic! I thought Taylor was misunderstood by the world and the hambrained Hanson-haters and only needed to get to know me in order to live a happy and fulfilling life! I made friends on the Hanson fan forum, friends with whom I exchanged postcards, letters, mixtapes, mix CDs, posters, books, and phone calls! Actually, this last thing was the best thing of all. I haven’t talked to any of them in about 12 years, which suddenly makes me feel sad.
Taylor Hanson married someone else and had someone else’s babies, and life went on.
I was reminded of this because I just read this great piece on Rookie. The part that made #lolsob:
Though I am way too old to believe that my teenage fantasies will save me, I still find myself taking comfort in them. A few weeks ago, I stayed up all weekend watching Hanson videos on YouTube and I came across a clip of Taylor forgetting the lyrics at a concert and then endearingly asking the audience to help him, and suddenly I was all, What a magnificent person, I wonder if he and his wife are going to get divorced, even though they have four kids. He would probably be more intrigued and fulfilled by someone really creative and unhinged like, um, me.
(Jenny, who wrote that piece, writes a really great blog called Fashion for Writers. And it just occurred to me that we’re both using the same WordPress template, as are a few other WordPress blogs I frequent, and it’s always a little bit embarrassing, like going to a party and finding out that you and a bunch of other people you really admire are all wearing the same outfit. Or another way of looking at it: There is only one decent WordPress outfit theme and we all have to use it.)
2) I haven’t properly read Marx. I read The Communist Manifesto but I think it’s the least you can do and not something you’re allowed to brag about. So my project for 2012 is to get through Capital, with David Harvey’s help. (A sub-confession: this is 2011’s resolution, brought forward.) And about 20 minutes into David Harvey’s introductory video, he makes a joke and I do not laugh: “One of the best things about reading Hegel before reading Marx is that makes reading Marx pretty easy. So get yourself a dose of Hegel before you do Marx and everything will be okay.” I DO NOT LAUGH because-
3) I have not read Hegel. Not even a sentence, I don’t think. Maybe a phrase. Maybe I’ve glanced at some Hegelian words. (Do I need to read Hegel before Marx? Should I go back to the Greeks? Perhaps reread Shakespeare? WHEN DOES THE PROJECT START AFTER I’VE READ EVERYTHING EVER WRITTEN HOW THE FUCK HOW HOW HOW FOR THE LOVE OF ISSUS OF BARSOOM I HAVEN’T EVEN READ ADAM SMITH UNLESS EXCERPTS COUNT WHY DO I NOT KNOW A DAMN THING WHAT HAVE I BEEN DOING WITH MY LIFE WHAT DO I READ WHEN HOW HOW)
4) Instead of starting on Capital as I had planned to, I read Edgar Rice Burroughs’ A Princess of Mars last weekend in preparation for John Carter because I had no say in the matter. (The choice of movie, that is.) I think I liked the book, despite taking the time to laboriously type notes in my Kindle along the lines of, “Bahaha!” and “LOL!” and “For fuck’s sake!” Books that you can simultaneously mock and enjoy possess a certain form of power. I love that John Carter has gone to Mars but all the rules of heteropatriarchy still apply. I mean, that’s just how our world the universe works. I just got such a kick out of this hypermasculine wish fulfillment fantasy that is also one of greatest sci-fi classics of all time or something.
5) I watched John Carter and I think I liked it and maybe you might like it too IF YOU IGNORE the nice Disney-liberal sheen, when John Carter tells some Confederate soldier dude, “You started it. You finish it!” and soldier dude goes, “Oh-ho, gone all native have we?” and John Carter replies, “No, damn the Apaches too,” or something to that effect and we’re meant to relate to and agree with this hunky embodiment of rational (white) male subjectivity, who is an Individual and who sees the robbing of American lands from the natives as a fight among equals, you know, damn you all to hell all of you I AM JOHN CARTER AND DO I NOT LOOK GOOD WITH MY DIRTY BLONDE LOCKS and when the Therns talk about how the human race is overpopulating itself and fighting to the death because THERE ARE SO MANY HUMANS and you’re meant to think OH THAT’S WHAT WAR IS ALL ABOUT NOT REALLY ABOUT GEOPOLITICS AND POWER MATRICES IT’S BECAUSE THERE ARE JUST TOO MANY OF US WELL WHY DON’T WE GET RID OF A FEW and maybe it should be the Tharks because they’re not aesthetically pleasing like John Carter of Earth and Dejah Thoris of Barsoom who are PRETTY PRETTY PEOPLE AND NOBLE AND GOOD AND PRETTY AND REALLY WOW GREAT BODIES TOO and the Tharks are just so strange looking aren’t they and none so noble as a human as Tars Tarkas and Sola, because the rest of them are brutes but hey John Carter’s loins say save Helium and Dejah Thoris and so, for that purpose, let us harness the labour of the Tharks to fight on behalf of Helium even though John Carter told Sola earlier that she is the only Thark worthy of the honour of her father’s legacy of kindness and nobility but that’s okay coz none of the other Tharks heard him say that and now they’re all really excited to fight for him even though they called him a white ape earlier, the brutes, but John Carter was really exemplary in dealing with all that hatred and racism from the uncivilised Tharks and you see the lesson here? John Carter may have benefited from white supremacy on planet Earth but he went to Mars and he was discriminated, just like the rest of us, DO YOU SEE, he just triumphed and showed the Tharks the way by staying true to the course and so if you can ignore all that, then yeah. It was pretty enjoyable, and you might like it.
