act now to save our chubby children
MoveOn.org’s latest ad is tailor-made to fuel the usual semi-automatic exchange of fire about “hating our troops,” “loving our troops by hating the war,” and the rest of the dreary playout. But you don’t have to be a right-winger to think this ad is awful. Could the organization have come up with a clearer materialization of the class gap that undergirds any ideological question in this country? Is it possible to show more clearly that the sides of the struggle have formed, that that the game is played between the right and the wealthy center?
(I’m afraid that Obama is yet another vivid materialization of the situation… But let’s hope for the best as we take what we got…)
Alex, I’m afraid, will never fight this war. Not in eighteen years, not ever. He and his mom have been cast as relatively well-to-do (see the hardwood floors, and her BKLYN yummie mummie-ness, and the antique-ish chair in the corner), and the well-to-do will never fight wars again, not in America. There are, however, lots and lots and lots of people with more immediate reasons to worry about what is going on - among other things, their kids are there now. It’s a bit like one of those Save the Children ads, except recast with chubby American kids. “What would happen if the food supply ran out? What would become of young Timmy here? Where would he find his daily bag of Cheez Doodles, his four liters of Mountain Dew? What if, in eighteen years, Timmy can’t afford his snacks?”
It would be an offensive ad, of course. But really, not much more offensive than this one.
(Actually, there is probably a simple fix. Think of how much more sneakily effective an ad would be with a different mom and kid, this time from the sticks, and he’s seventeen, and he wants to enlist because he’s a patriot and there’s shit all else to do in Nowheresville, the plant closed long ago, and now there’s just the hotdog stand at Walmart etc etc. But he can’t enlist, or mom doesn’t want him to, because rather than actually defending the country, he’ll be sent into some quixotic imperialist meat-grinder, come back scarred psychologically like his cousin or in little pieces, and for what??? Wow, that’d be fucking amazing - make that ad MoveOn. Or just Obama - you could be properly dialectical for once, and do a turn on the “against our troops” flag wavers. And then we can talk about my consulting rates…)
Obviously, the well-to-do have just as much reason, and perhaps even a greater duty, to resist the war. But it might be helpful to think through the gut reaction semiotics of your response, what it signals about you and your investments, and what it tells others about where your head and heart really are.
a way of seeing ways of seeing
Almost hesitant to post, lest someone notices and I won’t be able to finish, um, archiving these, but all four episodes of John Berger’s Ways of Seeing are up on YouTube. Here’s the first of 16 separate slices:
I’ve never been able to get or see a full copy before. I’ve called libraries, specialists stores, trolled the distant reaches of the p2p world. And now, finally, here it is…. Happy May Day to me, and to everyone. Couldn’t have asked for more…
(via wood s lot, where you can find a link to a site with links to the rest…)
winter soldiers
(saw it first at pas au dela)
feedback
In the last few years, the makers of the better films and television shows have gotten in the habit of quoting from the iconic and horrible real images that circulate on our screens.
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Of course I’m thinking mostly of Children of Men, but it’s elsewhere too, this tendency. And even beyond video citation, it trickles out into the other arts as well. I saw the models for the fourth plinth at the National Gallery this weekend, and couldn’t help but think that Jeremy Deller’s entry must have been YouTube inspired, perhaps even by this video, which I’ve posted on before.

At any rate, we might want to think about this citational, YouTube, recombinant aesthetic. There’s a lot to be said about dropping Guantanamo into Bexhill and dreaming of street-to-street combat outside the Time Warner Building. Perhaps there’s even the hint of a new(ish) aesthetic stance tucked in there. A new / old aesthetic stance.
But today, instead of the real clipped into the filmic, I am thinking about the filmic - in this case, the crudely genre-led filmic, B Movie-ism - clipped straight into the real. This isn’t even slick dystopianism in the next videos.
Two clips from the same movie, one might imagine without too much trouble….