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Showing posts with label Springfield MO. Show all posts
Showing posts with label Springfield MO. Show all posts

Wednesday, June 27, 2012

Review: MONSIEUR LAZHAR At The MOXIE


The consensus on this movie is absolutely positive in all different ways. So do read them, as I am not going to write about that aspect of the film except to say that it is wonderful in every way and is deeply moving.

What I do want to say is that Monsieur Lazar is caught securely in the Foucauldian Grid of power/knowledge expressed through the educational system in Montreal which is no different from what we know: academic credentials; certification; political correctness that is smothering teachers and students alike. What you can observe, now that I expose it, in case you didn't know, is why exceptional people do not go into the teaching profession, why they tend to leave it in many different ways, why schools are failing and will continue to fail no matter how much money is poured into them, nor what enticements they offer to recruit talent. 

The problem is basic and structural and cannot be fixed. 
We are all under surveillance. The Panopticon is alive and well and represents our greatest danger. (Foucault)

We see one extraordinary teacher arriving to take the place of a much loved teacher. His classroom is classic, and older people will recognize their own experience. The rest of the teachers in the school are new age politically correct specimens, who know the rules, visible and invisible, which ones must be observed and which ones may be ignored, and willing to conform to them.  Coming from Algeria Monsieur Lazhar is culture innocent. A blessing. 

The classic authoritarian classroom may not be what modern educational methods prefer, but, and this is important, in the classic classroom there is NO phoniness, masking, "floating signs" covering up the authoritarian structure with good fellowship, and friendly group work, which hides the fact of authoritarianism behind a smiling, friendly mask of  an egalitarian classroom. The authoritarian structure is up front and direct and allows for the behavior of children to resolutely recognize it, and develop their individual ways of meeting it. When it is subversive and invisible, children are unable to come to any terms with it. No matter how nice-nice the school and teachers are, it is still a disciplinary institution to mold students into normality. For an extensive analysis see Foucault's Discipline and Punish and his 1974-75 
College de France Lectures on Abnormal.




Bachir Lazar is walking a tightrope with great finesse and compassion. He loses of course, and that's what happens to the best of teachers. They lose. The Foucauldian Grid defeats them. 


Only by compromising integrity can they continue. It matters not at all that Bachir's students perform well in their exams and that they are learning as well or better than students in other classrooms. Praising academic performance is a mask dissembling the fact that it is not learning that is the priority in a public educational setting. The dirty secret is that it is obedience and control.












Monday, June 25, 2012

Review: Sound Of My Voice at the MOXIE in Springfield MO

Is She From The Future?
Or is she heralding the future?
In her interview with Interview Brit Marling discusses her time at Georgetown where three people met and became friends, deciding to make the documentary:Boxers and Ballerinas 2004
Brit Marling
Mike Cahill
Zal Batmanglij
Directing, Producing, Writing, Acting, Shooting, Editing
They collaboratively took Another Earth to Sundance and won two prizes there. What is wonderful is that they work together equally. There is no big Other involved in the making of their films. Zizek! Take notice please!

Once again Brit Marling is exploring Alterity

From her earlier film Another Earth

We can recall moments in the past when we had equal chances of living or dying - in a car crash, for example.... Every time someone finds himself at a crossroads of this kind, he has two worlds before him... It is the same with each decisive moment, both with birth and with death. Just as the virtual dead man that I am continues on his way on the other side, carries on with his existence which runs just beneath the surface of mine, birth is that dividing line where on the one side I exist as myself, but on the other I begin, at the same moment to exist as other Such is the form of alterity...(Impossible Exchange 82)

Kenzaburo Oe in A Personal Matter  opts for a choice-centered cosmology, and puts this in the mouth of one of his characters:
Every time you stand at the crossroads of life and death, you have two universes in front of you...  

A lovely review of this film: Sound of My Voice


Monday, May 21, 2012

The MOXIE: Terence Davies and Terence Rattigan: The Deep Blue Sea

Set in the 1940's this is a beautiful movie. It is shot in soft focus under low illumination, creating an illusory experience of filming that exactly captures what a romantic film was like in those times of 70 years ago. Everything is soft, lovely and romantic. Rachel Weisz is unforgettable in her vulnerable beauty.


It is a story of passion which we see right in the beginning with sensuous sex. What is unusual about this film is that the dialogue is written for adults, and sounds like dialogue did back then. There are no obvious props of the time period screaming at you, "See, I am authentic. Notice me." Yet everything appears as it did at that time without any obviousness. None of that stuff so meticulously and boringly done by Francis Lawrence in Water For Elephants. Just wall paper looking depressing and fussy as it did then, the lighting subdued, the music on records a little scratchy and seductive. 


At the same time we are seeing a sad love affair we are also seeing two people who are caught in seeing and feeling love and sex the way their world has taught them to see and feel it through the popular music. They are as caught up in playing their parts as we are now. They play two lovers caught up in playing lovers as suggested in all the romantic songs of their era, perfectly chosen.


They are as caught as Eric Packer is caught in his screens. 


Only Weisz's character Hester begins to see through this charade. She is experiencing a deep passion in her body and mind. She has succumbed to the template of Iseult: passion love and death. She knows Freddie is playing a role and she isn't. It is real for her and she knows it is not for him. And this begins to eat at her and destroy her. Her affection for her husband is real, and as his affection for her grows, he is still unable to break out of his conditioning, the Inscription of His Body and Mind to claim her. 


So we see her abandoned and sobbing at the end, not knowing what she will do next. An ambiguous ending. A film so perfectly done it might really be 70 years old. An original - not a counterfeit, a copy or a simulacrum - an original filmed in our own time, by a filmmaker who has not forgotten what it means to see.