The script was co-written by Michael Chabon.
6) The only book by Michael Chabon I have ever attempted to read: The Amazing Adventures of Kavalier and Clay. The attempt was unsuccessful. I really, really, really did not like it. (Related question: What fuels the Chabon-mania? I do not understand. Do I really want to? No.)
7) I willed myself to stay away from Twitter for a few days and I did and those few days became a week and then I was scared to go back there but then I went back and all my time is gone, again, because I read and wrote more in my spare time than I would have while tweeting, retweeting, and madly favouriting, which is what I’m doing now, having gone back. How do people hold down a job, be married, make babies, write books, write poetry, direct films, sing songs, play musical instruments, go to the gym, bake a fucking cake, and STILL ACTIVELY TWEET AND BLOG? I don’t know.
8) I can’t stand Don Draper. I finally watched Season 4 of Mad Men and I realise that we sat through a whole season of smugbum privileged pricks just so that we could enjoy what was engendered by the various hypermasculine charades: interaction between Peggy and Joan, for like 5 glorious minutes, in the final episode. In general, I just don’t know about the adult characters this season. I’m #TeamSallyDraper all the way. I’m really sad that she has Father Issues and that her Father is Don Draper. (In summary: #nodads.) I’m amazed at how quickly Betty became the wholly unsympathetic witchmother/wife. I felt like her character was made to stand in for much of the audience’s rage and disgust over the treatment of Carla although neither Don Draper or Betty’s new husband Henry Francis gave a shit about Carla until she was fired. (And then, specifically on Don’s part, it was about how it would affect him when he takes the kids with him to California.) Yes, they’re all racist, the show vaguely and quickly assures us, but Betty is just a little bit worse for being so bitchy about it. Meanwhile, Don Draper carries on with the DonDraper Guide to Life which goes along the lines of, Secretaries: use or marry. “You don’t want to start giving me morality lessons, do you? People do things,” says Don Draper to Peggy, in reference to him sleeping with his former secretary while drunk and not taking any responsibility for the fallout. Oh, but he TRIED! How he tried! He attempted to write a letter, wrote one sentence, and threw the letter away because words on a lousy letter cannot bear the significance of the complexity that is Don Draper. Meanwhile… next episode! (File this under: “How Don Draper’s Creators Allow Don Draper to Get Away with Shit.”) Seriously. I cannot stand Don Draper. (Does Betty say the same thing? I think so.)
9) Since reading Joan Riviere’s “Womanliness as a Masquerade” a few months ago and identifying myself as one of the intermediate types, I keep asking myself, What went wrong during the oral-biting stage? This is the question to ask (your)myself. And this made me realise that although I’ve read quite a bit of Freud I haven’t quite properly read Freud, either, and even less of the feminist critiques/engagement with Freud, and WHY DO I NOT KNOW A DAMN THING WHAT HAVE I BEEN DOING WITH MY LIFE WHAT DO I READ WHEN HOW HOW
March 19, 2012 § 5 Comments
Yes, that reads: The Manly Movie Guide: Virile Video and Two-Fisted Cinema.
I found this delight by pure chance while browsing in a second-hand bookstore. And when I looked inside, I realised it was genius:
An Amazon reader (5-star review by all three reviewers!) says it is “a hilarious satire of the macho mentality” and that’s what it is, right? Woman as Wife or Girlfriend or Floozy! And Taxi Driver is really all about “a shameless teenage whore”. #lol
(I’m sorry that the pictures are so bad. I think I was shaking with laughter at the pure delight of this satire.)
