Writing for Bright Wall / Dark Room (one of the premier film sites around today), Emmy Potter’s essay – “Can You See?”: Navigating the Murky, Powerful Waters of the Female Psyche in Minority Report decolonizes what appears to be another formulaic Tom Cruise vehicle. Her insight turns the genre on its ear by focusing more on the female characters potential to subvert the traditional (read patriarchal) and corrupt (built on the dehumanization of women) systems of power.
Below are a couple of excerpts but the whole essay is worth a read.
“On its surface, Steven Spielberg’s Minority Report is a dark, slick, sci-fi thriller centered on a man on the run (it’s the second film in his unofficial, early 2000s “Running Man Trilogy”). But Anderton’s destiny, and that of the other men in the film, hinges upon the abilities, memories, and empathy of women. More specifically, the gifted female precognitive at its center, Agatha. While the film explores such heady themes as free will versus predetermination, the ethical boundaries of technology, and fractured parent/child relationships (this is a Spielberg movie, after all), Minority Report also enters the murky waters of the female psyche. And once it goes there, all the men struggle to stay afloat.”
“Though disguised as a neo-noir, in many ways Minority Report is really a sci-fi allegory about how corrupt systems thrive through the subjugation of women, the exploitation and dismissal of their pain, and the underestimation of their emotions and abilities. The film shows that when women dare to express their emotions fully, they not only expose the flaws in the system, but threaten its destruction. Any woman who persists in asserting her own humanity is disastrous to men who have spent their entire lives denying it.”
“In his memoirs Nicolas Roeg (who passed away last week), who cast David Bowie as alien in The Man Who Fell To Earth, refers to the mirror as ‘the very essence of cinema’. He who searches for mirror scenes in films and series will be confronted with indestructible metaphors. David Bowie united them all.”
A video essay (click this link if the above embed is not working) by Maarten Slagboom and Menno Kooistra
Films: David Bowie – Blackstar (2016) The Man Who Fell To Earth (1976) The Lady From Shanghai (1947) Eureka (1983) The Cabin In The Woods (2012) Performance (1970) Track 29 (1988) Bad Timing (1980) Don’t Look Now (1973) Walkabout (1971) Duck Soup (1933) American Psycho (2000) Frankie And Alice (2010) Happy Days (1974-1984) Eyes Wide Shut (1999) The Lord Of The Rings: The Fellowship Of The Ring (2001) Pulp Fiction (1994) Taxi Driver (1976) La Haine (1995) The 25th Hour (2002) Raging Bull (1980) Under The Skin (2013) Op Afbetaling (1992) An American Werewolf In London (1981) Shaun of the Dead (2004) Twin Peaks (S02E08 & S02E22) Snow white and the Seven Dwarfs (1937) Alice Through The Looking Glass (1988) Dead of Night (1945) Harry Potter and the Sorcerer’s Stone (2001) Triangle (2009) Sucker Punch (2011) Orpheus (1950) Blood of a Poet (1932) The Fly (1986) Black Swan (2010) Nymphomaniac (2013) The Shining (1980) Carrie (1976) Over Canto (2011) Dracula (1931) The Mirror/Zerkalo (1975) David Bowie – Lazarus (2016) David Bowie – Look Back in Anger (1978) David Bowie – Loving the Alien (1984) David Bowie – Thursday’s Child (1999) David Bowie – Boys Keep Swinging (1978) David Bowie – Miracle Goodnight (1992) The Hunger (1980) David Bowie – Pierrot in Turquoise (1967)
Paintings: Narcissus by Caravagio (1594-1696) Echo and Narcissus by John William Waterhouse (1903) and Narcissus by Gerard van Kuijl (1640)
Music: Jeff Russo – Dr. Katz (2016) Jeff Russo – The Waving Cat (2016) Jeff Russo – The Squadroom (2016) Chris Isaak – Baby Did a Bad Bad Thing (1995)
*From Maurice Tuchman’s ‘The Spiritual in Art – Abstract Painting 1890-1985’ describing Frantisek Kupka’s translation of his visionary experiences into visual form.
Frantisek Kupka 1871-1957
Gary Lachman spoke recently at The Black Light Exhibition, an event sponsored by The Center for Contemporary Culture Barcelona.
Lachman, whose presentation begins at about the 5:30 mark in the above video, briefly covers a history of the relationship between art and the occult. He speaks for roughly 35 minutes tracing the roots of this phenomenon from paleolithic cave paintings to the varied works of William Blake to the secret Gnostic paintings of Hilma af Klint and to the expressions of contemporary artists such as the filmmaker Alejandro Jodorowsky, which is then followed by a Q and A session.
This exhibition stood on the shoulders of another exhibition curated by Maurice Tuchman in the 1980’s in Los Angeles, ‘The Spiritual in Art: Abstract Painting 1890-1985’.
Tuchman in the introduction to the wonderful book published in conjunction with this event states,
“Abstract art remains misunderstood by the majority of the viewing public. Most people, in fact, consider it meaningless. Yet around 1910, when groups of artists moved away from representational art toward abstraction, preferring symbolic color to natural color, signs to perceived reality, ideas to direct observation, there was never an outright dismissal of meaning. Instead artists made an effort to draw upon deeper and more varied levels of meaning, the most pervasive of which was the spiritual.”
The cover of the accompanying publication for The Black Light Exhibition
From the CCCB site,
“Esoteric traditions can be traced back to the very origins of civilization, having served at different times to structure philosophical, linguistic, scientific or spiritual ideas. Despite their importance for the development of twentieth-century art, they tend to be ignored or disparaged these days due to the dominance of rationalistic thinking and the difficulty of talking about these subjects in clear, direct language.
In recent years, however, many artists have taken a renewed interest in subjects such as alchemy, secret societies, theosophy and anthroposophy, the esoteric strands in major religions, oriental philosophies, magic, psychedelia and drug-use, universal symbols and myths, the Fourth Way formulated by the Armenian mystic Georges Gurdjieff, etc., generating an interest in these fields that had not existed since the counterculture of the sixties and seventies.
According to the writer Enrique Juncosa, curator of this exhibition, this interest may be due to the fact that we are, once again, living in a restless and unsatisfied world, worried about new colonial wars, fundamentalist terrorism, serious ecological crisis and nationalist populism, just as in the sixties and seventies people feared an imminent and devastating nuclear catastrophe. Furthermore, much of today’s mainstream art is actually rather boring due to its complete lack of mystery and negation of any kind of poetization or interpretation of our experience of it.””
Photo by Asa Lunden
Photo from a 2013 Exhibition of works by the Swedish mystic Hilma af Klint who as Lachman describes in his presentation is probably the first Abstract artist, predating Wassily Kandinsky
“[N]obody is willing to invest money in poetry. But film will continue existing thanks to the resistance of…poets. You can be sure that cinema history is made of films that recreate the inner world of their artist, and not the movies we see today and that I hope will not continue to please the public for much longer. Since the beginning, cinema has been in a difficult situation. To make movies, you need money. To write poetry, all you need is some paper and pencil. I bow to those directors who keep trying, with what they have, to make their own movies. We have seen that these films have a specific, personal rhythm.”
The Worlds of