March 14, 2012 § 6 Comments
I came across the piece “Coca-Cola in Africa” a few days ago and was reminded instantly of one of the many observations I made while travelling through multiple cities and towns in Sri Lanka: Coca-Cola is everywhere. Well, not everywhere everywhere, but almost. This post on the ubiquity of Coca-Cola in Kenya (both in branding and in business) is interesting because it frames it within the “corporate responsibility” framework, which no doubt is one way of looking at it. Meanwhile, in full-on responsible mode, Coca-Cola will do the heroic thing of changing its recipe to avoid giving you cancer.
As for Coca-Cola in Sri Lanka, people I asked didn’t really have an answer for the prevalence of the brand name everywhere beyond, “Well, it’s Coca-Cola!” (The people I asked being mainly extended/distant relatives. Clearly, I need new relatives.) No matter, back in 2010 Coca-Cola was “excited” by Sri Lanka’s potential. Post-war economies are so exciting, etc.!
Also, I thought I took plenty of pictures of Coca-Cola in Sri Lanka, but I could only find three. Clearly this was a case of “I need to take a picture of that Coca-Cola sign and I am going to do it right no–OOOH LOOK AT THAT BIG SHINY BUDDHA!” because I have about a kabillion Buddha pictures but not enough Coca-Cola signage.
Also, Panadol branding everywhere. Again, I thought I had taken pictures of Panadol-everywhere-in-Sri-Lanka but it turns out I have only one:
I always thought that you shouldn’t mix your Panadol with your Coca-Cola, but the good folk of Yahoo! Answers say, no, go right ahead.
March 6, 2012 § Leave a Comment
A moment of textual serendipity, when, in the midst of reading Sonia Shah’s The Fever: How Malaria Has Ruled Humankind for 500,000 Years for a Pop Matters review, I decided to begin Timothy Mitchell’s Rule of Experts: Egypt, Techno-Politics, Modernity and discovered that the first chapter is titled “Can The Mosquito Speak?”
I’m still not sure if it spoke, but through Mitchell (and throughout Shah’s book), the mosquito drops clues. Shah’s book sets out on a terrain that Mitchell articulates early on in his book: “Disease often moves with the changing movements of people, and modern war causes large numbers to find routes outside existing networks of trade and migration.” The interesting thing about Shah’s The Fever, to me, was how she consistently mapped out the changing face of malaria in relation to the changing face of empire, and the subsequent merging of modern warfare and modern disease treatment, or what in Mitchell’s words boils down to “physical elimination of the enemy species” where malaria is concerned.
Mitchell’s central project is to acknowledge, examine, and uncover the ways in which “human agency, like capital, is a technical body, something made” – which is something that became brilliantly clear as I made my way through Shah’s book. Shah’s book, I think, undertakes a similar mission even though it’s marketed as popular nonfiction instead of an academic text. Mitchell’s interrogation into the concept of human agency is his attempt to destabilise and dissolve the binary order that social science and its attendant disciplines are determined to (re)create. A binary order in service of agency and expertise (versus nature and the material world), which in turn acts in service of technopolitics and imperial ambitions. As Mitchell explains, in the Egypt situation there were specific factors at play:
The connections between a war, an epidemic, and a famine depended upon connections between rivers, dams, fertilizers, food webs, and, as we will see, several additional links and interactions. What seems remarkable is the way the properties of these various elements interacted. They were not just separate historical events affecting one another at the social level. The linkages among them were hydraulic, chemical, military, political, etiological, and mechanical. No one writing about Egypt in this period describes this interaction. There are studies of military tactics, irrigation methods, Anglo-Egyptian relations, hydraulic engineering, parasites, the sugar industry, and peasants. But there are no accounts that take seriously how these elements interact. It is as if the elements are somehow incommensurable. They seem to involve very different forces, agents, elements, spatial scales, and temporalities. They shape one another, yet their heterogeneity offers a resistance to explanation.
I’m blathering about Mitchell’s book, which is fascinating, although I’m only about a quarter of a way in. But this post is supposed to lead you to my review of Shah’s The Fever, a book that, truth be told, I thought was going to be sheer drudgery. It turned to be lively, sharp, and engaging – largely because, I suspect, Shah never wrote like she was dumbing down the facts and research for a bleary-eyed audience, and also because I felt her project mirrored Mitchell’s – consciously or not – determined as it was to complicate easy, pat conclusions about the nature of human agency vis-à-vis “mother nature” or the material world.